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WRITING IS RE-WRITING
Director Ridley Scott delights in taking worthy and likeable characters in his films on epical quests into imaginary and truthful worlds, filled with adventure, spectacle, and wonder: the resilient Ripley confronted a nasty creature in the science fiction nightmare Alien; a hardboiled New York cop battled a yakuza hood in Japan in the crime thriller Black Rain; a retired law enforcer destroyed vicious replicants in the futuristic thriller Blade Runner; swordfighting and gun battles within the Napoleonic wars dominated The Duellist; Columbus' unyielding expeditions were explored in 1492, Conquest of Paradise; a heroic young peasant confronted the devil in Legend; a New York cop protected a socialite in Someone To Watch Over Me; two regular girls became dangerous outlaws in Thelma & Louise; a group of boys underwent the rites of passage in White Squall; Demi Moore toughened up for G.I.Jane, General Maximus conquers an evil-minded Roman Emperor circa 180 AD in the $100 million epical adventure Gladiator; we followed the further exploits of Hannibal Lecter in Hannibal, the sequel to Silence of the Lambs; and we experienced the horror of urban warfare in Black Hawk Down.
The film Gladiator was one of the first films in history to be greenlighted before the script was complete. It was David Franzoni's story, his pitch to Dreamworks, the concept, and the pitch to director Ridley Scott, that initiated the process.
The first draft of the screenplay for Gladiator was written by David Franzoni , based on his own story. Director Scott felt that because this draft jumped immediately to Rome after the opening battle scene, he needed more exposition in the first act and called in John Logan for a rewrite when Franzoni had burn out.
Once the rewrite was complete Scott felt that he needed a rewrite on the characters and dialogue and called in playwright John Logan for a further rewrite., focusing on the characters.
Once this draft was complete and the actors did a reading, the producers noted that there was still something missing and called in an expert on plot and structure, William Nicolson.
As an outsider, who knew nothing about the project, he read the new draft and sent a 10 page fax to producer Walter Parkes, outlining the problem areas. It was during this draft that the idea of an afterlife surfaced.
The final script highlights the art of collaboration, utilising the talent of the writers, the filmmakers, the producers, and the actors.
Let us take a closer look at the structural development of Gladiator, as well as character development, symbolism and visual dynamics. We will also examine some of the differences between the revised first draft written in April 1998, and the second draft written in October 1998.
Gladiator follows the traditional three-act structure or classical design:
ACT I: The set up. The first act sets up the Protagonist or hero and his opponent (Antagonist), as well as what the hero wants to achieve in the story
ACT II: It focuses on physical and emotional conflict and confrontation - Maximus' training as Gladiator and his days of glory as Gladiator in the Coliseum. This is the rebirth of our hero.
ACT III: After Maximus fails to escape from Rome and is imprisoned, it sets the platform for the final confrontation between the hero and the Antagonist, and allow the hero to achieve his ultimate goal: to return home to his family.
It is interesting to note that the action sequences - the battle of Germania, and the Gladiator fighting scenes in the arena - comprises 29 minutes of the entire 150 minutes of film. This clearly indicates that we are not dealing with an action film, but a Historical Drama.
THE CLASSIC HERO'S JOURNEY GLADIATOR
Copyright © An analysis by Daniel E. Dercksen
Gladiator is a perfect example of the classic 'hero's journey' in storytelling. Warning If you have not seen the Gladiator, please note that the ending and certain twists are revealed in the following analysis.
I strongly suggest that you watch the film before reading The Hero's Journey. It is available on video and DVD. The DVD release features brilliant director's commentary and behind the scenes footage, as well as scenes that were deleted.
THE BACKSTORY
OPENING SCENE - GRAPHIC EXPOSITION
SETTING UP THE FIRST ACT
THE HERO - GENERAL MAXIMUS: FIGHTER, FARMER AND FAMILY MAN
THE FIRST BATTLE
THE ANTAGONISTS - THE SUPREME ENEMY AND SUBSIDIARY ENEMY
THE CATALYTIC EVENT - POINT OF ENGAGEMENT
THE CATALYTIC EVENT - POINT OF ENGAGEMENT
THE HERO IS CALLED TO ADVENTURE
THE DILEMMA
THE FIRST MAJOR TURNING POINT
ACT TWO - THE WORLD OF CONFRONTATION
A BRAVE NEW WORLD
CONFRONTING OBSTACLES
CONFLICTS AND CONFRONTATIONS
THE FIRST HALF OF ACT TWO
THE MIDPOINT
THE SECOND HALF OF ACT TWO
READ THE ACTION SEQUENCE WHEN MAXIMUS ENTERRS THE COLLUSEUM
THE SECOND MAJOR TURNING POINT
ACT THREE - RESOLUTION
THE OBLIGATORY SCENE - THE CLIMAX
THE HERO'S JOURNEY COMES TO AN END
THE ENDING
Copyright © 2001--2007 Excerps from screenplays: Dreamworks/ Analysis Daniel E. Dercksen
First Image Of Hero & Original Opening Scenes
Setting up the First Act
Meet the Hero or Protagonist
The First Battle Scene
Introduction of the Antagonist
The Catalytic Event - Point of Engagement
The Hero is called to Adventure
The Hero enters a New World - Act Two
Confronting Obstacles
Gladiator fighting scene in Colosseum
Further Conflicts and Confrontations in Act Two
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