- Director Ridley Scott’s film insights.
- Napoleon portrayal and challenges.
- French criticism, positive UK reviews.
It is evident that the director, whose credits include acclaimed films such as Gladiator, Alien, Thelma & Louise, and Blade Runner, expresses his thoughts.
Does he actively seek guidance or counsel? He informs me that he determines what constitutes a “disaster” by consulting with another individual.
Regarding his failure to secure an Oscar for best director, given his leadership of enduring films over the last forty years?
“I don’t really care.”
Historical Accuracy and French Criticism
Concerning historians who have purportedly erred in empirical accuracy with regard to his most recent film, Napoleon: “Do you truly wish for me to respond to that?”… it will contain a beep.”
We meet in a luxurious central London hotel.
Scott had just returned from Paris, where the film’s global premiere took place. It featured Joaquin Phoenix in the role of the French soldier-turned-emperor, and Vanessa Kirby as his wife (and obsession), Josephine.
A visual spectacle that juxtaposes the closeness of the couple’s bond with the actions of a man whose insatiable desire for power resulted in the presumed deaths of three million civilians and soldiers.
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“He is extremely intriguing. More prominent than any man, leader, or politician in history, admired, despised, and revered. “What would prevent you from desiring to visit that location?”
The duration of the film is 2 hours and 38 minutes. Scott claims that if a film is longer than three hours, the “bum ache factor” sets in around the twenty-minute mark; he continually monitors this during the editing process.
It is too long when you begin to exclaim “Oh my God” and then exclaim “Christ, we can’t eat for another hour.”
Extended Director’s Cut and Positive Reviews
It is reported that he intends to produce an extended, final director’s cut for Apple TV+ when the film becomes available on the streaming service, despite the “bum ache” issue; however, “we are not permitted to discuss that.”
Napoleon has received positive reviews in numerous UK media outlets. Empire praised “Scott’s entertaining and plausible interpretation of Napoleon” and awarded this “spectacular historical epic” four stars for The Times.
In contrast, French critics have been less favourable.
Le Figaro suggested that “Barbie and Ken under the Empire” be the new title for the film. Witnessing French soldiers shout “Vive La France” with American accents in 1793 was deemed “extremely clumsy, unnatural, and unintentionally humorous” by the French GQ.
Furthermore, Patrice Gueniffey, a Napoleon biographer who wrote for Le Point magazine, criticised the film as a “very anti-French and very pro-British” historical revision.
Scott responds, “The French don’t even like themselves.” “The audience that I showed it to in Paris, they loved it.”
Behind the Scenes and Filmmaking Techniques
The film condenses Napoleon’s conquests for the purpose of expanding his empire into six expansive battle sequences.
An objective of the emperor is to entice the Russian army onto an icy lake (targeted at “an airfield just outside London”) prior to the artillery turning against them during one of his greatest victories, Austerlitz in 1805.
“Gladiator was created at the counter-angle in the trees… “I was able to digitally blend them to provide the desired scale and scope.”
Bloodied soldiers and horses are sucked into the frigid waters as the cannonballs impact, frantically attempting to escape.
The situation is dramatic. Terrifying it is. Moreover, it is strikingly attractive.
“My strongest asset is my good eye,” says Sir Ridley, who was born in South Shields and attended art school in Hartlepool before relocating to London.
In the 1970s, he was one of the most famous UK commercial filmmakers, creating two ads every week.
His lifelong ambition was to become a film director, but “I was too shy to discuss it with anyone” and “I had no idea how to break in.”
After doing so, he ascended rapidly.
Scott is a consummate creator of worlds, as evidenced by his visual creativity in Alien and The Martian, Black Hawk Down’s depiction of civil war in Somalia, Robin Hood’s mediaeval England, and Gladiator’s Roman Empire.
Self-taught as an artist, he creates his own storyboards.
He suggests publishing them as comic strips. This is my occupation, as many individuals struggle to convert what is written into reality.
According to his Napoleon, Joaquin Phoenix, Scott “draws images of the scene as he approaches work.”
He considers Scott to be a receptive and candid director. “He has figured everything out, yet he is also capable of pivoting spontaneously” in response to new ideas, even though there were 500 extras, a large crew, and multiple cannons on this particular occasion.
Twenty-three years after playing Commodus in Gladiator, Phoenix was “ecstatic” to work with Scott again.
“I was not considered by the studio for the role of Gladiator.” Ridley was, in fact, presented with an ultimatum, yet he defended my interests; it was an altogether extraordinary experience.”
Scott has described Phoenix as “likely the most exceptional and considerate actor with whom he has ever collaborated.”
Autonomy for Actors and Unique Filming Challenges
The principal actors were granted the autonomy to construct the relationship between Napoleon and Josephine, a woman of six years seniority over him. Although Napoleon divorced Josephine due to her inability to offer him a progeny, he remembered her fondly when he passed away in exile on St Helena. “France, the Army, Josephine, the Head of the Army,” were the final words spoken by the Emperor.
Vanessa Kirby states, “From the very beginning, nothing about my experience under Scott’s direction was prescriptive, which I found to be quite liberating.”
Nevertheless, she continues, “I had to adapt to the speed at which he operates.”
“He moves at an extremely rapid pace.” “One day may contain five major scenes, which requires you to perform on the fly.”
Filmmaking Journey and Future Projects
Napoleon was executed in a mere 61 days. “If you know anything about films, that should have been 120,” Scott indicated to me.
During his early career, he also operated the camera and directed films, such as The Duellists, Alien, and Thelma & Louise; however, this practice was prohibited on Blade Runner.
He says he recognised the camera operator and first AD had the most power and wouldn’t give it up.
He directed up to eleven cameras simultaneously on Napoleon from an air-conditioned caravan, stating, “I’m sitting inside yelling ‘faster!’ while it’s 180 degrees outside.”
The utilisation of numerous cameras capturing from various angles “enables the actor to deviate from the script and improvise” by eliminating the necessity for interminable takes, which would be deemed “catastrophic.”
Challenges Faced and Historical Perspectives
The film adaptation of Napoleon was an endeavour that Stanley Kubrick, Scott’s idol, attempted but ultimately failed to accomplish. Surprisingly, he was incapable of initiating it, as I had faith in his ability to do so. “That came down to money,” Scott explains.
While observing Marie Antoinette’s execution by guillotine, Napoleon bombards the Sphinx with a projectile. Certain historians are opposed to this impressionistic film due to its artistic licence.
Scott estimates that 10,400 volumes have been devoted to Napoleon since his death, or “one every week.”
“Were you present?” he informs me, in response to the critics who assert that the film lacks historical accuracy.
