Summary

Collider’s Steve Weintraub talks with Ridley Scott for the Kingdom of Heaven’s 20th anniversary 4K Ultra HD rerelease.

Ridley Scott discusses the film’s restoration, his collaboration with writer William Monohan, and the theatrical versus Director’s Cut.

Scott also talks about his favorite cut of Blade Runner, the Western he still intends to make, and his upcoming Bee Gees biopic.

Four-time Academy Award-nominated filmmaker and visual master Ridley Scott stays busy, even when he doesn’t have an epic blockbuster in the works. In fact, in this one-on-one with Collider’s Steve Weintraub, the director explains that he doesn’t only revisit his work when 20th anniversaries roll around, like for the 4K Ultra HD Blu-ray rerelease of Kingdom of Heaven, but rather “every three or four years,” just to keep up with times. That’s why his films “always look good.” Twenty years ago, Scott released his Crusades-era epic, starring Orlando Bloom and Eva Green. Now, fans have the opportunity to own the coveted Kingdom of Heaven Director’s Cut, completely remastered in 4K. The three-disc set comes complete with over eight hours of bonus material, including VFX breakdowns, commentary from Scott, Bloom, and Oscar-winning writer William Monohan, and deleted scenes. If you’ve only seen the theatrical cut of Kingdom of Heaven, you absolutely need to take the time to watch the Director’s Cut. Unlike some extended or Director’s Cuts that add a few scenes or a deleted scene that should have been left on the cutting room floor, the Kingdom of Heaven Director’s Cut adds around forty-five minutes of footage that should never have been removed. What you need to understand is the Director’s Cut was the theatrical cut until the studio forced him to make the film a lot shorter. So even though the cuts destroyed an incredible film, that’s what Scott had to do. But thanks to home video, you can now watch one of Ridley Scott’s best films in stunning 4K. Check out the full conversation below, where Scott discusses not only the merits of Kingdom of Heaven’s extended edition and the restoration, but also his crucial collaboration with Monohan and why he forgives the man responsible for the theatrical cut that toes the line between flop and masterpiece. Scott also talks about his favorite cut of Blade Runner, how Francis Ford Coppola inspired the controversial Harrison Ford narration, the Western he’s yet to make, and what to expect from his upcoming Bee Gees project.
Ridley Scott Reveals His Favorite Version of ‘Blade Runner’

He also shares how Francis Ford Coppola inspired the Harrison Ford controversy.

Image via Warner Bros. 

COLLIDER: I was actually talking to Josh Brolin yesterday, and he was singing your praises and saying how much he loved working with you and how he recently wrapped on your next film. Josh said hi. RIDLEY SCOTT: That’s sweet. He’s a great guy. That’s the second time for me. The first time was American Gangster. Actually, we were talking about that because I’m fascinated by the way directors work, and you’re one of the only directors who works with so many cameras all the time. I was like, “Did he do anything epic with the cameras on The Dog Stars?” He was like, “Nothing’s going to beat the nine cameras set up on American Gangster.” SCOTT: Yeah. Even though you’re Ridley Scott, I would imagine that there are still projects over the years that couldn’t get financing. If you could get the financing to make anything you want, what’s that one thing you’d still love to make? SCOTT: If they’re good enough, and you know it’s not the moment because everyone’s afraid of it, you keep it sitting, waiting, and then come back. So, I have a Western, which is the best Western I’ve ever read. It was on a shelf of an author who had died. It’s from his estate. We tracked it. I bought the script, so I own it, and the moment will come to make it. So, I still have to do a musical. I still have to do a pirate movie. I still have to do a Western. Can I ask you the title of the Western? SCOTT: No, you can’t, because someone will jump in.

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One of my favorite films is Blade Runner, and I just want to clarify, because there are so many versions out there: I assume the version you want people watching is the final cut. SCOTT: Yeah. I think all variations were okay. The voiceover in Blade Runner was really taken because I thought the voice in Coppola’s Apocalypse [Now], Heart of Darkness, was the heart and soul of the movie, and it was the central soul to the central character. I tried, because we were on such odd, strange ground with Blade Runner, voices who would be very helpful in the sense of that old detective, Mickey Spillane kind of thing. 100%. Unlike a lot of movies, Blade Runner is one of those movies where there are so many versions out there. Are you happy that all the versions exist and people can watch them, or do you wish that not all these versions were out there? SCOTT: I know the version I like, which was the one that ends in the elevator shaft and the one that has no going off to this beautiful mountain range. I thought the voiceover was give or take. Harrison [Ford] didn’t enjoy doing it, so I think he was psychologically resistant to it, so it never really landed. Harrison is perfectly capable of doing it with his great voice.
Ridley Scott Returns to His Films “Every Three or Four Years”

“That’s why my films always look good now.”

Jumping into Kingdom of Heaven. The new 4K edition has the director’s cut, and it has a roadshow format presentation. When people own it, and they push play, which version do you want them watching first? SCOTT: You want the extended version first, which is very much the story about the Princess of Jerusalem, who euthanizes the child. Kingdom of Heaven is the best director’s cut I’ve ever seen of any movie, period. There’s no comparison. The director’s cut is a masterpiece. Are there any films that you directed that you would like to go in and tinker with, or was this the one that’s like, “This needed to be fixed?” SCOTT: That’s a tough question because I tend to do quite big movies. By the time they finish these scale movies, you’re like, “Enough!” Right? “Next case.” So, you’re starting to weaken. To me, it’s like a sport. You can’t weaken, otherwise you’re gonna get beaten. I will go to the last dying argument to try and get my way. Then there’s a moment where you think, “You know what? Fuck it. Go for it.” But the thing I love about all the platforms, and I started to love about discs, but we’re way beyond that now, is my film, which is now 50 years old, called The Duellists. It runs every night online. So, to me, instead of being buried somewhere in some dark vault, it’s very healthy to see it out there still playing. I love streaming. So, I’m friendly with William Monahan… SCOTT: Bill’s one of the best. I’ve known Bill for 20 years, since right after Kingdom came out. He told me that he just saw the 4K edition at the Egyptian in Hollywood, and he said it was one of the two most emotional experiences he’s ever had in a movie theater — one being Apocalypse Now and two being watching Kingdom of Heaven, the 4K edition, because of how well it played and how amazing it looked. Have you seen the new 4K edition projected on a screen? SCOTT: Yeah. I tend to be the one who grades it. What was the experience like for you, looking back on something that you made 20 years ago? How emotional was it for you? How does the 4K look to you? SCOTT: I regrade all my movies every three or four years to keep them up to speed on the new technologies. That’s why my films always look good now, because I grade them. I go back into Company 3 and work with my man in there, who’s great. We regrade the movie. We upgrade it. That’s so interesting.

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Ridley Scott’s ‘Kingdom of Heaven’ Director’s Cut Is Finally Coming to Theaters

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Are there any other 4K editions coming of your work that you’ve been working on? SCOTT: Well, on the TV screen, you can buy in any house today. What do they cost for a six-foot screen? 600 bucks? They’re nothing. It’s so cheap. SCOTT: They’re nothing. And therefore, in a way, it’s very dangerous because people can watch at home, and yet cinema still hangs in there. I hope it doesn’t go away, but the quality of a screen in a room with, honestly, a couple of mediocre speakers, it’s hard to do better. It beats having to drive, car park, walk, blah blah. I shouldn’t say that, but it’s true. Certain movies I agree with you on, but certain movies I really want to see in IMAX and on the biggest possible screen. SCOTT: Yeah. No question. But I always played it all. That’s my life. That’s the final word to me, is actually grading it. I love to grade. It’s like readjusting the painting.
William Monahan Was Crucial to ‘Kingdom of Heaven’

“Bill was so researched on almost everything.”

One of the reasons Kingdom is so fantastic is that it’s not a generic action-adventure film. You and Bill made a historical epic that examines religious conflicts. Why was that important to you? SCOTT: I met Bill because I was going to do Tripoli. Bill has written a spec of Tripoli, and I got it. That’s how I met Bill. Bill wasn’t a screenwriter, he was a journalist, and he sent Tripoli my way. I was blown away. I took it on board, and I started to solve the movie, and what happened is in my family, someone became very sick. We were already building a fort at Durham, and I had to say, “I’m sorry. I can’t leave LA. I will not do that, so let’s find another director.” In their real generosity, Fox said, “No. It’s your movie. We’ll eat it.” That always really impressed me with Fox. So, from that, Bill was very disappointed, but that’s what really happened. Then, from that, Bill had done so well. I said, “Let’s talk medieval.” So, we started talking, and fundamentally, you’re going to go right to the Crusades. “Let’s talk about it.” It started there. That was it, from scratch. Bill was so researched on almost everything that that’s what came out. Once you’re in those hands, it’s helpful during the writing. He’d send me so many passages, “What about this? What about that?” But my input is minor. Bill’s was everything. Then that becomes my roadmap for me to then do my thing. So, the two and two of us makes a very good four. I completely agree. I read that Tom Rothman, the head of the studio, was the one who ordered the film to be trimmed down because he didn’t believe audiences could go for such a long movie. Have you finally forgiven Tom, or is it just sort of part of the business? SCOTT: Tom has already said, “I’m sorry. I was wrong.” At least he owned it. SCOTT: I was like, “Oh, great. Thanks, Tom.” Listen, it’s very hard being a head of the studio. It’s nearly as bad as having been a political head. Being head of the studio is very, very tough because you’re always right and you’re always wrong. There’s a very good TV show on right now called The Studio. It’s fantastic. SCOTT: It is so fucking accurate. You would not believe. I think he’s playing Tom Rothman. Oh, that’s funny. Have you been pitched a Kool-Aid movie? SCOTT: [Laughs] Nearly! It’s fucking hysterical. I shriek with laughter. The one with Ron Howard is bloody marvelous. The show is fantastic. Also, the way they shoot it with the oners is also fantastic. SCOTT: Oh, yeah! It’s great.

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There are two upcoming TV shows that are based on your iconic films, which are Alien: Earth and Blade Runner 2099. Are you involved in these shows? Have you watched any of the dailies? SCOTT: Well, I’m involved in that I’m being polite. But frankly, it takes so long, I haven’t got time. So, I’m sent marketing and some early on stuff, which I kind of say, “Yeah, that’s good. I approve.” But honestly, there’s so much minutia, I haven’t got time. You are the hardest-working director I know in Hollywood.
Ridley Scott Gives Us the Rundown on Future Projects

He shares an update on The Dog Stars and what to expect from his Bee Gees film.

Image via Getty Images

For people who are fans of your work, did you wrap on The Dog Stars, or are you still filming? SCOTT: No, I’m gonna finish Dog Stars in 38 days, which is pretty quick. I’m finishing in three weeks. What do you want to tell fans of yours about the film and why you wanted to make it? SCOTT: It’s a marvelous book. I put it in a similar vein in its simplicity and yet drama as The Martian. I wouldn’t be doing it if it weren’t great. So, it is great. It’s really about four people in a universe. I tend to use the phrase, “the end of the world just happened.” That is how you survive. But it is not The Road. You mentioned a pirate movie musical. Do you know what you’re actually going to film later this year? Because it wouldn’t surprise me if you were making another movie later this year. SCOTT: I am… the Bee Gees in November. So Paramount’s going to make it? SCOTT: I think so. That’s what I dare say.

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Well, I would be fucking ecstatic if that gets off the ground. I’m a huge fan of the Bee Gees. The music is incredible. What is it about that story that compels you to want to tell it? SCOTT: It’s really about the brothers and how close the brothers were as a gifted family. They’re really very much a family. I think Barry very much was the leader of them, but then Robin also had the voice initially and was also a very good writer. They were a fulfilled team. It is lovely to see this drawn out from scratch. We’ll go from eight years old to the end. I’m all in on that. With something like that, have you started thinking about casting? Are you casting? How does that work? SCOTT: I’ve already got my footprints and handprints, or requests is a better way of putting it, on those names. And no, I can’t say who they are. Kingdom of Heaven is available to purchase on 4K Ultra HD Blu-ray now.

Kingdom of Heaven

Release Date

May 6, 2005

Runtime

144 Minutes

Writers

William Monahan