'Gladiator II' Costume Designers Janty Yates and David Crossman - All Of It with Alison Stewart

Summary

Podcast Summary: All Of It – Episode: 'Gladiator II' Costume Designers Janty Yates and David Crossman

Release Date: February 28, 2025
Host: Alison Stewart
Guests: Janty Yates and David Crossman
Nominated for: Academy Award for Best Costume Design

Introduction

In this episode of All Of It, hosted by Alison Stewart, listeners are treated to an in-depth conversation with renowned costume designers Janty Yates and David Crossman. Both Yates and Crossman, who previously collaborated on the acclaimed film Gladiator (2000), return to the world of ancient Rome with their latest project, Gladiator II. This sequel not only reunites them with director Ridley Scott but also earns them Oscar nominations for their exceptional work in costume design.

Background of the Designers

Alison Stewart opens the discussion by highlighting the illustrious careers of her guests. Janty Yates, an Academy Award winner for her work on Gladiator, teams up once again with David Crossman for the sequel. Their long-standing professional relationship spans over two decades, allowing for a seamless collaboration that brings new depth to the visual storytelling of Gladiator II.

Collaboration and Experience

David Crossman reflects on his experience transitioning from working on Ridley Scott's film Napoleon to Gladiator II.

"I think Gladiator 2, weirdly, was a bit easier than Napoleon, to be honest. It was kind of less complex." [01:31]

Crossman emphasizes the benefits of his extensive collaboration history with Yates, noting their mutual understanding and efficient workflow:

"We've known each other for a long time and I've done a few Ridley Scott films. So I know, I know roughly how it all kind of works on his films." [01:31]

Designing Costumes for Gladiator II

The conversation delves into the specifics of costume designing for both civilian and military characters in Gladiator II.

Janty Yates discusses her approach to creating the civilian wardrobe, particularly for Connie Nielsen's character:

"We did go a little bit haute couture on her to start with. And we cut a lot of costume and we fitted it. And neither she liked it, nor did Ridley, nor did I. So we went back to the original." [02:27]

David Crossman elaborates on the complexities of designing military armor, highlighting the blend of traditional and modern techniques:

"We blended traditional and modern techniques together, I think. And, you know, we had a bit of time to do that." [05:52]

Collaboration Benefits

Janty Yates expresses her admiration for working with Crossman, underscoring the value he brings to the project:

"I adore working with Dave and for the rest of my life." [06:04]

She praises Crossman's ability to transform military costumes, making them more intricate and visually striking:

"He's taken for example, all my military, which I did before. He's taken it and enhanced it so brilliantly that it's unrecognizable." [06:04]

Specific Costume Elements

The episode highlights several key costume elements that bring Gladiator II to life.

Denzel Washington's Jewelry

The host inquires about the extensive use of jewelry for Denzel Washington's character. Janty Yates explains the decision to incorporate ornate accessories:

"Denzel ... he seemed to want a lot more jewelry than I'd ever anticipated. ... he'd just appear looking magnificent." [07:16]

Paul Mescal's Character Outfit

David Crossman discusses the contrasts in costume design between Paul Mescal's character, Lucius, and the elite Roman soldiers:

"We gave them a kind of 20 year makeover... blended traditional and modern techniques." [05:52]

He further details the evolution of Lucius's armor throughout the film, drawing inspiration from the original Gladiator:

"He goes into a kind of slave tunic and then into his kind of gladiator look which is kind of a nod to the first film." [08:05]

Twin Emperors' Distinctive Look

The episode delves into the unique appearance of the twin emperors, characterized by their striking white faces and bright orange hair. Janty Yates attributes this design to Ridley Scott's vision inspired by Johnny Rotten:

"It's all from Johnny Rotten. ... he wanted their look to be that in a sort of Roman style." [10:07]

This bold aesthetic choice emphasizes their power and instability, adding a formidable presence to their characters.

General Acacius' Armor

David Crossman explains the symbolic significance of the Medusa head on Pedro Pascal's General Acacius' armor:

"It's meant to invoke fear in his enemies... we did look at it for a long time." [11:31]

The exaggerated snake motifs enhance the armor's intimidating effect, aligning with General Acacius' authoritative role.

Challenges and Solutions

A significant challenge arose when the team initially experimented with haute couture designs for Connie Nielsen's character, which did not resonate with the creative vision. Janty Yates recounts:

"We were doing all sorts of lovely Yves Saint Laurent early work... but we went back to the original feel of her look." [12:07]

This return to the original aesthetic ensured consistency with the character's established persona and the film's overall visual narrative.

Conclusion

Alison Stewart wraps up the insightful discussion by reiterating the Oscar nominations for both Janty Yates and David Crossman for their outstanding contributions to Gladiator II. Their collaborative efforts have not only honored the legacy of the original film but also expanded the visual and cultural tapestry of the sequel. The episode underscores the intricate artistry and dedication required in costume design to breathe life into cinematic worlds.

For more engaging discussions on culture and its creators, tune in to All Of It with Alison Stewart, weekdays from 12:00 - 2:00PM on WNYC.

Transcript

Alison Stewart (0:00)

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David Crossman (0:18)

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Alison Stewart (0:33)

You are listening to all of it on wnyc. I'm Alison Stewart. Costume designer Janti Yates won an Academy Award in 2001 for her work on Gladiator. Now she's nominated again for Gladiator 2 alongside fellow costume designer David Crossman. Janty and Dave split the work for this epic tale of vengeance and scheming in ancient Rome. Janty worked on the costumes for Roman civilians, including Denzel Washington's beautiful robes. And Dave worked on the military costumes, which meant making many, many suits of Roman armor. Janty and Dave are both nominated for best Costume Design and we spoke to them as part of our Big Picture series. That's when we speak to people who worked behind the camera to make movie magic in 2024. I began our conversation by asking David Crossman how his experience working on the Ridley Scott film Napoleon helped him prepare for this project.

David Crossman (1:31)

I think Gladiator 2, weirdly, was a bit easier than Napoleon, to be honest. It was kind of less complex. So it was Janti and I, we worked together for a long time for like 20 years. We've known each other for a long time and I've done a few Ridley Scott films. So I know, I know roughly how it all kind of works on his films. And I think really for us, it was more of a logistical kind of race against time, really, to get lots of armor ready. I think that's one of the biggest. Whenever you're doing an arm film, it's always about just time and trying to get everything done in time and into a certain place in time. So it's all, it's all of that alongside what you have to do for the actors and things.

Alison Stewart (2:18)

So, Janta, you won an Oscar for your work on Gladiator. What was it like to return to this world and these characters all these years later?

Janti Yates (2:27)

Well, it was very exciting, we were told, actually, while we were doing Napoleon. So it was like, oh, it's really going to happen. So I just went, I dove back into research because it was 24 years ago and the brain's not as it was and had to, as usual, research the hell out of it. But it was very exciting with Connie, for example, she's hardly changed in 24 years. She's still 6 foot. She still has amazing bone structure. She still has got a body to die for. We did go a bit. We went a little bit haute couture on her to start with. And we cut a lot of costume and we fitted it. And neither she liked it, nor did Ridley, nor did I. So we went back to the original. The original feel of her look. Denzel was a complete unknown and he'd asked for a couple of garments to just practice with at home. And I hadn't really realized what he meant by that. But his way of handling his costumes was so much part of his act. Not his act of his Persona. He was always just swinging his toga over his shoulder in a nonchalant way and marching off. And I just thought, my God, this man really works. Works at it. The twins, they were just mad. They were like my sons. I loved them to bits. We just put gold and gold on gold and then some more gold.