Where is gladiators filmed

The studio's lot, which has been used by the cast and crew of 's Aladdin as well as the Brad Pitt drama Babel, housed the market square where slaves were sold, as well as the holding area where the slaves are contained before they fight, according to Insider. The town of Ouarzazate is depicted as the fictional city of Pentos, and Ait Benhaddou is where Danerys defeats the slave merchants of Yunkai.

In fact, Gladiator director Scott returned to the spot to film scenes for 's historical drama Kingdom of Heaven. Crowe has since recalled that many of his most famous lines were improvised while shooting in Morocco. I actually didn't know what the scenes were gonna be," the New Zealand-born actor said on Inside the Actors Studio in This is how things like, 'At my signal, unleash hell,' came up.

The name Maximus Decimus Meridius, it just flowed well. Emma Day. Read More. New photos from 'Avatar 2' set reveal James Cameron's clever underwater filming trick.

Drive-in cinemas are coming to Dubai: is this the future of watching films? Sudan's military head appoints new apex council after takeover. If you want to experience this little slice of paradise on earth for yourself, find a villa with pool in the Orcia Valley and get away from it all. The Orcia Valley scenes of the movie work as a foil and reference point to the rest of the story. They offer an image of peaceful perfection which is rustic and Arcadian and far from the bloody conflicts which are depicted in the Empire's capital.

In the first, Maximus — the hero of the tale, as played by Russell Crowe, who won an Oscar for Best Actor for his efforts — is shown returning from years at war to his homeland on horseback. His journey brings him along a cypress tree lined avenue, so typical of Tuscany.

It is only then, however, that Maximus realises that his little slice of paradise has been corrupted by the outside world and that he has arrived too late to save his family.

The production team put potential Contenders a day through their paces. Would-be Contenders had face a rigorous series of tests before they were even considered for entry. This began with a metres run on a treadmill. The men had 2 minutes 30 seconds to complete the course, women had 3 minutes. If successful they had a two minute break before moving onto the next test.

After the two minute break it was onto the straight arm pull-ups. On command each Contender had to hang by their arms from a horizontal bar with an underhand grip and pull their body up so that their chin was above the bar. The men had to do 10 chin-ups, the women had 5 to complete. One minute later participants had to traverse a 15ft monkey ladder and then climb a 20ft rope and carefull lower themselves.

Women had to do this exercise once and had one minute in which to complete it. Men had to climb the rope twice, again within a one minute. No rest is allowed between the ladder and the rope. If the would-be Contender had made it to this point, it was now time for a pugil stick fight to test their aggression.

For 30 seconds one Contender would attack, while the other defended. The positions are then reversed. A 30 second rest was allowed between bouts. Even if they passed all of these tests the judges decided whether a Contender had reached the appropriate standard. The final test is an interview in front of the camera. Some of the best Contenders could lose their nerve at this point, but performing in front of an audience is all part of the Gladiators experience.

A lively and interesting personality was the best quality to have to make it onto the show. With the Gladiators and Contenders now chosen it was time for the Events and Arena set to be designed and built. Kimpton Walker Ltd, an established specialist theatrical scenery construction company, were appointed to transform the National Indoor Arena in Birmingham into the high-tech Gladiators Arena.

The Gladiator Arena started life as a small scale plastic model. Three skilled designers worked for three days on the mini-set, which was detailed even to the point of calculating every ridge and crack in The Wall. The actual Arena set, which was to become one hundred times larger. Plans drawn up by Quentin Chases, Programme Designer, were to be followed within a millionth of an inch to ensure both an efficient construction and safety level. With the design stage completed, Kimpton Walker Ltd and a production crew of 75 people set about creating the spectacular Arena.

Every detail had to be taken into consideration. The casing of the lights that were embedded into the Arena floor had to withstand the weight of the heavy Atlaspheres rolling about on top of them.