Ridley Scott reflects on Kingdom of Heaven director’s cut legacy as he marks the 20th anniversary of the film’s release, sharing insights into the artistic journey behind his celebrated director’s cut and addressing his decision not to return to the Alien franchise. Scott talked candidly about the challenges he faced, the lessons he drew from Kingdom of Heaven’s evolution, and his thoughts about the enduring appeal of his work.
Reflection on Kingdom of Heaven’s Journey and Director’s Cut
When Kingdom of Heaven debuted in 2005, it initially struggled, both critically and at the box office. Its original theatrical release was trimmed by approximately 45 minutes, a change that Scott attributed to studio pressures and test screenings. This altered version omitted substantial character development and key themes, contributing to the film’s lukewarm reception at the time. Recognizing these shortcomings, Scott later released his director’s cut in select cinemas, which many now hail as a landmark in historical epic filmmaking, especially as the film celebrates its May 27 release on 4K UHD and Blu-ray, a milestone eagerly anticipated by fans and collectors.
The director’s cut notably deepened the narrative of Balian de Ibelin, as portrayed by Orlando Bloom, and included crucial early lines such as,
There is so much done in Christendom of which Christ would be incapable.
—Bill Paterson, Actor. This version also featured unique elements such as an overture and intermission with music from composer Harry Gregson-Williams, whose contributions elevated the viewing experience. The comprehensive Roadshow Edition, blending restored scenes and enhanced music, has been especially praised for enriching the emotional and thematic layers of the story.
The Studio’s Impact on the Theatrical Cut
Scott candidly described the turbulent process of editing Kingdom of Heaven for its theatrical run. While the director acknowledged the norms of film previewing—
“Every film, you preview, and previewing is a learning curve. It’s also a bloody nuisance.”
—he emphasized how repeated test screenings and a desire to meet studio expectations led him to compromise. The resulting cut, nearly an hour shorter than intended, lost what Scott felt were seventeen vital minutes. As he recalled,
you like what you’ve got, and then somebody says, ‘What about this?’ and ‘What about that?’ … And you can’t argue because they paid for it.
—Ridley Scott, Director. Scott maintained he aimed to respect the studio and financiers, highlighting the need for diplomacy when collaborating with production partners.
This tension was heightened by the nature of Scott’s historical narrative, which was far from conventional Hollywood fare.
We previewed it quite a few times,
—Ridley Scott, Director, addressing Fox’s uncertainty over a bold story centering on Christian and Muslim relations rather than familiar blockbusters. Despite these challenges, Scott remained committed, lauding screenwriter Bill Monaghan’s script:
I knew I had great material with [writer] Bill Monaghan,
—Ridley Scott, Director.
I mean, quite special. The script was fantastic.
—Ridley Scott, Director.
He described his initial excitement when sharing the film in previews—
I would even call it rock ‘n roll. It’s fantastic
—Ridley Scott, Director—only to see essential storylines suggested for removal, such as the princess’s heartrending choice involving her child:
Somebody says, ‘Gee, the film takes too long. Can we remove the story of the princess who euthanized her child?’
—Ridley Scott, Director. Ultimately, Scott gave in reluctantly, a decision he now regrets:
Reluctantly–really, really reluctantly–I let it go. And I should never have done that.
—Ridley Scott, Director.
He summed up the loss:
Right there you saved 17 minutes,
—Ridley Scott, Director,
but you cut out part of the heart of the matter.
—Ridley Scott, Director. The absence of these moments contributed to the diluted impact of the film’s core themes and character arcs.
How the Director’s Cut Reframes the Story’s Moral Complexity
The restored beginning in the director’s cut features a thought-provoking statement from Bill Paterson’s character:
There is so much done in Christendom of which Christ would be incapable.
—Bill Paterson, Actor. Scott explained that this line is central to the film’s message, calling attention to the enduring misinterpretations that shape history.
The film is about massive misunderstanding.
—Ridley Scott, Director.
Scott noted that these misunderstandings are not limited to the Crusades or the specific time period of Kingdom of Heaven—it still goes on today—and considered whether “misunderstanding” is too mild a term given the atrocities at stake in the struggle for the Holy Land. Using the nuanced portrayal of Saladin by Ghassan Massoud as an example, Scott highlighted one pivotal scene that articulated the film’s vision of respect across faiths:
Saladin was very beautifully portrayed in the film by Ghassan Massoud, and I loved it when Saladin took back the central house of worship in Jerusalem and returned it to being a mosque.
—Ridley Scott, Director.
He continued, focusing on the character’s reverence:
when he sees his symbol being put back up, he walks in the door, and he will not walk on the Christian headstones. He walks around them, then they wash the floor of the building with rose petals to clean it, and then they return to what they believe it should be.
—Ridley Scott, Director. Scott credited Massoud with enriching his understanding, sharing the actor’s insight:
‘The Quran says it is in great respect of any icon or symbol of any other faith.’
—Ghassan Massoud, Actor (attributed by Scott). Scott acknowledged the continuing relevance of these ideas, observing that the film’s exploration of tolerance and misunderstanding resonates with audiences today:
We can argue that ain’t so today, but that’s why it’s interesting today for people to be so interested [in this film].
—Ridley Scott, Director.
Patience and Humanity: Lessons From a Difficult Production
After navigating the compromises and challenges surrounding Kingdom of Heaven, Scott reflected on a personal lesson he derived from the undertaking. When asked directly, his response was simple, yet revealing: Be kind if you can, he said. More candidly:
Sometimes it’s impossible, doing my job, where I’m facing a unit of 1,200 personnel [and] I want to kill 40 of them.
—Ridley Scott, Director.
Despite high stress levels on set, Scott described finding ways to maintain professionalism and patience.
so you learn to be very patient, then you can quietly walk in the trailer, kick the door, and then come out smiling. You know what I mean? That’s what I learned.
—Ridley Scott, Director. His measured, human approach to directing, he reflected, brings out the best in cast and crew:
You only get the best out of people by not shouting at them.
—Ridley Scott, Director.
Evolving Approaches in Epic Filmmaking
Kingdom of Heaven joined other grand historical films of its era, including Wolfgang Petersen’s Troy, both aiming to depict epic narratives with scale and authenticity. According to Scott, such productions have become increasingly rare in Hollywood, and he acknowledged that his sustained opportunity to pursue these kinds of projects reflects well on his craft:
So I must be doing something right, but it is difficult.
—Ridley Scott, Director.
Scott emphasized the importance of practical effects and in-camera work, using visual effects as enhancements rather than crutches:
It is very much a lean in the direction of visual effects. The idea of visual effects is a marvelous tool. [But] it’s a tool. It should not be a repair bill for a badly-made movie.
—Ridley Scott, Director. He pointed out that Kingdom of Heaven achieved its grandeur not only through digital methods but with up to 30,000 extras, referencing media reports from the time. He warned that overreliance on post-production can inflate budgets and diminish authenticity:
That’s where your budget shoots up,
—Ridley Scott, Director.
When you haven’t got it right in camera. Visual effects are an enhancement, and should be [used] where you are saving money rather than spending money to repair a badly planned movie. And the problem is, the tendency of that is happening more often.
—Ridley Scott, Director.
Describing his own process, Scott attributed his efficiency in handling complex productions to his broadcast television background:
I learned very early on, I think, from days as a live TV director where I was using six cameras at the BBC to do drama. Right there, I pre-planned every camera move, because you’re live, and you can’t stop. I just carried that into movies. So, now I work [with] eight to 11 cameras.
—Ridley Scott, Director. For upcoming projects such as The Dog Stars, Gladiator II, and Napoleon, Scott noted his preference for swift, tightly coordinated shoots:
The film I’m doing now [is] called The Dog Stars,
—Ridley Scott, Director.
I’ll be finished in 38 days. Napoleon was 52 days. Gladiator II was 48 days. Normally that’d be a hundred days plus, but if you’re working [with] eight to 11 cameras, it’s eight to 11 cameras faster, providing you know where to put the goddamn machine. If you don’t, don’t try–you’ll get into deep s***.
—Ridley Scott, Director. He concluded with characteristic candor:
I couldn’t shoot for 90 days. I’d go nuts with boredom.
—Ridley Scott, Director.
New Horizons: Casting and Vision for The Dog Stars
Looking ahead, Scott discussed casting decisions for his new adaptation of Peter Heller’s The Dog Stars. He detailed how he often personally selects principal actors in collaboration with a casting director:
I cast all my films–of course, with a casting director,
—Ridley Scott, Director.
But normally once I read a script, prep a script, or [am] having it written, I’m already thinking about who [it’s for].
—Ridley Scott, Director.
The director described Jacob Elordi as an actor who captured his attention through Saltburn:
Jacob is a great, interesting character who I noticed, really, in Saltburn,
—Ridley Scott, Director. Scott lauded Emerald Fennell’s film, explaining,
I kind of liked the film a lot. I like the whole thing. The whole production was kind of ambitiously intellectual, but it got me. I loved the whole thing. So, Jake was very watchable, and so was [Barry Keoghan]. It was very interesting.
—Ridley Scott, Director.
He also praised the ensemble set to appear in The Dog Stars:
[In The Dog Stars,] I’ve got Guy [Pearce], I’ve got Margaret Qualley, who is super duper. I think they’re all going to be stars, actually. And Josh Brolin–we’ve finished already. He did about a month with me. It’s a very interesting premise.
—Ridley Scott, Director.
On the Alien Franchise: Concluding A Chapter
Ridley Scott’s repertoire spans genres, but Alien, the 1979 film he directed, remains among his most influential. The franchise has since inspired sequels from James Cameron and others, as well as a sweeping array of spinoffs, games, and comics. Yet for Scott, its creative trajectory stuttered after several follow-ups:
I think I felt it was deadened after 4,
—Ridley Scott, Director, referencing Alien: Resurrection. He added,
I think mine was pretty damn good, and I think Jim’s was good, and I have to say the rest were not very good.
—Ridley Scott, Director.
Scott expressed disappointment at what seemed to be the premature end of a franchise that, in his view, should have matched the cultural stature of Star Trek or Star Wars:
And I thought, ‘F***. That’s the end of a franchise which should be as important as Star Trek or Star Wars,’ which I think is phenomenal.
—Ridley Scott, Director. He credited George Lucas’s pivotal role in science fiction:
I think the first [Star Wars] by George [Lucas] is seminal–it was as seminal as 2001[: A Space Odyssey]. To me, it was that important in terms of film language and where you go next.
—Ridley Scott, Director. The domino effect for Scott’s own career was clear:
From George’s [Star Wars], I was then offered–almost a year after–Alien.
—Ridley Scott, Director.
Drawing inspiration from French artist Jean Giraud Moebius, Scott took on the project after several others passed:
I was the fifth f***ing choice,
—Ridley Scott, Director, adding,
Why you offered Robert Altman Alien, God only knows. Altman said, ‘Are you kidding? I’m not going to do this,’ and I went, ‘Are you kidding? I have to do this,’ because it borders and verges on heavy metal.
—Ridley Scott, Director.
Following the original’s success and a critically acclaimed sequel by James Cameron, additional entries failed to recapture the early magic. With the franchise seemingly concluded, Scott decided to revitalize it with Prometheus, collaborating with Damon Lindelof on a story crafted “from scratch”:
I said, ‘I’m going to resurrect this,’ [and wrote] Prometheus from scratch–a blank sheet of paper. Damon Lindelof and I sat and hammered out Prometheus. It was very present and very welcome. The audience really wanted more.
—Ridley Scott, Director. Continuing with Alien Covenant, Scott noted:
No one was coming for it, [and] I went once again [and made] Alien Covenant, and it worked too.
—Ridley Scott, Director. Now, with recent entries and new projects like Alien: Romulus in the hands of other filmmakers, Scott made clear his intent to step away:
Where it’s going now, I think I’ve done enough, and I just hope it goes further.
—Ridley Scott, Director.
The Story Behind a Memorable Alien: Covenant Music Choice
In discussing his choices for Alien: Covenant, Scott detailed why he selected John Denver’s “Take Me Home, Country Roads” for the trailer and a key moment in the film.
He had a voice like a Swiss alpine yodel,
—Ridley Scott, Director, noting the haunting beauty of Denver’s vocals. Scott explained,
I felt it was so, so beautiful, it was nearly spooky. And if you are way out there in some impossible part of nowhere, you’re going to play things that are going to remind you of home. Quite randomly, I just thought about that, and that was it.
—Ridley Scott, Director. This creative decision underlined the emotional resonance he aimed to achieve in melding music and narrative to heighten the film’s impact.
Looking Forward: Enduring Influence and Legacy
With the Kingdom of Heaven 20th Anniversary Steelbook now available, featuring over eight hours of additional content, Scott’s epic continues to attract renewed attention and appreciation. His reflection on the film’s journey, from a troubled initial release to acclaim for the director’s cut, exemplifies a career defined by artistic risk-taking, resilience in the face of commercial pressures, and a commitment to meaningful storytelling.
As Scott looks ahead to new ventures such as The Dog Stars, and as he concludes his personal involvement with universally recognized franchises like Alien, his emphasis on patience and collaboration endures as a lesson to filmmakers. His willingness to revisit past decisions and speak openly about both regrets and successes provides valuable context for understanding the complexities of filmmaking at the highest level, offering audiences and industry peers alike insight into the legacy of an iconic director.
