Style has always been substance on Guy Ritchie’s “The Gentlemen,” and Season 2 pushes that visual language even further. Cinematographer Stephen Murphy opened up about crafting the show’s boldest, most cinematic moments yet — drawing heavily from the smoky, saturated aesthetic of legendary director Tony Scott.
Table of Contents
The Gentlemen S2: Behind-the-Scenes Highlights
| Detail | Information |
|---|---|
| Cinematographer | Stephen Murphy (Atlanta, Hanna, Heart Eyes) |
| Director (Ep. 4 & 5) | Eran Creevy (Welcome to the Punch) |
| Key Visual Influence | Tony Scott’s 1980s aesthetic |
| Special Equipment | Panavision C-Series anamorphic lenses |
| Standout Scene | Airport hangar sequence, Episode 5 |
| Cartel Sequence Reference | Casino Royale’s opening (shot in the UK to mimic Colombia) |
The Gentlemen: A Shared Love for Tony Scott
Murphy revealed that his creative bond with director Eran Creevy started with an instant connection over Tony Scott’s filmography. That shared aesthetic directly shaped the show’s boldest sequence: a nighttime airport hangar scene drenched in smoke and red lighting, shot using Panavision C-Series anamorphic lenses — a deliberate nod to Scott’s signature 1980s visual style, marking a shift from the show’s usual spherical lens format.
Building the World Without Leaving the UK
One of the season’s trickiest visual challenges involved a cartel meeting meant to feel like it was set abroad, despite being filmed in a UK forest. Drawing inspiration from Casino Royale’s approach to similar location cheats, Murphy and the team shot the sequence mostly handheld, added grain, and cooled the color palette to visually separate it from the UK-set scenes — creating the illusion of a different country entirely without ever leaving home.
Painterly Moments, Captured In-Camera
A particularly striking scene featuring Theo James and Vinnie Jones under a tree, surrounded by vivid natural colors, was shot almost entirely in-camera. After a last-minute location change, the team improvised using natural lighting, filters, and additional lights to accentuate the clouds — creating a “painterly” look many assumed was digitally enhanced.
Evolution, Not Just Continuation
Murphy described Season 2 as an evolution of Season 1 rather than a strict continuation, emphasizing that serving the story mattered more than rigidly maintaining the established visual style. With Season 3 already in the works and Murphy set to return for select episodes, expect the show’s visual ambition to keep expanding.
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Conclusion
From anamorphic lenses to in-camera “painterly” magic, The Gentlemen Season 2 proves that its posh, stylish world is built on serious craft behind the camera. Season 3 is already shaping up to push that visual identity even further.
FAQs
Q1. What visual style influenced The Gentlemen Season 2?
Cinematographer Stephen Murphy drew heavily from Tony Scott’s smoky, saturated 1980s aesthetic.
Q2. Was the cartel sequence actually filmed in Colombia?
No — it was shot in a UK forest, using lighting and color choices to simulate a different location.
