Ridley Scott and the 2011 promise he didn't keep: "I'll never work without 3D again"

Ridley Scott, a renowned filmmaker known for his outspoken statements and innovative visions, made an audacious promise in 2011 that soon turned out to be unsustainable. At the time, the director declared that he would never work again without using 3D cameras in his productions, a technology that he believed would completely transform the cinematic experience. However, less than a year after this statement, Scott had already abandoned this promise, returning to traditional filmmaking methods. The promise emerged during the production of *Prometheus* (2012), a film that marked Scott's foray into the extensive use of native 3D cameras. Unlike conventional 3D, which many associate with old red and blue lenses, this technique allows for a more detailed composition and a unique depth in scenes, allowing the director to digitally manipulate the distance and space between characters and environments. In an interview with *Backstage* magazine, Scott extolled the possibilities opened up by this technology, stating that it "opens up the universe even for small scenes" and that he would never work without it again. For him, 3D was an essential tool for creating something fresh and innovative, especially in a cinematic landscape saturated with robots, androids and replicants. Despite the initial enthusiasm, reality turned out to be different. Shortly after the release of *Prometheus*, Scott was already on the set of *The Counselor* (2013), a film that did not use 3D technology, opting for a more conventional approach focused on dialogue and character development. Although he maintained the use of 3D in some subsequent productions, such as *Exodus: Gods and Kings* (2014), released in 2D, 3D and IMAX 3D versions, and *The Martian* (2015), which also explored stereoscopic cameras, the promise of never giving up 3D was not maintained for long. In the following years, Ridley Scott directed several films without using 3D, including high-profile titles such as *All the Money in the World* (2017), *The Last Duel* (2021), *House of Gucci* (2021), *Napoleon* (2023) and the highly anticipated *Gladiator II* (2024). This change shows that, despite the technical and artistic potential of 3D, Scott opted for other forms of visual storytelling for his most recent projects. Scott's next film, *The Dog Stars*, which promises a post-apocalyptic plot starring Margaret Qualley and Jacob Elordi, has not yet confirmed whether it will adopt 3D technology. The trailer suggests a dark and action-packed atmosphere, characteristics that the director masters masterfully, regardless of the format. This trajectory shows how a promise made with enthusiasm can be revised in light of the practical and artistic demands of cinema. Ridley Scott, even though he is a visionary, demonstrates that technological innovation must always dialogue with the narrative and style of each work, and that not every promise, however firm it may be, is immutable.