I know we couldn’t have done that 30 years ago.Somehow, despite the widespread and longstanding reverence for the MAD MAX films, and the especially rapturous response to FURY ROAD upon its release in 2015, NYC has seen no comprehensive George Miller retrospective in recent memory. “Then Guy sent me a video: ‘I’ve got a surprise for you.’ Not only were there guys up on the poles swinging, but the vehicles were moving. I thought, ‘Oh, that would be an interesting way to avoid the spikes.’” Which is why half the action takes part on top of enormous 25-foot poles.Įnvironmental survey drone with a Canon 5D cameraĪt first Miller thought it was way too risky to have people swinging through the air on moving vehicles. I saw a performance with people on flexible poles, swaying in the wind. I had to think of a way people could get on it, like pirates boarding a ship. George Miller: “Central to this story is the war rig: a big tanker truck covered in spikes. In preproduction, he’d sit down with team leaders (VFX, special effects, production design, and producers) and page through them, asking one by one: “How are we going to shoot it?” Miller didn’t write a screenplay, he created 1,465 storyboards (3,454 panels) with artist Mark Sexton. Should this one be successful, I’ve got two other stories to tell. One thing about the delay between these films is that I ended up working on two other Mad Max scripts. With the Edge, we could get a camera in amongst it all, almost dancing it was so close. Mad max films movie#This movie has big monster trucks and big, big vehicles hurtling through the wasteland. Our modified SUV, the Edge, is a freakish, perfect example of combining old-school and new technology. Mad max films update#Did you update the same approach for this film? You pioneered a much-imitated low camera angle for car chases. For me, the most universal language and the purest syntax of cinema is in the action movies. On the other hand, I just love action movies. By the time I was out of my teens, I’d lost two friends to car accidents. We did not have airbags and safety belts. In Australia we had big long roads and speed. Having been a doctor who worked in emergency, I saw a lot. Did that make you particularly sensitive to safety?įrom Mad Max 1, I was obsessed with safety. You were a doctor before you were a director. With CG it’s very easy to erase those wires. Here, we were able to get our actors on top of speeding vehicles doing their own stunts and harnessed so that, should they fall, they wouldn’t die. They had to walk very carefully-one slip and there was death. When I was a kid I’d watch incredible stuntmen in Westerns fighting on top of a train. The biggest thing was just the safety rigs. In countless ways, the technology enabled all the real-world stuff. You used some advanced tools that didn’t exist in 1979 when you made Mad Max, right? But the hot rods and muscle cars not only survive, they become almost fetishized, like religious artifacts.īut you’re no technophobe. For instance, the kind of vehicles we have now, which rely so much on computers, really wouldn’t survive in a postapocalyptic world. Only the artifacts of the present world survive. There, we have a world that has regressed back to almost medieval behavior. All of the catastrophic events we read about in the news-economic collapse, power grids breaking down, wholesale climate change, some nuclear skirmish on the other side of the globe-as of next Wednesday, all of those things will have happened.
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