I’m still catching up from being blissfully away from the internet in December so apologies to those of you for which this is old news, but Furiosa: A Mad Max Saga looks %$&*#@ good. My expectations for this film couldn’t be any higher — Fury Road was one of my favorite films of the past 10 years. Crucially, the Furiosa production team includes editor Margaret Sixel and several other folks who won awards for Fury Road — that’s a great sign.
The endlessly rewatchable Mad Max: Fury Road has become one of my absolute favorite films, so I really enjoyed digging into this oral history of the movie (with contributions from director George Miller, editor Margaret Sixel, Charlize Theron, Tom Hardy, and many others). It is a miracle this thing got made and downright impossible that it was so good.
HARDY: Charlize arguably laid down the finest lead character in an action movie, and that credit is much deserved, in my opinion; both to her as a phenomenal talent and also to George for recognizing from the very start that it was time to pass Mel’s shoes onto Furiosa.
THERON: At first, Furiosa was this very ethereal character, with long hair and some African mud art on her face. It was a different costume designer back then, before Jenny Beavan, and the costume felt a little more Barbarella-y. I worried about it.
JENNY BEAVAN (costume designer): I am not into fashion, and I don’t particularly care what people look like — the clothes have to come out of the stories they tell. Since she travels long distances, Furiosa needed very practical clothing, and when I met with Charlize, that was one of the things we talked about. That, and what on earth would she do with her hair?
THERON: George was really incredible in just hearing me out. I called him and said, “I don’t know how she’s getting by in the mechanics’ room with all this hair. I think we need to shave my head, and she needs to be a more androgynous, grounded character.” You know, he trusted me so much that it kind of makes me emotional. In that sense, I feel like I let him down.
Sixel won an Oscar for her editing of Fury Road:
SIXEL: There was this constant thing from the studio: “How much shorter is it?” That’s all they wanted to know. I just got so sick of it. They were just obsessed with getting the film under 100 minutes, which I knew was impossible.
MILLER: When someone is directing a film, they’re thinking about it every waking hour, and even processing it in their dreams. The problem is, if you’re a studio executive, you tend to think about it for 10 minutes on a Wednesday.
SIXEL: It was an incredibly painful film to cut. I think the studio didn’t believe in it, so it was really difficult to keep going. Eventually George and I decided, “We’re just going to make the film we want to make, and if no one else likes it, that’s fine.” And that last four months is when the film really came together.
And it blew people away and was taken seriously when it came out, which surprised the filmmakers:
MILLER: In Japan, there was a critic who was telling me about the film, and I was astonished by the degree to which he read the subtext, all the stuff you hope is there. I said, “How many times did you see the film?” He said, “Only once. Can I show you something?” And he opened up his shirt, and he had the logo of the Immortan tattooed in red on his chest. So when you see things like that, you’re sort of humbled by it.
The first time Charlize Theron saw FURY ROAD, it was a 3-and-a half hour cut, and she fell hard for it: “I felt like for the first time in my career, I was part of something where you could truly say, ‘This feels original.’”
And Theron herself posted some photos, videos, and memories of the filming, including this:
I’ll never forget the feeling of seeing my war rig for the first time and realizing holy shit, George is not f*cking around.
One of the first things you notice when watching Dunkirk is the sparse use of dialogue. There are long stretches of the film, particularly on the beach, when no one says anything. In interviews, Christopher Nolan has stated that he wanted to use visuals to drive the story in the film…”looking to the visual masters of the silent era”. Tom van der Linden took Nolan at his word and recut Dunkirk into 7-minute-long silent film; it works remarkably well.
Someone did a full-length silent version for Mad Max: Fury Road as well after director George Miller stated that the purest version of the film would be silent, but it got taken down. In my quick review of Dunkirk, I said “I feel like Christopher Nolan watched Mad Max: Fury Road and said, ‘I can do that…but my way.’”
Film editor Vashi Nedomansky took five movies whose ASL (average shot length) is under 2 seconds and sped them up by 12 times. You can judge for yourself, but according to Nedomansky, Mad Max: Fury Road is the only one that’s still comprehensible at that speed. Huge props to director George Miller and editor Margaret Sixel.
In an interview with Slashfilm, Mad Max: Fury Road director George Miller stated that “the best version of this movie is black and white” and that the purest version of the film would also be silent (which it very nearly is anyway). Miller wanted to include the B&W version on the Blu-ray, but the studio decided to delay the release of that until a Super Special Ultra Gimme All Your Money Blu-ray Edition can be arranged at some later date. Until then (or, more probably, until Warner’s lawyers get around to taking it down), we have this fan-made edit of the film in B&W without dialogue. (via @SebastianNebel)
Update: Well, that was fun while it lasted. Good thing I totally didn’t grab a copy to watch later using a Chrome extension. (And before you ask, no I won’t.)
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