Behind the Film: Mad Max Fury Road

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  • JOHN
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    #212295

    These videos show how Mad Max Fury Road was made. It gives details on the following: 

    1. Production Design 
    2. Costume Design 
    3. Cinematography
    4. Direction
    5. Visual Effects 
    6. Score 
    7. Characters and Screenplay 
    8. and Sound

     

     

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    GusCruz
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    #212297

    Thank you! A film that will be talked abour for decades to come

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    JOHN
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    #212298

    Thank you! A film that will be talked abour for decades to come

    The film is a masterpiece, and the videos show every detail about the production of the film. Watching the videos made me appreciate the film even more.  

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    kvothe_snow
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    #212299

    Did you guys see the 12x sped up version of Fury Road that’s making rounds on the Internet right now? You can basically still comprehend the what goes on. Sixel needs to win editing.

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    JOHN
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    #212300

    Did you guys see the 12x sped up version of Fury Road that’s making rounds on the Internet right now? You can basically still comprehend the what goes on. Sixel needs to win editing.

    Where can I see it?? 

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    kvothe_snow
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    JOHN
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    #212302

    Wow, it’ brilliant. Margaret Sixel should win editing, what an Outstanding job!

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    kvothe_snow
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    #212303

    This is a very helpful link to a recent interview with George Miller.

    http://www.vulture.com/2016/02/george-miller-mad-max-oscars-interview.html

    He explains why Fury Road has very little dialogue and why he thought he did not need to do a lot of exposition.

    But some excerpts:

    Well, it’s a film we decided to do in a certain way, with very little dialogue. Its basic antecedents are in silent cinema, which is something I became very interested in when I started making movies. The real [visual] language was defined during the silent cinema, which brought all the action and chase movies, the real Westerns, and particularly Harold Lloyd and Buster Keaton. So one of the things that drew me to Fury Road was to be able to go back into that area, and see what we can do now with all the tools that are available. That was the plan — to make it cinematic in that way.”

    “I guess there is. Exposition is one of the most difficult things to do because it’s not dramatic, and it’s not instinct, and often we don’t listen to it anyway. But I always think that if you walk into a new culture, or you go to a new country that you don’t know a lot about, you see behaviors, gestures, and an aesthetic that you might not understand, and yet you accept it and believe that these things have meaning. If a character sprays his mouth with gold paint — as long as the audience believes the character knows why he’s doing that, and it’s consistent within the logic of the world you’ve set up, then the audiences accepts it. You don’t need a footnote to describe exactly what it means. We just had to have everybody working on the film working with the same internal logic, otherwise there’s a risk of getting very messy. So everything had to work to the same internal logic. The people designing the double-necked guitar, for example, had to be sure it was all made of found objects, repurposed. And you had to know these are objects that would last 50 years after some apocalyptic event. So the vehicles themselves had to be old-school — they couldn’t be full of modern computer technology with microprocessors and air bags and all that.” 

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