Mad Max: Director George Miller on tech limitations, the origin of the franchise and the future of film
Director George Miller says the Mad Max film franchise that exists today was borne out of limitations.
Originally an emergency room doctor, the Australian director transitioned into film and created the story of a world where limitation is a central theme and abundance a dream.
(L-R): Taylor-Joy with Miller on set. Pic: Warner Bros/Domain Pictures
The Australian director made his first Mad Max film in 1978 with a crew of 35 and a fresh-faced Mel Gibson as the lead.
He says it was filmed on a discarded camera lens from a Steve McQueen film, and the lack of resources to create the project ended up working in his favour.
George Miller. Pic: Reuters
He tells Sky News: “The first Mad Max was definitely borne out of limitations. It ultimately turned out to be very key to it.”
The 79-year-old says the original story was written as a “contemporary story set in the city of Melbourne,” but financial limitations spawned the idea of it being set in a “dystopian future”.
“We couldn’t afford to have car chases in the middle of the street,” he says. “We couldn’t afford [to have] the extra cars or put stuntmen in those cars. We couldn’t have extras in the street, trams or busses and we couldn’t use the buildings so we decided to set it a few years in the future.”
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Miller says they decided to instead focus on what they could use and thus the Mad Max franchise we know today was created.
“We could shoot in backstreets, where there were no extras and no cars, or shoot in really old, decrepit buildings where the people wouldn’t ask you for rent. And that led to the film becoming more allegorical.
“Had we not done that? I don’t think we’d be still doing it.”
Pic: Warner Bros/Domain Pictures
Burnt land and no speed limits
Miller is a cinephile at heart and for Mad Max, he had a vision – for it to be shot on a “big anamorphic widescreen”.
He previously credited his childhood in rural Queensland and the over-powering car culture there as the influences for Mad Max.
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At the time, the area consisted of completely flat roads, burnt land and no speed limits – the results of which Miller witnessed as an emergency room doctor at the age of 26.
“We couldn’t afford the cameras, or the lenses, but there was a set of lenses in Australia at the time, in one particular place that had been dumped out of Hollywood from the movie that Sam Peckinpah shot called The Getaway with Steve McQueen and Ali MacGraw”.
All but one of these lenses was “wrecked”.
He says: “The rental house virtually gave it to us for nothing. There was one lens called the 35mm lens, and we used that and it allowed us to get much more dynamics in the shot”.
Pic: Warner Bros/Domain Pictures
Why are moments in the Mad Max franchise sped up?
Inspired by the silent film era, Miller’s aim was to create “pure cinema” and make “‘a silent film with sound”.
To achieve the aesthetic he craved, he played around with frame rates.
In film, video is essentially a number of images (frames) captured sequentially to make the image move. Movies display 24 frames per second.
Miller says his plan was to shoot everything at high speed but, because of financial restraints, could not use speed ramps as it would cost the equivalent of a day of filming.
When he started to edit Mad Max he noticed “something was too slow” and to achieve the look he desired, began removing frames from the sequence.
“It looks a little bit like the old silent movies and sped up. By the time I got to Mad Max two, we would shoot at 20 frames or 18 frames. And so, I started to do a lot of that.”
Pic: Warner Bros/Domain Pictures
Reflecting on Furiosa: A Mad Max Saga, he says: “Nowadays digitally I shoot most things at 48 frames because you can ramp it up and down from 48 frames, provided you’ve got the resolution, you can do so much more with that.”
The film Mad Max was released in 1979 and put Mel Gibson on the road to stardom.
Oddly, at that time the film distributor in the US, American International Pictures, opted to dub the strong Australian accents used by the actors for fears that they would not be understood by American audiences.
A far cry from misunderstanding the Australian accent, the country’s actors have become some of the most well-known faces in Hollywood nowadays.
Pic: Warner Bros/Domain Pictures
Furiosa: A Mad Max Saga
Miller’s latest release, Furiosa: A Mad Max Saga serves as a prequel to Mad Max: Fury Road.
It was written before the Tom Hardy film began in production in order to “fully understand” the characters on screen.
It stars Anya Taylor-Joy as Imperator Furiosa and Chris Hemsworth as Dementus.
Miller says it feels good for the prequel to finally be in cinemas.
“We had a magnificent cast and crew who gave their very best. We tried to get the best story we could have on the screen using all the tools we have and hopefully it means something significant to people.”
Pic: Warner Bros/Domain Pictures
Miller on the future of film
The Australian director decided against using de-ageing technology for the role of Furiosa and instead cast Anya Taylor-Joy to play the character first depicted by Charlize Theron.
It is not that he is against using AI technology in fact, Taylor-Joy recently revealed they used software to mix her face with that of the child actor, Alyla Browne, for her scenes.
Miller says the beauty of cinema is that it constantly changes.
“From the very beginning of cinema, which is 130 years old, there’s always change. The silent era and sound. Then there was Technicolor, then there was the digital dispensation in the early 90s. Once that’s come along, things have changed so rapidly even since then.”
Always attracted to the tech behind the scenes, Miller cites the digital ability to make Sheep-Pig talk in Babe or Mumble tap dance in Happy Feet as game-changing moments for him.
“By the time we got to do Fury Road, I realiSed, ‘Oh my God, we could do things that we never dreamed of doing back in the celluloid days’.
“Technology will keep changing and advancing… I don’t think we should limit ourselves if the tools are available. It’s always been the case, and cinema has to adjust.”
Furiosa: A Mad Max Saga is in cinemas now
Entertainment
It Ends With Us star Justin Baldoni sues New York Times for libel over Blake Lively harassment allegations
Actor and director Justin Baldoni has sued The New York Times newspaper for libel after it published allegations that he had sexually harassed and tried to smear the reputation of his It Ends With Us co-star Blake Lively.
The lawsuit, which seeks at least $250m (£199m) in damages, was the latest in a legal battle that has engulfed the two stars. Lively has filed a separate federal lawsuit against Baldoni and others alleging harassment.
The Baldoni lawsuit was filed in Los Angeles Superior Court on Tuesday by the director, 40, and by other defendants named in the Lively lawsuit.
It accuses The New York Times of accepting a “self-serving narrative” by the actress, 37, who claimed Baldoni, production company Wayfarer Studios and others attempted to damage her reputation after she and her husband Ryan Reynolds, 48, addressed “repeated sexual harassment and other disturbing behaviour” by the actor and a producer on the set of the film.
According to Lively’s complaint, the plan included a proposal to plant theories on online message boards, engineer a social media campaign and place news stories that are critical of her.
But Baldoni’s libel lawsuit claims The Times article, which was called ‘We Can Bury Anyone’: Inside a Hollywood Smear Machine, “disregard[s] an abundance of evidence” that contradicts Lively’s accusations.
Lively and her husband Ryan Reynolds at the premiere of It Ends With Us. Pic: AP
The Times has defended its reporting and said it plans to “vigorously defend” against the lawsuit.
In a statement, it said: “The role of an independent news organisation is to follow the facts where they lead.
“Our story was meticulously and responsibly reported. It was based on a review of thousands of pages of original documents, including the text messages and emails that we quote accurately and at length in the article.”
Baldoni was dropped by his agency, WME, immediately after Lively filed her complaint and The Times published its story. The agency represents both Lively and Reynolds.
Bryan Freedman, a lawyer who represents Baldoni, Wayfarer Studios, and its representatives, previously called the accusations “completely false, outrageous and intentionally salacious with an intent to publicly hurt and rehash a narrative in the media”.
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Why is Blake Lively suing Justin Baldoni?
He said on Wednesday that The Times had “aided and abetted their own devastating PR smear campaign designed to revitalise Lively’s self-induced floundering public image and counter the organic groundswell of criticism amongst the online public”.
Lively is not a defendant in the libel lawsuit against the paper.
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In a statement, lawyers representing the actress said: “Nothing in this lawsuit changes anything about the claims advanced in Ms Lively’s California Civil Rights Department Complaint, nor her federal complaint, filed earlier today.”
It Ends With Us, which is an adaptation of Colleen Hoover’s bestselling 2016 novel, was shrouded by speculation over discord between the lead pair at the time of its release in August.
Baldoni took a backseat in promoting the film while Lively took centre stage along with Reynolds, who was on the press circuit for Deadpool & Wolverine at the same time.
Neil Young has announced he will not be performing at this year’s Glastonbury, saying he believes the BBC’s involvement in the popular festival means it is “now under corporate control”.
The 79-year-old musician wrote on his website that both he and his band, The Chrome Hearts, were pulling out because it was a “corporate turn-off”.
Glastonbury, which takes place at Worthy Farm in Somerset in summer, has worked closely with the BBC since 1997.
The BBC is the festival’s exclusive broadcast partner.
Canadian-born Young had yet to be announced as an act at this year’s event.
Posting on Neil Young Archives, the Rock and Roll Hall of Famer wrote: “The Chrome Hearts and I were looking forward to playing Glastonbury, one of my all-time favourite outdoor gigs.
“We were told that BBC was now a partner in Glastonbury and wanted us to do a lot of things in a way we were not interested in.
“It seems Glastonbury is now under corporate control and is not the way I remember it being.”
Young performing at Glastonbury in 2009. Pic: PA
Young, who headlined the famous Pyramid Stage in 2009, thanked fans for supporting both him and his band the last time they were at the festival.
He added: “We will not be playing Glastonbury on this tour because it is a corporate turn-off, and not for me like it used to be.
“Hope to see you at one of the other venues on the tour.”
Young, who is married to US actress Daryl Hannah, was booked to play Glastonbury in 1997 but pulled out after cutting his left index finger while making a ham sandwich.
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Following his headline performance in 2009, viewers were left disappointed when only a portion of his set was broadcast on the BBC.
In a statement at the time, the corporation said it had “spent the last couple of months” negotiating with Young’s management over what it could show on TV, radio and online.
The broadcaster added: “Neil Young’s career has been conducted on his own terms.
“Last night Neil’s management agreed to let TV and radio broadcast five songs as they watched and listened to his performance.
“They believe in the live event and retaining its mystery and that of their artist.
“They have decided to make one song available online over the weekend to give a flavour of his set. That’s Rockin’ In The Free World and that’s their decision.”
Glastonbury is one of the UK’s largest music festivals.
It is set to take place between 25 and 29 June, with Sir Rod Stewart booked for the Sunday teatime legend slot.
The BBC and Glastonbury Festival were contacted for comment.
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