A long talk with the legendary director about creating a 'Fury Road' prequel, female action heroes, the art of chase scenes, silent movies and more.
grandfather-type figure sitting by an open hotel window, staring out at the sea on the French Riviera. The early sun hits his shock of gray hair in a way that almost makes it look like there’s a halo above it. The black-on-black ensemble suggests he’s arrived in France for an undertaker’s convention. The glasses make him look slightly owl-like.
It’s really interesting to me, because you don’t start off saying, “Oh, I’m gonna make an odyssey.” Or, “Let’s do something that’s a little bit much more allegorical, or maybe a bit more mythological, this time around.” You start off with the story. And as you’re telling the story, these things emerge. Like, for example, we did not start off onwith the idea of, “We’re going to do feminist action movie,” or whenever.
Well, it’s no different than putting together dialogue sequences,, in my mind. Action has to be driven by the characters. Itto be. And it’s not just the characters doing the same thing all the time. When you’re writing action sequences, you’re still writing conflict. It’s basic dramaturgy: people having wants or intentions, and something comes along, usually another person to challenge that. If the characters are evenly matched, it’s a rising conflict that bounce up and down in the same spot.
That’s really interesting, coming at that scene from that perspective. First of all, there’s no question that that the language of movies — and action scenes in particular — was determined a long time ago. Kevin Brownlow’s bookhad a big impact on me when I first read it, especially the parts on Buster Keaton. Just remember how early in the art form it was when all of that was happening. They were figuring out how to get a progression of one shot to the next and establish a connection.
So we’re able to do that and prepare it very, very precisely. Not so precisely that it didn’t give room for experimentation. But production-wise. And the big benefit of that is that when you get the footage, it’s going to sort of play one shot to the next. And the other big benefit is safety. You can really minimize risk. You know, when those guys flew in, they were on big arms, flying in lowering down. Yeah. It was stuff like that, which you can erase now.
United Kingdom Latest News, United Kingdom Headlines
Similar News:You can also read news stories similar to this one that we have collected from other news sources.
Mad Max: George Miller Addresses Potentially Recasting Character Again for Fury Road PrequelA Mad Max: Fury Road prequel could recast the title character once again.
Read more »
George Miller on Why His Mad Max Action Is So IncredibleThe Furiosa: A Mad Max Saga director spoke to io9 about his new film starring Anya Taylor-Joy and Chris Hemsworth.
Read more »
Furiosa: First Reactions Rave About Latest Mad Max SagaEarly reactions to George Miller's latest praise it as another action masterpiece.
Read more »
Mica Miller Update: Pastor John-Paul Miller's Alibi Gets BoostOn Tuesday, the Robeson County Sheriff's Office released details and a timeline surrounding Mica Miller's death investigation.
Read more »
George Miller’s Post-'Fury Road' Movie Deserved BetterIdris Elba and Tilda Swinton in &39;Three Thousand Years of Longing&39;
Read more »
George Miller Teases Villainous Turn for Furiosa After Mad Max: Fury RoadDirector George Miller has thought about what happens to Furiosa after the end of Mad Max: Fury Road, and it mqy involve a villainous turn.
Read more »