George Miller On Mel Gibson Returning to MAD MAX Series | FURIOSA Interview

is there a situation in this world where we will ever see Mel Gibson return to the role of [Music] Max we're going we don't need Rose Mr Miller this is a massive massive honor thank you for taking the time thank you uh I want to start out talking about the fact that I have been fascinated with the fact that long before you were a director you were a doctor you worked in in an emergency room and I'm sort of curious what are the lessons that you learned in those moments with the the patients and and the the the violence that you saw inside these emergency room situations that found themselves in the Mad Max films it's only in recent years I figured out how much having a medical education and working as a doctor influenced my film making on so many levels not only in terms of the content but in terms of process um you know I basically I was drawn to medicine because it's looking at who we are as human beings you like a filmmaker you look at other human beings uh from every possible point of view you're looking at people as a whole you're looking at their organs you're looking their microscopes at their cells you sometimes you look at them in autopsies you look at them in terms of epidemiology and anthropology and so on and so on every point point of view is is important from in medicine and exactly it's exactly the case in in film making um and also um you do you do get exposed to things you see humans in extremist you see them uh when whenever all the things that can happen to you in life including the childbirth and things like that the wonderful things that happened in life so you really have to come to terms with what it is as a human when you when you're dealing it from that from that through those perspectives um also the process is be very helpful how to solve problems Under Pressure you know I when I'm doing night shoots it really reminds me of doing those those rotations in in in emergency when you don't know what's coming through the door it's 2:00 at 2: a.m. in the morning and you and you have to even though you're tired and when you're a young doctor often sleep deprived or a lot of doctors are sleep deprived anyway and you basically have to think optimally uh under under that pressure all those things have been very very helpful in my film that is fascinating thank you for telling me that I appreciate that uh whenever you are telling a story within Max's world but for the most part I love seeing the Interceptor uh we're not seeing Max do you have to decide as a Storyteller where Max is in any given situation even if we're not singing like if I were to watch this film with you and pause it at any moment could you tell me where Max is yes how is that possible because we can't tell the stories otherwise it started with Fury Road Fury Road is a story that's told over three days and two nights a lot of it's in real time there be sequences that go on for 15 minutes and even more that a told in real time in order to tell that story in order to understand not only what each character who the each character is and and what gave rise to them what every prop every vehicle every gesture everything in the movie everybody working on the film not only the cast but also the crew and the designer had to have the backstory we wrote The Back stories for both furiosa and for Max in the times in the times before we encountered them in Fury Road furiosa for the 18 years from when she's 10 to 20 and Max in the year before so I can tell you with how for instance the doof Warrior uh how come a blind person can survive the Wasteland and all of that what what's his story and how did he do that we had to know that in order for the actor to play it and so on so I can definitely tell you where Max is during all all of that story we had to know that how else can you tell I'm going to need some more time for this interview cuz I'm going to go through every single character and have you walk me through everyone's backstory uh speaking of Max It Feels Like These Days a lot of actors are returning to play grizzled older versions of of their iconic characters is there a situation in this world where we will ever see Mel Gibson return to the role of Max I there's there's no story that I have uh that that has an old old older uh character like you know Harrison Ford or or or or so on it's not it it happened even on Fury Road uh at a certain point it's not it's not like an Unforgiven or one of those movies where it's really an old burnt out person coming back one more time it's it's it's very much uh I mean there probably are stories to tell I I don't know what happens to Max when he's when he when he gets to into his 60s or or something like that I haven't even thought of that I'm much more thinking of the characters around the time about 40 or 50 years after the wholesale collapse of society which let's say starts next Wednesday when everything we read in the news and concerns us all happen at once and then basically the world is you know post-apocalyptic and so on so I haven't really thought about that fair enough I recently did a rewatch of all four films leading up to fosa it wasn't homework it trust me it was you I've seen him seen him many times uh but it's incredible to watch the Journey of the store and both your film making style over the course of 45 years I know this is a big question but I was wondering if you could compare your first day on the 79 Mad Max to your last day on furiosa the difference in the the mood onet the vibe on set and also your understanding of of film making well it's huge it's huge um not only have I changed but Cinema has changed the audiences have changed the way the audience uh reads Cinema and stories has changed it's always evolving there's always a conal Evolution but also the tools the the tools are vastly different um you know when you had to shoot uh with Celluloid uh uh and and and and every every bit of Celluloid that goes through has a cost to it um it's very different now where you can run the a camera and you basically have a computer chip and you can run the camera for 45 minutes and there's no stress oh we're going to run out of stock or we're going to have to stop in order to sort of basically reload the camera that's that's just on that simple level uh the level of safety the agility of the camera the the the ability to play with sound and stuff is hugely different in terms of of me personally on on the um on the first Mad Max on the first day uh there was I I remember there was I've never been on a full movie Set before not only that our crew had only shot television and not only that M Gibson was just out of drama school so we didn't know what we were doing it was just all on Instinct and preparation I remember there was a certain ex you know I'll never forget what we had to shoot on a on a freeway the first shot was a character Johnny the boy going to a phone and we didn't have even permission to stop the traffic I mean we just simply put people on the and we stopped people on the freeway and and and we couldn't even use uh walkie-talkies we couldn't use because we interfering with police police uh um frequencies it was it was very very uh gangho go you know Gonzo gorilla film making now the the levels of safety and everything are much much better and things so there was trepidation but excitement on that first day and the deeper I got in the film the first film I got more and more bewildered now I know by the all these years later that bewildering things are always going to happen you know things like on this film two biggest problems were in Clement weather but we had to adjust so we look at the weather forecast you could look look at an app and say it's going to rain between 11 11 a.m. and 1 100 p.m. but in between those times we can uh we will have sun you can do that now you couldn't back back then so we go indoors we out there in the middle of you know in the location we have big tents and the moment it started to rain we can go in and pick up and shots inside all that sort of agility is now available to so it's much more it's it's much more assured and I think the safety levels the we'd see we see we see rushes immediately I mean you know you see your dailies immediately you're watching it live in color as you're shooting it and you might have two or three units and and they might be we might be separated by a few miles and yet I can see exactly what guy Norris's second unit is doing um way way different back then it would take us a week to see our dailies to have them printed so it's a world of difference you know I cannot begin to tell you how much I love this interview this was amazing uh they're trying to pull me out here I was raised on you sir I was raised on on your films I I have this job in the love of Cinema because of the work that you've done and it's my my first time meeting you I just want to say thank you so much for for everything that you've given us so seriously it's a real honor oh you I appre all the best I appreciate you sir thank you very much thank Youk you [Music] we're going we don't need Rose

Channel: Jake's Takes

Views: 205,600

Keywords: Mad Max, George Miller, Mel Gibson, clip, scene, trailer, Max, Furiosa, Tom Hardy, return, sequel, spoiler, recap, explained, ending, Jake Hamilton, Jake's Takes

Id: TA5GcYHRo84

Length: 10min 42sec (642 seconds)

Published: Thu May 09 2024