MAD MAX FURY ROAD Feat: Thomas Gilbert

Critique, avis sur le film MAD MAX FURY ROAD Feat: Thomas Gilbert
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Hello good evening everyone welcome to the postapocalyptic desert of the French language among others but especially of Mad max since we are going to talk about Mad max Fury Road, an incredible film in my eyes

But we are going to discuss it I am accompanied as you see with Thomas who returns since he wrote their series on the first man max in any case which is already out so at the

Fantastic screen and there he is preparing the sequel in which there will be a whole part on furyad so he comes tell us about it for our greatest pleasure and to be able to talk about this film which already

Before you can even say hello how are you blab blabla fury rodod it is one of the rare recent films which I find has reached this status of instant cult film go ahead I’ll leave you yes hello everyone yeah it’s true it’s it’s quite surprising even uh I p I think a lot

Of people were quite perplexed when when George Miller announced that he was really getting into in a 4th episode even if it took a lot of time we’re going to come back to it later so that the film sees the light of day but it’s clear that I don’t think many people expected

The film to have an impact at this point George Miller perhaps was him first Liu he obviously believed but but above all it’s a film also which has which I think has been a little divided

That’s because there are a lot of people who who who who were saying yeah but there’s no story there it is it’s it’s it’s it’s a lot of noise while others other people said we say that well it’s an incredibly cinematic film what is it – to say that George Miller has always

Had this desire to make films which speak first of all through the image and and I think that Mad Max fur is really the quintessence of that so yeah yeah almost VO a cult film almost immediately that’s clear yes yet it’s not the film which made the most

Entry at that time to remain on the vehicles which make vroom vroom ftin fuous I don’t know how much tiè came out the same year made more money and everything but man Max immediately had a little BIM side and yet it’s a sequel like we currently have it could have

Clearly been the failed commercial thing in addition to ‘in a way he’s doing us fan service since he did you like 2 and well I’ll give you 2 back in times 10 in terms of the duration of the action and everything and it works yeah it’s it’s true that financially the

Film still worked because if I remember correctly it must have collected around 380 million dollars at the worldwide box office which are rather good figures but they are not exceptional figures to compare well uh the film was released in 2015 at the time well I

Don’t know films like uh it was at the time the second Avenger I think which exceeded a billion dollars so we were not in comparable figures compared to to what the films of the MCU for example of the Marvel Cinematic Universe could do uh but but uh

But the film also has critical recognition that is to say that well it still had, it seems to me, 10 Oscar nominations uh and so yeah he had this status quite quickly of a

Cult film he as we said earlier and uh and indeed I believe that it is due to the talent of Miller who uh who in fact reinterpreted his sound his character but he was already doing it even

If uh in the first trilogy there is necessarily a link since we are with the same actor as Emel Gibson but ultimately it’s it’s it’s it’s it’s films all one little different so there is the same

Environment the same actor but each time he reinterprets the myth and there he does it even more with this this 4th episode by force of circumstances since he changes actor and then uh and then there he has played on the side also George Miller well here the stunts are essentially

Done in real life even if the digital is obviously also present but there is all this side which means that I think it has become a film one of the monuments of action cinema film

It’s clear and and also a a monument of of in if we can say that it’s a category of dystopian films uh I think that it’s also a a great film in this in this in this genre or

So I have the box office in France in front of my eyes from that year firod it finished 22nd behind films such as the cute ones here such as 50 shades degree the test 2 uh afterwards there

Are some nice films all the same auudus but that’s what 3 taken 3 passed in front of man max FO does n’t want to be mean but maybe the poo it took place that year in reality it was maybe

The skin in short so tell us a little bit about this odyssey because in reality what is surprising is that it is not a film which dates from yesterday I mean no no it is a film which took a long time

To make so to put a little context of the already the first trilogy I’m going to do it quickly because that’s not the aim of this video but but George Miller initially he wasn’t necessarily destined for cinema he was a doctor originally uh but he always

Appreciated cinema he wanted to give himself a chance and that gave birth to the first Mad Max which was filmed in late 77 and which came out in 79 and which opened the doors to this career as a filmmaker uh well he is then launched in here in the the

Second episode which he did not necessarily want to do at the start because the first film in terms of shooting had not been a good experience, that is to say that in particular when he made the post-production he had especially remembered the mistakes that he had made during

This filming and so he said to himself I’m going to do something other than Mad Max and then well the character caught up with him a little and and so he launched into Mad Max 2 which had an even greater success than the first which really installed this dystopian post-apocalyptic universe

This character of Mad Max of solitaire uh here is of a little bit hero in spite of himself uh and so this film really has a very big worldwide success especially in Australia but also in France

If I’m not mistaken I think it must have had 3 million admissions I think at least 2 and a half million that’s it is sure uh and and behind bah he launches into yet another episode well there is there is

A little interlude in the United States since he is going to shoot an episode finally one of the segments of the 4th dimension with with with Spielberg and then he returned to Australia to make Mad Max beyond the

Dome of thunder which came out in 85 and there an episode that was a bit criticized by the fans because we find the atmosphere of Mad Max but there is a bit of a side more I would say positive to summarize a

Little uh especially in the second part where Mad Max is surrounded by children and and the slightly nilist atmosphere of the first two episodes is a little erased even if it is still there and so this episode will be a little less well Mo Mo well received

By the fans of the saga and so there uh George mard says maybe it’s time that I cut a little with Mad Max and so he’s going to do lots and lots of other things uh in the meantime

Before returning to Mad Max in particular well he’s going back to Hollywood to return the witches dist Weck with with Jack Nicholson and it’s not at all a good experience for him that is to say that he tells it he says well I have my first experience with Hollywood

It was uh it was with Steven Spielberg and I had the impression that it was going in a wonderful way and he said but I didn’t realize in fact that Spielberg had such a status that he was completely protected from the interference of Hollywood, there

Were producers who could annoy him and therefore he was also indirectly Miller was protected from that and he really realized with the witches of istorque how Hollywood works where in fact he was a little naive Miller when we asked him what

You need we want to do some savings can you tell us what we can save on well he a little naively he said well me I don’t need a caravan by example I’m always on my on the set on the set so I don’t need a caravan

Uh and in fact from there the producers considered it a bit like an admission of weakness he they said to themselves well we’ll be able to get him as much as possible with him and he says that for example

When he asked for 150 extras well he only had 75 and uh and he told that to Jack Nicholson Jack Nicholson told him but it’s in Hollywood if you want if you want to avir what you want you

Have to be a little you have to be a little smart and even a little crazy you have to show them that you are the boss and so he ended up saying well now when I needed of 150

Extras well I asked for 300 I was sure of having 150 there uh so the witches of Weck it’s not it’s not a good experience for him he doesn’t really want to work with Hollywood anymore so much so that he will wait until 92 to make another film in the meantime you should

Also know that in the 80s we know little about it but George he worked a lot for television in Australia that’s because he produced a lot a lot of series which really made an impact in Australia in the 80s so he didn’t do anything either uh

So he came back with Lorenzo in 92 at the cinema which is a film of a completely different genre really a one quite hard melo in fact it’s inspired by a true story uh a film moreover which is which

Is which which is rather which is not necessarily easy to see because it’s really a tough film but but which shows when even the extent of the talent of George Miller who really really knows how to do everything and uh what happens afterwards is that we ask him to

Work on a film which is called contact uh and therefore which is a adaptation of a novel written by Carl Sagan the the astronomer uh so he works for several months not even almost

A year I think on the on the film uh but he can’t come to an agreement with Warner uh he is uh there he is Arve can’t agree on a script uh and he ends up abandoning the

Project it doesn’t go very well with Warner so the film is picked up by Robert Zemekis and it doesn’t go very well at Warner so much so that uh here he will say in court for for to resolve the the the problem and Mad Magon all that in fact the idea it comes

In the mid-90s in fact George Miller says that just after Mad Max 3 he had already had uh he tells it like this he says I was crossing the street and then for a moment I had a flash I said to myself

But that’s an idea for one for one for a new Mad Max at the time he says I was coming to come out of Madmax 3 last thing I wanted to do was do another Mad Max so he left

A little bit behind and in the mid 90s uh he’s uh he’s really in the spotlight because that there is a film called babe that I think a lot of people have seen which works very very well so he didn’t direct it but he produced it well he

Has a little bit made because the director Chris Nounan is someone who has known him for a long time and therefore he is a producer, he also partly took control of the film and that is also why he will direct the sequel a few years later uh and so the film

Is going beyond expectations it’s really both a financial success and a critical success uh a film produced by Universal and so at that time what’s interesting to note is that George Müller has already made an ultra violent film and a children’s film that’s it yeah yeah and uh and well

It shows that he really wants to touch everything when you look at his filmography it’s it’s obvious I think that there is no more distant universe than babe compared to Madmax that’s clear it’s difficult to have spectra more a wider spectrum than that

One and therefore the film is produced by Universal and and so there he is obviously on very good terms with Universal uh who well who will also consider working on Mad Max afterwards but in the meantime George Miller was asked again for Mad Max but by Warner but

Not to make a Mad Max in the cinema to make a Mad Max on television to say that at the time it was a question of a TV series on the on the character and so George Mor sorry he he

Hesitates he says is it really a good one then say why not I’m going I we’re proposing that I’m going I’m going I’m going to think about it he says I’m I have nothing to lose on that little question we are talking

About American television doing a version of for American television exactly absolutely yeah for Warner for Warner yeah and so we are offering him the opportunity to work with a screenwriter called ériic ERC blackne who I interviewed for the the next issue

Of the fantastic screen and uh and and so Eric blackn is someone who produced a cop in the mafia who a series of from the end of the 80s early 90s and and at the time

He also came to work on 21 jum Street with with Johnny Deppp and he tells in the magazine that in fact he and we asked him to actually rework the end of the 2nd season of 21 j Street where the producers were not at all happy and so he arrived and rewrote it

And everyone was super happy there it was, it worked very well and so he became the showrunner of season 3 he says that there I was I was the a bit of the king of the world that I was the best the I played guitar with Johnny Deb everyone

Found me very nice and then very quickly it didn’t work so well on season 3 and immediately I became finally I quickly became a pariah and no one wanted me anymore uh I’m laughing I’m laughing a little because you say uh he says in the magazine you that that’s what me

I say you see it’s he told me and I wrote it in the magazine you see it’s not quite it’s funny as you say it’s go ahead and continue and so uh so he has this experience him from

Television and and so he will collaborate with with George Miller to try to put together the series finally at least one scenario and uh they will realize in fact that we have to put

In context we are in the middle of 90s we are we are at the end of 95 and uh television uh in any case in everything that is fiction has not yet experienced its revolution of the 2000s where

Where here television is going to become a medium which will which will completely change vis -with regard to here is his vision of fiction at the time making fiction on television is a bit like making sub-cinema which we consider that then obviously there are exceptions there are very

Big series at that time too but for example it was not possible for a film actor to go and finally make a great film actor to do television it was it was considered that it was was sold off his talent today

It has obviously completely changed and so George Miller and Eric Blackne realize that if they don’t want to betray the universe of Mad Max it’s going to be very complicated to make a series in fact because Mad Max there is this side, what I was saying earlier, a bit niilistic, there are characters,

Uh, in particular, very particular villains, and in the side, a bit of a general audience of television, it is difficult to identify ‘to be faithful to the universe of Man max uh and to adapt it for television today I think it would be uh it’s not George Miller’s objective but

Today it would certainly be simpler but at the time it was it was really complicated and so the idea was abandoned of launching into the series yet Warner had already planned to make derivative products of making Mad Max figurines this kind

Of things but but he they abandon the idea which proves that what you want to do is what he wanted to do for TV it’s a general public thing which perhaps affects a general public among others the children and others to buy figurines so or it’s not so much

Finally adapt it I think so but ultimately they have already made western series I don’t know about me Kungfu for example a guy who wanders from one place to another we could have found

That but the universe and the state of mind especially that on the other hand yes and that was much more complicated and and besides there had already been an attempt just after Manad max 3 to make a series also uh but the project had been abandoned because that the actor unfortunately

The main actor who had been requested had a serious motorcycle accident and therefore Miller had decided to put that aside so there the series again it is it is it is abandoned uh but Mad Max him uh remains in the mind of George Miller especially since

Ben in 96 there is an illustrator a designer who will write him a letter called this illustrator is called Brandan Macarti who is an an an illustrator who uh who is who has who was marked by m max in particular the second episode he created in

The 80s a comic called freak wave and which is openly inspired by Mad Max 2 and which moreover I think that the film waterw will also be inspired a little if we have to cite all the works which are inspired by Mad Max 2 I think we are here until tomorrow remember

That we made a little video on okoutonoken for example for C that it even influenced in Japan and so at the time he [ __ ] also this this this this illustrator on a Canadian series which is totally in computer generated images so don in the middle years in the mid-90s uh

The effects the digital is not yet at the level that we know today and there is one of the episodes which is which is which is which is a parody well a tribute in any case to Mad Max 2 and so he

Writes him a letter and he sends him a video of this episode and and George Miller is intrigued he says to himself why not try to chat with this person and so he asks him and

The macarti and Miller realizes and uh and marcarti said to him but at the time the idea of ​​the series was not yet completely abandoned and Marty said to him but but why why do you want

To do a series do I not know how to do one a 4th film would not be better and then Miller says to himself well it’s true that the project on the series is not moving forward so

Why not try to make a film and there in fact he is going to put together his little Miller team at the time he is he is already quite monopolized by subsequently Babe which will be released in 98 and

So he sets up he sets up his small team which is made up of Bradan Maccary he he recalls Eric Blackney with whom he worked on on the series he asked for another illustrator called Peter pound who I also interviewed for the for the magazine and uh Peter P who has

Already worked with Miller on for several years on on other projects and also Norma moruisso who is the head costume designer of Madmax 2 and Madmax 3 so this this

Team is setting up and uh and so he is working uh for the moment there is there is there is there is there has ideas for scenarios finally there is there is the basic idea it is posed that is to say that it is a question of

Doing a chase roughly of 2 hours uh there is already the idea of a central female character with Max who obviously intervenes in the Max who obviously intervenes in the scenario but there is there is no really written scenario and therefore Eric Blackne

Who worked on the series and there precisely to try to describe a scenario and he realizes that Miller’s method is quite unusual, that is to say that he really wants to work on the image, it’s for that reason the work with bardan

Macarti interests him a lot who who here he comes from the world of comics it is from the comic strip that he first wants to visually translate this VO what he wants to see on the screen before before

Doing it in word in fact and so for weeks and months he works like that to the point that Well, Eric Blackney is starting to wonder what am I doing here and uh he will end up

Leaving so he says that he feels he no longer really belongs in his place and that and that therefore he had to better leaves George Miller tells him that he didn’t have ideas good enough to remain polite and so he rather it was he who made him leave so

He leaves and then as things progress don’t necessarily advance quickly enough and so the team ends up a little by this by separating gradually we are here we are in we are in

97 ENF 96 97 uh Bab 2 comes out comes out in 98 if I I’m not mistaken and the film works finally it’s a failure he clearly it doesn’t work at all as well as I’m talking about a financial failure

Everyone will judge the quality of the film uh that’s it so the film doesn’t work as much as the first however, uh Iland George Miller is not giving up on the idea of ​​his Mad Max, he is a

Very stubborn person, Miller and so he says to himself, well, 2 didn’t work but I still have enough credit to try to continue this project Universal still trusts him since there is question of a release of a man max 4 at

The time from 2001 so you can imagine the film is only going to be released in 2015 and we are already thinking about a release in 2001 so we are we are very far from it and so Miller reforms a new team in 99 uh where he

Recalls Branan McCary he recalls Peter Pound and there is a third man who intervenes who will be essential finally he an absolutely capital role in the in the creation of this 4th episode it is Mark Sexton who is an an an illustrator who is who is originally from finally who who

Grew up partly in New -Zealand and and in Australia finally who studied in Australia and so it is this team of three people with obviously George Miller will work for months and even years finally Mar Sexton in any case it will be years on the

Conception of the film and and George Miller keeps this idea of ​​really constructing the film visually that is to say that Seon whom I also interviewed tells it in the in the magazine he actually says uh our daily life is was that we were in a room in Sydney so in

The production offices of Kennedy Miller which is George Miller’s production company and in fact we were in a room which was called the Mad Max room and in fact well uh George Miller he would sit in a corner of the room and then tell us well I’m fine a vehicle that

Would do that and then afterwards that would happen in the film and then afterwards there will be this scene there will be such waterfall and then it was up to Brendan McCarthy, Mark Sexton and Peter P to visually translate all that into images what I also didn’t say about Mark Sexton is that

He also tells it in the magazine it’s is the way he got on the on the project he had he had already worked for for Kennedy Miller and and when we asked him actually ilit

[ __ ] on on babe 2 and when we asked him he was c it was the brother of George Millor who asked him he was convinced in fact that he had worked on Happy fit uh happifit which was only

Released in 2006 but the project was already there was already a project emryon at the time so he said to himself no my God we’re going to force me again to work on talking animals I

Don’t want to do that but he’s going anyway because it’s George Miller so and so he arrives and he is welcomed by the animals who talk and who sing he let’s specify it anyway he

And so he arrives he he arrives in Sydney and and he is welcomed by the brother of George Mor who says to him well go ahead you can ride George George Wait George Wait in the Mad maxroom says

Mad maxroom well it’s strange uh why and so he enters the room he says that he saw a big a big white board and then a a film title which was already F fur it was

Already it was already planned the film was already called that at the time and he already sees drawings who was who was made by by Brandan McCarty and Peter pound and there so he obviously naturally exchanges on the film with with George Müller and then after a few minutes George Miller

Ends up telling him but but but but you there you are are you would like to work on Man max which obviously said well yes yes that I’m not going to tell you no obviously so therefore he who

Had worked who had [ __ ] work for here on something else much other than that Man max he finds himself being embarked in in in this adventure and so here he also tells it in in the magazine there was in fact a huge whiteboard in the middle of the room

And in fact everyone drew proposed images George Miller valid or not and in fact once a image was drawn there was a kind of scanning which was integrated into the board in fact it passed on the board it digitized the drawings and it printed them in a very

Small format and that then allowed George Millard to print them manipulate to make a kind of animated sequence of mini storyboards which allowed him to start considering these sequences so if I understood correctly we are not talking about a scenario we are really talking about

A visual idea of ​​I I want to say if we say comic strip it’s a bit rubbish the Paris comic strip there are also scenarios in the comic strip but I really mean visual ideas and that then precisely we arranged to create sequences so it’s really a

Writing that speaks as you said about the visual yes and besides Mark Saxton when we ask him about this somewhat unusual functioning tells him but it was in fact totally natural for a film like this one because uh well it’s a film which which which which which finally which is

So which only works through the image in fact uh and he says it moreover uh if you watch Manad max 2 SO if you read the scenario of Man max 2 but you don’t have an image

In your head it’s possibly boring uh and and he says if we had done the same thing for furyud if we had an actor read the scenario of furer without images he said to himself but uh but uh finally

What is this film about what do you mean and and so for for Mark Sexton for Peter pound and for Brandan maary Brandan mccary who was really the the the the how to

Say the number 1 associate of of of George Miller on the project it’s really him who uh who here who who who was the the the I will say the the the the one who first translated the ideas of George

Miller and after Peter P and and Max Ston they worked uh they obviously had an outline of the scenario but basically there were four lines of scenarios for then 50 storyboard which 50 images so it was impossible in fact in the end to work differently than like

That and besides when they later proposed scenarios to the actors uh it was a scenario which was accompanied by the storyboard there was no way to do otherwise in fact if we wanted to convince the actors it there was no way to do otherwise so this gang

Worked for months on it uh little by little Peter P will become the one who will take care more of the vehicle aspect of he is not alone but he’s the one who’s going to be a bit

Here he is the one we talk to when it comes to creating the vehicles good bradan mcary also had created quite a few quite a few things uh Brenan mccary will then go on on other projects

It’s really Mark Sexton who until the end of 2001 will become the one who will draw the most storyboards to such an extent that in the end uh then that’s an unverifiable figure but uh but apparently there would have been 3500 images drawn for uh for to make the storyboard of the film

So obviously there’s like it lasts months or even years there are also quite a few ideas that were abandoned eh they they didn’t have kept everything especially if I can cite just one or two examples it concerns imortanjo it was originally blue the idea was abandoned because it is a

Certain film called avatar came out in the meantime so they wanted to abandon the idea at the start it wasn’t water that fell from above it was potatoes and we had to find a blue potato which, if found, allowed access to the mortan Olympics marker and

Therefore to be a little in the high society of this desert so obviously there was a huge sorting that was done to arrive at this 2 hour film which is extremely which remains extremely rich but I have a question so they are right those who say that

There is no scenario so in absolute terms we could almost say yes because it’s like a huge chase the story is summed up quite quickly very very quickly we have a tyrannical villain uh who wants to keep his wives for himself we have a woman who doesn’t agree with

That she takes her wives they leave they don’t find the place where she wanted to go she returns and she manages to conquer the place which and to become the leaders of this

Place uh there it is it’s it It’s summed up like this, the thing is that and this George Müer understood very well is that we are in a medium called cinema and that cinema is first and foremost images and sound and that uh yes it’s always very good to have an excellent

Scenario and to have a here are the psychological elements which allow you to densify uh in what is his story but George MERER in what he tells visually in the rhythm he gives to his film I almost try to say that it is so effective and it is

A physical and sensory experience also m max 4 and therefore he is so effective in that that having a script that was almost too advanced would, I think, interfere with the way we experience this

Film and the way we receive it and that I think he understood very well and that’s why the film works so well so he it doesn’t necessarily need a complicated scenario but I would say that

It is a quality of the film to have a simple scenario, it is clearly and so those who say that there is no scenario are not wrong but they have wrong in the way I think they approach the film The final product there is not necessarily a written scenario which does not mean

That nothing happens and nothing is told but it is told differently that by the scenario exactly and and the characters are there he says it moreover Miller he says it to me I wanted to tell the journey of characters which are not necessarily very complicated very complex journeys

But he wanted to tell them in movement that’s- that is to say that the things are said during action scenes Furiosa learns to discover it over the course of the film Mad Max

It is it is not at all the same at the beginning and at the end of the film even if it keeps even at the end of the film this hardened solitary side that’s it but but for example someone who hasn’t seen the

First three films can totally appreciate this film and and for that uh here’s Miller anyway he always said even even from the first film and it developed more and more throughout his career he said to me I want to make almost silent cinema in fact and I want the images

To show silent in the sense there is a lot of sound the sound has an extremely important role in these films but mea in the sense I don’t necessarily need dialogue to say what I have

To say and it’s true that for that Fury rod is it there are not many examples in modern cinema of film so if there are other action films which don’t talk much but sometimes it does n’t go very very well he manages to do it quite masterfully and and really He

Had this goal at the start and he succeeded extremely well. I think I should point out that a certain ichk who said that from the moment cinema became speaking for him it was death of cinema precisely represented by the camera perhaps it has a little

Exaggerated but we find this idea precisely of telling through the camera Kurwa also had this ambition precisely that his film could be seen abroad if we don’t speak the language and that seems to me to be this description there. is even Miller who said it so he

Really had this idea of ​​cinema through the image more than through pure empty dialogue we will say empty and besides I have I haven’t I haven’t counted the number of lines that has the name Lig of text which

Has max in in this film but it shouldn’t do it won’t do much I think uh the number of times you Tuesday open open your mouth it’s it’s it’s it’s I think that if there are maybe thirty lines of dialogue I think that it’s going to be the maximum in my

Opinion and besides since we’re talking about Tom Hardy we can perhaps come back to the fact that Mel Gibson is not not made of film at the start obviously when when Miller launches in the mid-90s in in possible max 4 it is inconceivable of no step resume M

Uh you have to know that in the 90s it’s a it’s a huge star dipson must be placed in the context it’s one of the biggest stars on the planet of the time with with Harrison Ford with Tom Cruise with Tom Hanks with Kevin Kosner also we are really in this generation

And so for him when he writes the screenplay it is necessarily with Gibson in mind and even moreover Brendan left he does not also plan to do the film with another actor and so when he draws all these all these storyboards at one point they say to themselves

Well maybe we should call him a little bit this Mel Gibson see what he thinks uh and so well Mel Dibson arrives in Sydney in the offices of George Miller in early 2001 that’s the same Mark Sexton tells it in the magazine uh it’s quite funny because in fact what’s going to happen

Well there are already thousands of storyboards that were drawn so during the two days where Mel Gibson is in Sydney in fact he is sitting on a chair and there is and there is George Mor

Next to him and bradam maary who shows him the storyboards and then who they say well there you see there there you there you will be in the Interceptor and then there well you are going to roll over and then well in the

Next scene you will be tied up because we are going to burn things for you in the back and then and then that n all the time that’s it he unfolds the film like that and and and markston says it’s

Quite funny he says but so much so that it lasted for hours and that at one point Mel Gibson he is on his chair like that and then he closes his eyes because it becomes so complicated and above all he

Also says that well Miller was not necessarily very skilled sometimes in narrating the film and it was Bradan Maary who took over for him to maintain the attention of Mel Gibson to tell him no but now you’ll see it’s it’s great it’s going to happen and and at the time Mel Gibson he

Has he has a rather positive response he’s rather enthusiastic he says it’s 2001 he says I want to make the film I’m interested on the other hand we have to do it quickly and because he says well

I’m 45 years old if we don’t make the film within 2 or 3 years seen everything what the film requires physically I might not be able to do it so today it might seem a little surprising when

We see Tom Cross at 60 years old again in Mission Impossible but maybe he doesn’t have the even the same lifestyle as Tom Cruise and so at the time it was really a question of making the film with Mel Dibson uh so as I said who has a huge star and

Miller understands that well he will have to be paid too uh you will have to pay the fee that deserves it and at the time M Gibson it’s 20 million dollars per film it’s not less than that and so and there he

Knows that the budget goes anyway for F max it is necessary money but when you add 20 million especially at the time that’s starting to make money uh but well the studios who are on board because well Universal was interested then after that it’s Fox who will take

The relay for finally that the Warner comes back into play but the studios they do not imagine them a a man max film without without Mel dipsonant more than when it is still envisaged even in 2002 it

Is I believe that it is 2002 at the sign sign with chamalanor who also has a big success it is the second biggest organizer success after 6th sense so Mel Gibson is still a star at the beginning of the early 2000s and he also changed status Mel Gibson because he

Became a director uh that’s what will also change the relationship with George Miller a little because the last time they worked together was in 85 on Mad Max 3 at the time he was barely 30 years old he had less than 30 years old M Gibson he was not already becoming a

Star but he did not have the status that he would have in the years that followed and there he also went behind the camera with brevart he had the Oscar for the best laugher and and the best film uh by the way a little parenthesis the same year as babe because babe was

Also nominated at that time and it was M dibson who received the the rewards so indeed the the balance of power he has he has changed a little bit and uh and Mark Sexton also

The the says it in the interview he says uh when we had lunch with Mr. Gibson in 2001 we felt that he had really uh there he really had a how to say a director’s speech he

Was already he was already thinking about directing The Passion of the Christ even if the film would not be released until 2004 and uh and so he really already had a vision of a director’s vision and so

At that time it’s always a question of Mel Giipson even if uh uh Miller understands that it ‘s going to be a little difficult and so he says to himself ah we can perhaps also imagine something else with

A little younger max and uh one of the actors he was thinking of at the time was Leder who really stood out at the time and who had just filmed with M Gibson in The Patriot so that’s it, the link is made a little bit naturally and if I say no B in

The Patriot he’s also the son of M Gibson yeah absolutely yeah absolutely yeah yeah so at the time it’s Fox we are in 2002 2001 2002 it is Fox which has taken over the project and it is really a question of here of releasing the film since like Hollywood does

Sometimes here the big blockbusters are positioned from 3 4 years ahead on dates for here to keep the date warm and to be sure to be able to release on that date and which is not another blockbuster which is positioned the same week and and the film is

Positioned in July 2004 so there is a new question of a release in July 2004 and therefore a filming in the summer of 2003 to respect the date and there is always a question that M Gibson is part of the adventure there is scouting which is done almost everywhere there is

Talk of the question of filming in Australia like the first three films even if M Gibson says well I preferred the United States because I was going away for 6 to 8 months than the United States 6 month I’m not I’m not too hot but Fox realizes that it would be too expensive

To film in the United States so we are considering other solutions a country which is selected the country which is selected is Namibia uh here it is found the right balance here the landscapes correspond well to the universe of manmax and and it would cost less so the work begins

On site uh at the end of 2002 at the end of 2002 there is there is a team which is starting to come together settle down to work on the vehicles and then finally uh after a few months Fox gets a little scared, they realize

That the film will perhaps cost a little too much and there are also reasons, well, let’s say pretexts a bit political which are used there is the war in Iraq they are afraid that they will go to film in Africa in conditions which are a little complicated that could

Be problematic and so finally a few months before the start of filming Fox abandons the project and so here Miller must must put must put this Mad Max 4 aside that does not prevent him from continuing to work on the film with a a new collaborator called Nick l touris

Who uh that Mad Max fans know uh if you remember the first Mad Max there is a scene where there is a mechanic in the first film and well this mechanic is Nick Latouris because he is also an actor it’s not the first time that George Miller solicits actors

To write scripts and so he works with him and he is also an actor who for those who are a little nostalgic for a series called ur à vive he played in that series

Uh and so he asks for it and and there nickatouris will take the 3500 storyboards that have been made he will work on it for weeks and months and he will develop themes finally he will really

Enrich the the the scenario it also really gives them a role a important role for for the for the scenario of Sead max and and that also allows George Miller here he is the filming not being done

Well to concentrate fully on happyit which came out in 2006 I think if I’m not mistaken uh and there again well after the triumph of Babe he triumphs again with another film with animals this time a film animated film uh so here we are really also in

The conception opposite of what will be m max 4 since we are really in a studio with obviously green backgrounds since it is animation whereas B max4 it will really confront the elements and therefore the film is produced by the Warner so there it’s

A bit of reconciliation with the studio since well when you bring in money with a studio it’s always easier to work than when it’s the other way around and there George Miller a a little bit the king of the world because Warner will not hesitate at the time to

Entrust him with a film called Justice League uh so that we are in 2006 200007 and Miller he doesn’t really know the heroes the superheroes whether it’s from here or Marvel but he says yes because because

He says we’re entrusted with a huge project, I like it, I’m going to spend a lot of money and then I’m going to show that I’m capable of doing it biggest superhero film of all time the most expensive superhero film because at the time we’re talking about a budget of 200

Between 200 and 300 million dollars which is the average budget of big big superhero films today but at the time it’s it’s monumental eh it was there ago it was there ago about fifteen years ago between 200 and 300 million dollars this budget there was was

Was extremely rare or it was budgets where we exceeded what that is to say that while here we are talking we are talking about a forecast budget if you are looking for information this is the one that

In in any case he had as the title of the project we’re going to say Justice League mortal that’s it exactly yeah yeah and and the film is moving forward he because he had his he had his particular casting he

Had notably Army Hammer who who to play Batman Army Hammer who was the one who plays the twins in Social Network in particular uh uh he really had his cast and then there are

Several things that will mean that the film will not be made uh there will be a strike by the writers and then uh and then Mark Sexton we also talk about in the interview he says that there were incredible ideas in this film because Mark Sexton also worked on this film there were

Incredible ideas but we couldn’t tie them together in fact there were no real guidelines on this film uh and above all well George Miller wanted to take the superheroes in directions that were a little surprising and and he said that

The public would have been rather more taken aback that attracted in fact by by the film anyway I close the parenthesis the the film is not made and so well he comes back again to maxà all all the

Paths lead back to Max for for for George Miller and there well he definitely knows that he will no longer be able to work with Mel Gibson because in the meantime Mel Gibson’s career

Has, in quotes, taken a bit of a nosedive for uh extra artistic reasons we will say he is accused he is arrested in a state of intoxication he is accused of making remarks anti-Semitic that’s in 2006 in 2010 he will have he

Will be accused of domestic violence against his wife so uh so not only is he a little too old for the role now but uh but uh the studios can’t accept that MC Gibson is the headliner of a film of a film also finally as important finally in

Any case which costs so much money and perhaps also it’s a small question so I don’t have the whole career of M Gibson in mind in addition to this fall there, wasn’t he already starting to have a loss of popularity due to his perhaps to his he still had successes anyway

In the cinema because I didn’t know too much sure of the date but there was still a comedy what women want which had also worked very well in terms of its speaker because in fact at the time when he had his problems there was his film Apocalypto which was about to be released

And and the film and rather rather then I no longer know financially how the film works but but in any case in 2004 the Passion of the Christ was a huge success I believe that at the time

It was the film rated r, that is to say prohibited for at least 17 years old, my companion which is the biggest success at least in the United States in any case in the history of cinema at the time he is more

The case now but so 2004 it’s still yeah I think that really there really is a concomitance between the between these problems these extra extra artistic problems and and its fall I think it’s the two are still quite linked I look at its his filmography in fact I

See 2000 The Patriot as we said 2000 always what women steal 2002 we were soldiers which still I don’t know if it worked but in any case we talked about it a lot so

It’s still a star 2002 always a sign that we said it was a success and and then yeah it’s it’s about this time that we did a ch ago so it really seems to be more of a

Extra extra artistic fall as you said well especially since here is the passion of Chris which came out in 2004 I said is really a success beyond expectations I think that

Even Mr. Gibson did not imagine that the film will work as well as it does uh and so there George Miller he understood that he might not be able to work with Mr. Gibson on this film and so there he has to

Find he has to find a replacement uh and so he thinks again to is Leder except that obviously he quickly put this idea aside since unfortunately he disappeared in January 2008 on the set of Terry Giam’s film The Imaginarium of Doctor Parnasus a few

Months before the release of The Dark Knight and so he thinks he thinks of Michael fastbender it ‘s about Brad pit also uh it’s about Derrick Bana who at the time had a big SCOT with then he’s filming with Spielberg in Munich he’s also filming Hulk uh and he’s the same question

About that it’s more surprising but the same question of Eminem at one time because George MERER saw M he said but why not and in fact it won’t happen particularly because emem doesn’t want to leave his sound at home for several months him and so he will abandon the idea but but a

Blond Mad Max between arms foot and min seriously thought uh and well his choice will obviously fall in the end on Tom Hardy who I think is rather a very very good choice I think that ‘we all agree on this point so there is a lot of debate on this saying that

If it’s not melgipson it’s worthless et cetera et cetera uh my personal point of view is’ is Mel Gibson we just said it wasn’t possible so it’s either we have a good film without Mr Gibson

Or we don’t have a good film it’s up to you to choose and I find that it’s then indeed in I think that in the collective imagination uh Mad Max it remains Mel Gibson say we think of Mad Max

The first thing we think of is Mel Gibson that’s obvious but where uh where uh where the arrival of a new actor I think in another another saga it would certainly be more disturbing but that’s IT less at m max because what I said a little at the beginning of at the beginning

Of this video is that in each of the films in fact he uh Miller reinterprets the myth in fact uh it’s never quite makes the same character and besides uh there is no coherent chronology in Mad Max that is to say that if you try to make a timeline of

What actually happens it doesn’t hold water compared to the at the Apocalypse which is happening in the world and in relation to Max’s age it’s there’s no logic and that he doesn’t care in fact Miller he wants to tell a story in in a story in the same environment

With the same character uh but even if it keeps the same characteristics uh well in fact there you go we tell a story always a little different always a little also the same in the end when we see the I put the first film apart which is really a little different

But in fact films 2, 3 and 4 they have a bit of the same structure so it’s it’s treated differently obviously but but particularly in the evolution of the character there is something very common uh and so in fact we almost have the impression sometimes of starting from scratch with this

Character but with the same codes and therefore changing the actor is part of I find this a certain logic to the final it’s interesting what you say because it’s a bit the same approach that Howard had when he wrote Conan in fact it’s the same character

But ultimately different adventures and ultimately which one happens before which one happens afterwards you ask me too many questions you see and we find this same idea and suddenly well that allows precisely the variety of being freed from the constraint precisely

We are going to say historical but there are some who didn’t like it we will say and we see for example in that it could have disturbed certain people for example he has he does not hesitate George Miller to reuse the

Same actors but on different roles between 2 and 3 there is Bruce spin which who who who in the 2 plays the pilot of the gyrocopter and who in the in the 3 also plays a

Plane pilot so people said to themselves but it’s the same character I don’t understand so that it’s it’s two different roles there in the 4 even if well it’s less obvious because it’s hidden by a mask but it’s you kisburn who who plays imortan Jo who already played the

Main villain in the first film so for that uh George Miller he has no here and anyway as we said he had no choice I will say it was not possible to work again with Mel Dipson on a film which costs so much money and so we had to find another solution

And uh and the Tom Hardy solution is then indeed I think that there are people who can say to themselves well for me it’s more man max so that doesn’t interest me but in the end uh in the

End it’s I find that it’s it’s not at all annoying and on the contrary even that as there was 30 years of gap between between the 3rd film and the and the 4th it also allows us to give a certain life back to the to

The saga that is to say that we start again with something else while taking elements which are obviously uh uh essential to the saga it is the dystopian environment the character of Max on

His side uh his side a little a bit of an antihero ENF in any case solitary in this devastated world uh so he takes codes from his saga and then he does something else with another

Actor who I think corresponds very well to the role that is – to say that besides when when when Mel Gibson discussed with Tom Hardy about the fact that he was taking over he said he said well I found maybe someone even a little crazier that me what and and that’s

What Miller says also he says I needed to find an actor who uh who gives off both a form of sympathy and which at the same time is scary, that is to say you don’t really know when

You are going to meet if he is going to take you in his arms a if you [ __ ] a BAFF what and there is of that at the two he at Mc dibson and and at Tom Tuesday and so Tom Tuesday at the time

Was not who was not very well known he B what he really launched was the film Bronson he had other roles he had done comedies he had played in a Star Trek whose title escapes me uh the last Nemesis Nemesis that’s it yeah absolutely the last one and uh he

Also played with Daniel Craig in Layer Cake I think that I think it was in this film that Christopher Nolan noticed him and he gave him a role in Inception so when in fact when Miller takes him he is he is he is not at all as well known as at the time

Of the film’s release because it is known that he took it at the end of the 2000s and that as Mad Max takes so long to be made in fact in the meantime B he has therefore he will have filmed

In Inception but above all he has the time to play bin in The Dark Night Rises by Christopher Nolan which will give him even greater popularity and therefore indeed when Mad Max 4 comes out in 2015 Tom Hardardis we could say that it he’s an unknown he’s not a star but

He’s still an actor that people have already seen elsewhere and therefore who recognize the face so even if dark rise it’s other roles that will be done by Christopher Nolan it’s masked from the face yeah quite yeah yeah well besides we see yeah we see similarities a

Little involuntary but actually in the my in the mask that B wears we find this mask at imort and Jo there is really clearly the similarities that we can see between this his character of Ben and that of Moro that’s for sure and uh and suddenly once he has chosen

His his his main actor well he really gets going again in in in the film Miller uh there he plans to so Warner has returned here as a producing studio he plans in 2010 to shoot in Australia to really return to where we were shot the first three films

And there the same there is a preparation which is done all the preparation is done in Sydney finally around Sydney and unfortunately for for for Miller in fact at the time when he wants to shoot there is heavy rain which falls in Australia particularly in the brocen area

Hill where the second film was shot where he will shoot again and so the desert in fact transforms into a region a little bit yellow and sand gives way to green and vegetation obviously it It’s complicated to shoot Mad Max in this kind of environment

But if he had kept the idea of ​​character 2 he would have there I hear you more excuse me ah I said but if he had kept the immortan JO blue he could have made avatar so you it’s

Absolutely true absolutely yeah yeah it’s not stupid uh and so in fact he waits a little he hopes that now he’s going that the desert will come back and then almost a year later he realizes that it’s still not the case we’re in the summer of 2011 and he has to say well

No we’re not going to shoot right away we have to find a another solution and uh he ‘s afraid of losing part of his cast because well Tom Hardardy he’s been waiting for some time already he also chose Charlie Ston in Furiosa uh so for the little anecdote there

Were others actresses who have been considered over the years in the years at the end of the 90s Peter pound had drawn matourman in Furiosa there is a photo in the in the in the

Magazine which comes out in January of of this drawing uh later there will even be as he had asked Brad pit he had also considered Angelina Jolie there was question of Cameron Diaz of Michel Monagan

So there are quite a few names that have been circulating uh and so there you go so the film is delayed he is afraid of lose his casting finally he managed to keep it and there is a first VO the film

Is really we are going back to namiie to finally shoot uh here is the NA library which had already been envisaged several years before and uh and therefore the filming is planned for February 2012 so there uh there is big preparation obviously before and then as in this pre-production nothing

Goes as planned in fact shortly before filming Miller learns that he has to have heart surgery uh and so these doctors tell him well you can actually push back but uh it would be better to do it right away and so he does it right away and he’ll say he’ll say I was

Right to do it because if I didn’t do it I probably wouldn’t have been able to hold on to it on the set so he does it and that pushes back of several months the filming which will finally begin in the summer of 2012 in friendship and therefore with obviously well Tom Mar

Charlie Staron Charlie Ston and all the other actors all the technical team who will pose for months uh because the the filming will last several months and uh there it’s another adventure there the production of the film because a lot of things happened,

Particularly in the stated desire of M to shoot at maximum for real that is to say the stunts of the film are incredible and most of what we see on the screen was actually shot which sometimes seems quite incredible and when we see the making off we

Realize that yes it was really done like that so obviously there are also a lot of digital effects, that is to say that I know that in recent years, particularly in the last one or

2 years, it’s a little the race for the blockbuster who will say but me I don’t have a green background I don’t have a blue background I didn’t do anything it’s where everything is real and everything while well we know we know that it’s

It is it a little more complicated than that and and and he besides Miller won’t hide it he will say yes we have we have we made sure to shoot for real but there were things that I could

N’t do in the reality I’m not killing people to shoot his film uh and so and so the the in fact the special effects supervisor who was Dan Oliver and supervises visual effects supervisor Andrew Jackson really worked together to find the best

Solutions to meet the requests for from George Miller uh that’s it anyway to create uh for that’s it for certain shots we shoot a part in reality for example I don’t know a motorcycle jumping in a canyon B we film it in real life but to extend the shot we perhaps

Need digital effects digital effects also need reality to create afterward here are elements in computer generated images so all of that actually intersects and and Miller knows very well that he needs both even if his priority is to work for real to really

Give the spectators the feeling of being at the heart of the continuation of the battle what and uh and that’s good we feel it very very strongly in the in the final result eh it’s also what makes the success of the film yes there are digital images but uh I think

That here is the power of the film it relies a lot on the fact that the stunts were really shot for example the first scene of the interceptor which does lots of barrels

Uh when we see the power that it gives off we say to ourselves but how could they have done that well it was really filmed uh there is really a stuntman and by the way the stuntman who did

This scene is Guy Norris who was already on Manad max 2 and uh uh uh it’s him who I don’t know if some people have seen the film have rewatched Mad maxd recently there is

A famous shot where we see one of the bad guys who does who does who who for a moment is stopped who does a sort of acrobatics in the air which gives the body turns like a bit of a puppet disjointed

And that’s it and it wasn’t planned for it to happen like that but obviously George Miller kept the scene in the film and so it’s this helmetador there who who came back on the on for the 4th and who is driving the interceptor when when Max’s car rolls over and so

There is really a collaboration between the visual effects and the special effects and in any case there is a scene which would not have could not exist without the digital effects it is the sandstorm you think that there is even if the movements of the cars were really

Filmed in the storm if you have no computer generated images this sceneel she she she n ‘doesn’t obviously exist uh so there is there is this filming which is very complicated because because sorry George Miller is very demanding uh and therefore it also has repercussions

On the actors that is to say that we is in amoebia we are in a the headquarters is in a city where there is not necessarily much uh the filming lasts months the conditions are

Not easy it can be very cold at night and very hot in the middle of the afternoon so it’s complicated and what won’t make the work easier is that initially things don’t necessarily go very well between Tom Hardy and George Miller he can’t George Miller can’t get

Everything he wants from Tom Hardy to so much so that he wonders if he really made the right choice and what will also happen is that the actors actually have difficulty with the method of George Miller

Is that George Miller he he turns shots of 4 to 5 seconds and in fact there he says action and then 3 seconds later he says cut and then obviously there he has people who have already made films who know how it happens but that we don’t necessarily shoot a complete sequence

Of 2 to 3 minutes at once but here the cutting process is really pushed to the extreme that is to say that Miller says it he says but I sometimes asked that just a look there and we cut and started again on something else and that really ended up annoying the actors

And in particular Charli Ston who who understands the process but who needs an explanation from George Miller and and tells it she says well uh in fact I was chatting with him and when I left the discussion I didn’t have any more response it was because he was giving me information

That I didn’t need which didn’t necessarily talk about the film and my character and so I ‘was a bit sometimes I was a bit a bit lost and that adds to the complicated conditions of the filming uh

Yeah according to what will be in the magazine since I still read part of it eh still if I know if I read it correctly she says the guy he starts talking about the film he starts giving

Lots of information lots of information lots of information he talks in lots of directions but he didn’t talk about he not answered the question in fact yeah that’s exactly it yeah yeah and in fact I think

It’s it’s quite logical on the part of George Miller because George Miller has had his film in mind for almost 20 years so in fact he cut his film visually in fact he already almost knows the result he will have in editing not exactly but as he really has the images from the

Storyboard in his head he knows what he wants to see so it’s difficult even if you show the storyboard to an actor or an actress it’s it’s difficult to say well well don’t worry it

Will give that to the image in fact the I think that the only message it could give to these actors is to say trust me except that here you are facing a director who obviously has an immense career but you are on a complicated shoot you are returning to a saga where

There is no actor principal who was M Gibson so today it’s easy to say Mad Max 4 has a huge success it’s an occult film but I think that at the time when the actors are on

The set they can say to themselves we’re running perhaps also to the catastrophe that is to say that this will perhaps be the film which will kill the saga it will so obviously that George Miller is an immense director but I can also understand the reservations of Tom Hardy and

Charlie Steron on the set, especially between the two it’s not going well between the two actors they don’t have at all the same working methods uh and and in a book which was written on which I recommend to people by the way blood sweat and chrome it’s

A book in English but there you go if you master the language a little it’s worth reading it which tells a little about everything the everything the the the the how the film was created it tells a scene in particular

Uh between Charlie steron and Tom Hardy where there was already a lot of tension because you should know that the majority of the scenes between the two actors take place in the warir Rig which truck

That Furiosa drives and so well they must have spent months and months together in front of here in the cabin of a truck and when you hear not well it must be really very complicated

And uh and so in this book there is a scene that was recounted where uh we asked the two actors to be present at 8 a.m. in the in the cabin and at the time well Tom Hardy was already

Renowned for his lateness on the set and so Charlie Staron she knew very well that he would not be on time but she made a point of coming on time precisely to be in time. before

The fact that he wouldn’t be on time and so she arrives at 8 a.m. to 9 a.m. he’s still not there we tell him but no but go back go back to your tent and rest she said no no I’m staying I’m staying and

He arrives at 11 a.m. on a Tuesday arrives at 11 a.m. so she gets out of the truck and she throws a tantrum uh she insults him eh clearly that’s what in any case told in the book and uh and

At that moment he tomardy s approaches her in a somewhat aggressive manner and says to her but what did you just say and then Charl Ston she says that from that moment on she felt threatened and so she said I can no longer work in these conditions, we have to find

Someone who will make the link between the two of us, we have to find an intermediary uh and we had to have a producer from Vienna come on set to act as a buffer in fact between the two so

It visibly calmed down a little afterwards but we almost reached a point of no return between the two, the two actors, to such an extent that if you look closely at the making of the making offs are often on the Blu-rays the DVDs of the products a little bit

Of promotion but there we feel in a few sentences that Tom Hardy and Charlie Stéron say that they were not the best friends in the world and in particular Tomardi I think said for a moment but we feel tensions between the characters so it’s normal that it

Also resurfaces on us so we really feel that between the two actors it didn’t go very very well and Charlie Ston also says that when she thinks back in the film she can’t help but think about it and that she suffers almost physically from it so much that it marked her CE

This shoot she is happy with the final result obviously but she cannot detach herself from what is happening is produced so so it was I think also comp for George meriller to manage that you mean in the Making GOF they don’t say ah she’s the best actress

I’ve ever worked with ah it’s the best film I never did they don’t say that but so it’s oh they don’t say they don’t say that they don’t say that they almost came to blows because that’s the case it’s the reality he but they say that they say that yes there were

Tensions and that and that well well for that to get the point across we say well it’s good because it served the film because we feel that there is also tension between the two characters in particular in the in the first part of the film so indeed but in any case

It was tense to this point and I think that George Miller didn’t need that for for for his film because the filming was already was really already sufficiently complicated enough moreover the president of Warner at the time Jeff Robinov feels that it is a little

Complicated that it is not progressing quickly enough and so in September 2012 he goes to amoebi on the on the filming uh to clearly put a little pressure on George Miller and and in fact he

Tells him listen he at the time he remains there remains the last chase chase chase to film which is not which is not the most the most simple and there are still scenes which also frame the film

Ti scenes at the citadel at the beginning at the end of the film and uh and basically the boss of Warner tells him well listen you make a choice either you shoot your scenes from the beginning of the end either you shoot you

Shoot your chase what but you won’t have time to do everything so George Miller he’s in Paris a bit he says well I can’t do without my chase scene so I’m going to shoot it and then we will see for the rest uh once the filming in namiia is finished a

Few weeks ago of filming 3 weeks to months which are planned in South Africa in Cape Town so the whole team is going to South Africa uh and uh and there actually when the filming ends well

Miller he was not able to shoot everything he wanted there he is missing scenes from the beginning and he read he is missing he is completely missing the end of his film what and uh and he has to start the editing of the

Film which is done by Margaret Sixel who is who is an editor and who is also the accompaniment of George Miller and so she begins to work on the film and she says to herself but

How am I going to do it I am missing the beginning and the end it’s ENF it’s at this point that she says to herself are we going to put a voiceover which tells how the characters got there during

The first chase how we are going to do it and there Miller has a real luck, that is to say that we know that Hollywood often has wars of power and that and that often it is played out

In high places and in fact there is a change of regime at Warner that is to say that there is a new boss who arrives and when he sees the first images he says but you wo

N’t be able to do anything it’s not possible if you don’t have the beginning and the end of the film and so he agrees to give back a little money uh when I say a little money it’s it’s several million

Dollars obviously uh so that George Miller uh can finish his film and uh we’re here at the end of 2013 so we knew that the filming main thing it’s finished at the end of 2012 and so we are a year later uh

And so he can shoot the scenes that he was missing he managed to bring back the actors to shoot this scene uh charleisteron uh uh she will ask but am I going to need to shave my head again because I had

Very short hair in the film it started to grow back and uh that’s it we’ll arrange for it to be for that this is not the case and so Miller can really really finish his film so after that there are obviously several months of editing and post-production whether

For the visual effects for the editing itself uh because that well for those who have seen the film it’s still a prodigy of editing in this film the film will receive the Oscar moreover for best editing uh and so there is a lot a lot of work

And Warner when it see the images they are a little afraid of certain images as if he were a bit candid finally the naive as if they did not know the universe of Madmax I mean when we see the bad guys in the in the of we see although they are a

Little strange characters VO it’s a strange universe and so when he sees the war boys he says to himself oh they are a little too violent anyway what are these characters we understand not all they do is they are afraid to actually do certain scenes and so they intervene in the

Editing say well you can’t cut that it bothers us a little here is the warbys who commits suicide it’s maybe a little too violent can’t we cut that and uh and in fact they’re going to

Ask for another editor and and one of the producers of the film they’re going to ask to do another edit than that of Miller and and of and of sixel and uh at the start we ask Miller but

Does it bother you if we do another edit obviously Miller well yes yes that bothers me because I have the Final Cut so you are nice but well it bothers me a little that you make another edit of my film if you want but we will keep mine what exactly and in fact

It makes a Paris it he said to himself he said to himself Well, we’re going to let them do it anyway, we’ve been working on it for months, there’s no way that their editing will be better than ours

And he’s just going to really go all the way to the end. reasoning because he will take a risk uh because Warner will in fact project the two montages in the test projection ORD uh and at the start moreover in mil’s entourage we tell him but you are sure to do that because

Imagine imagine that there are better notes on the other montage you will be forced to release it there it will be it will be the proof that it is necessary to release the other montage he Mor is sure of his C

No it is impossible for it to be better and he is actually right when when the two montages are shown the results of the famous sheets that we give to these people these spectators who go to see these test screenings they are much better on on the

Montage of Miller and so there Miller says that well he didn’t even have a meeting the next day Warner understood that it was necessary to release this montage there that will not prevent Miller from who is still someone of smart to look at the other edit that was made

And to steal a few ideas from this edit so it’s proof that he doesn’t have an oversized ego either and when an idea is good he goes he goes take it and use it whatever whatever its origin and so there the part which is won for for for Miller uh he is

Here he knows that well the film has not yet been released but he knows that he will be able to make the editing that he wishes for several more months of work uh and the marketing launch of the

Film really begins at the San Diego Comicon in the summer of 2014 and I was lucky enough to be on place 9 years ago uh and it was something nonetheless it was uh to rediscover Mad Max after so many years uh and then the power of the images in a huge room the

Famous hall h of San Diego it can to welcome more than 7,000 people with truly monumental screens so it’s uh it was something and uh from there well there’s there there’s a whole buzz that’s being made around the film and then uh and then B there will also be uh

Later when the film is released a visit to Cann which will also expose the film well and uh and well the release of the film in May in May 2015 Miller he understands that he has won his Paris the film is well received by the critics it works rather very well

It is not a huge success like other blockbusters can be but in any case in any case he it a he clearly clearly succeeded in his Paris uh even if it took a while since Ben enters between the filming the start of filming in 2012 and the release in 2015 there is 3

Years ago and then above all between really between the the the the the first work on the film and the release well almost 20 years ago so it’s a journey a journey strewn with twists and turns

But when we see the final result we say to ourselves uh we say to ourselves there it is he was right to be perseverant George Miller let’s talk a little bit about trailers because when they came out I found that they were trailers ok Mad Max ok that’s cool

But the trailer ENF it didn’t show much in fact it hid its game well I remember that well then you have the perspective of Verdi necessarily already basic here I am who there is no need for much more but but I remember I saw

The trailer I said to myself ok it’s m max but I there are many who were in W mode it’s going to be great and I was in mode I don’t know that doesn’t say anything I know not and finally

Yeah yeah I think I wouldn’t know if it was Mure’s will because I know not if he really started with the development of the trailer but uh but in any case uh the whole point of the film was to show uh the visual quality of the film uh I think there was

N’t necessarily a need to show a lot I I Mad Max has such an aura uh uh there it is there we are in the return of a cult saga and so uh the question was to know was

The saga going uh was going to manage to survive without uh without Mel Gibson what it was above all that and therefore show that show that visually and that in terms of action it was

We had pulled out all the stops uh there I think it was it was in the interest of both Warner and Miller or well we’re going to attack the film itself after an hour and a quarter

We’re going to talk about the film itself no but it’s It’s important to put that into perspective, that also explains why the film is so good, it’s because it was thought of for a long time, it’s not something we did,

Come on, we have to make a sequel, come on, we have a hurry up you take the same plot, you thing no no no it’s a really worked film what it is it doesn’t come out of nowhere

So we’re going to try to evoke a little bit of the film so we’re not going to pass the whole film in review but the film begins precisely with this max back with this interceptor we have a voice

Which tells us things a bit like Mad Max 2 and so here we come back to something you said this is the film reintroduces his world and his universe yes clearly in fact the last film was released 30 years before Miller if he wants to convince another audience he is

Obliged to start from the principle that there is a good part of the spectators who do not have seen perhaps none of the first three films and so it reinstalls the character who is

Actually a bit the same as the one we see at the start of Mad Max 2 and a bit also that of at the start of Mad Max 3 even if in Madmax 3 he evolves a little differently but he reinstalls

This character and I would say in a little more way I don’t know if the motu trancier and the right word but in any case he adds one more little that is to say that we have mad Max irsute with his his

Beard his hair who eats a lizard does the same in Mad Max 2 we have the taciturn side we have the side I want to survive in this somewhat ruthless environment and in Man max 4 we

Almost have the impression that he has gone crazy in fact that is to say that he has inner voices that speak to him he is completely traumatized by apparently people he was unable to save

And so we are we are in a character who uh who mentally is clearly a little damaged and I would even say physically because once he is captured uh when he manages to escape he is

A brute what it is ‘that is to say that there are there are 15 War Boys chasing him and they can’t catch him so we’re it’s an animal almost at the beginning of the film max which is a little less the case even though we haven’t seen him to this ferocious point

In the previous films so it’s a way for Miller to reintroduce the same character but to offer one a slightly different iteration and even more brutal I would say overall it is more brutal but as I already told you in we are going to talk about it there

Is a reconstruction of the character but we are going to go step by step because there a lot of people who shouted only on this scene so then already there is that maybe it’s a detail but it’s a

Lizard with two heads so already to introduce the deformations of the other characters that we will have later and therefore remind us of this post-war world and this time perhaps more focused on the level of the atomic bomb even if it is more topical than in the 2 Miller

Had said that it was not really of the postatomic postap we’re going to say I don’t know how to say that because he said that no there would be radioactive fallout and all that Miler is a not very intelligent Ty it’s funny that they say that and uh then he gets chased and

The interceptor is destroyed quickly there are some who say that it is precisely to destroy the myth straight away it kills it kills the image of the character we only talked about it what do

You think about it think no I think on the contrary he is right I if you want if in fact Miller he wants he does not want to do the same thing again he wants he wants to reuse the codes of his saga and and he

Believes that ultimately his character of Max even if the ‘interceptor is obviously a major element of the character but there he believes in this film I can make him exist uh without putting him behind the wheel of his car ENF without it being a major element and moreover he plays it

In the film is when he is tied up in front and someone else built is driving sorry his his his car which has been more or less repaired there it is max said but that’s my car in I know more than is he saying exactly but but the car reappears several times in

The film so there are also winks towards that but actually Miller in fact I think that when he made this film he must have said to himself uh what am I going to use from Max

What interests me uh what am I going to use again and he said to himself so I’m going to try to start strong I’m going to put a max who is in danger who is immediately here who who who who who

Is threatened in fact and the best way to threaten him is to make him lose his main armor which is who is his car and if Max no longer has his car I would say I’m trying to find a

Comparison but I don’t know it’s it’s like gandalfans his stick what so there’s one thing there’s one thing less and and and clearly the like the The goal of the story is to put Max in a weak position. There’s nothing better than making him lose his car, but it’s been

A long time since I saw him, but he leaves with his car. at one point he is attacked by highway pirates the car is destroyed he returns to the camp with the guy in a helicopter and then he leaves with the truck so the car is destroyed in the of

Clearly al by the way in in in the of then it is an important element the car at the beginning of the film since moreover when he when he wants to negotiate with with the members of the refinery

He negotiates to have meaning to leave uh so obviously the car has a important role but actually when he leaves the car it is destroyed uh and there and at the end of the

Film uh the car no longer has a role since it is no longer there and in the 3rd episode uh the interceptor he he drives more the interceptor I mean he is he is with another vehicle which is towed by dromedaries uh so uh so the interceptor it is I think that

In the collective imagination Mad Max is really associated with to this vehicle but in the end obviously it has a very important role that we really have this image of Max who drives his his his

Car but it is Pasin max can exist S and Miller has proven it several times in in the saga where it’s sure and I as I said that’s where we’re going to come to this in fact the film what it

Does is first it destroys the character and goes little by little rebuild himself that is to say that good start he has long hair he has a beard he is captured the Interceptor is destroyed then

Shave haircut then we read we are going to take him as a blood bag we are going to him put on this kind of muzzle which will wear for a little while before managing to take it off besides we find the animal side dog muzzle et cetera and then he will recover

His jacket on a Warby so in fact Mad Max he will finally in the film he will rebuild himself and he will initially violently oppose Furiosa and his comrades to finally become friends in a certain way so what I mean by that is that the film gives us a reconstruction

Of characters without falling into the jeais not well now life is magnificent but there is really a reconstruction of the character and at one point it is even Max who will say to the furiusa team will tell them this is what to do to revive me who does not live

I will tell you how to do it so ventconstruction yes in fact there where Miller is intelligent c is that it takes the central element of Max’s character in any case from the second film which is uh survival, that is to say that Max’s goal is to

Survive in this universe uh and if possible in a solitary way even if he has VI adventures which will confront him with different communities and in and in this in furyad uh indeed at the start as you say it’s it’s really he has this animal side uh here is

A beast, a little furious and he will gradually find a more human attitude even if he still remains a violent violent character throughout the film but actually he in appearance he is already becoming more finally we gradually discover his face uh and uh and in the other films uh

We found that too that’s why I said that the structure in fact of the last three films is quite common, that is to say that we have a character who is first of all solitary who wants who

Wants to be who you who doesn’t want to share with anyone and in fact the circumstances will force him to work with others whether in two with the members of the refinery to recover gasoline and then in the end he will he will feel obliged to collaborate with them to

Help them to transport the gasoline in the 3rd he wants to recover his his vehicle by going to Barter Town and then then by fighting in the do du tonner then he is he there he

Is ready ready to die finally he is very close to death in in the desert he is saved saved by the children so there he meets again another another community for who who who will help him in the

Best way almost nirric even a little more mystical in in its last part of of the thunder dome uh so he will he will also find a little of his humanity and indeed in the 4 there is also this evolution which is which is done almost naturally because Max does

N’t provoke her in fact, that is to say that for example when he collaborates with Furiosa at the start he does n’t want to collaborate with her he wants to steal her truck and then in fact like she put a code

For that so that she is the only one who can drive the truck he is obliged to collaborate with her and uh and the change in fact of the film for the character happens when when Furiosa understands that well this famous promised land that she was looking for does not finally exist no

Longer exists and and she wants to travel with the motorbikes for dozens and dozens of days through a salt desert and there Max at the beginning tells her but no I won’t come with you anyway

The hope is one hour basically you won’t make it and then the next morning he ends up joining them to say well uh the only way is to return to the citadel and conquer the citadel so that’s really the moment he a pivotal role in the scenario,

That is to say that it is really he who directs the story and who will push them to return to the citadel and this was already the case in a way in the in the 3rd film that is to say that in in

Uh in Madame max 3 initially he does not want to take care of the children because the children think that it is the chosen one who came to help them who came to help them save them he tries to make them

Understand that this is not the case in the end he was obliged to go and save children who went into the desert and to escape they will have to return to bartertwn which was the place

That he wanted to leave and a bit like in Mad Max 4 in fact he returns to the place from which he wanted to escape and it is the only way in fact to find a semblance of life a

Semblance of semblance of humanity so there would be plenty of things to say about that but I think we will then move on to a character that we have not developed very much and yet is very important obviously Furiosa Furiosa played by Charlie steron who I find incredible

Well, it’s not the first time she’s done it but she’s a woman who is rather recognized for her own tastes but recognized for her beauty which once again doesn’t rely on it at all in a very physical role and who I find her to be an absolutely memorable character in her personal life,

She says that when she was offered to play in Man Max, before seeing the images before seeing what the film was going to be at the start, she said to herself uh there we

Are going to make me play the pretty girl in Manad max that doesn’t interest me then when we saw the quality of the character obviously changed my mind eh it’s it’s uh clearly it’s a character who

Is in the line uh of the replays in Alien of the saraconor in in Terminator uh and and moreover we can even consider uh that it is the main character of the film because it is she who triggers the story everything from the very beginning everything starts from his desire to

Free himself from the tyrant who imortan Joe and and to leave with the five wives and in fact max he arrives in there he has he asked for nothing and he is going to have to collaborate with her and

After the story works very well in this in this collaboration and it is obviously also thanks to Max that she will succeed in changing her life but really I the main character me I think of this film it remains Furiosa and besides Eric Blackne

Who is one of the screenwriters at the origin of the film even if he did not participate in the continuation of the adventure he also said that he had said to Miller he had said but your

Main character is Furiosa you want to make a Mad Max but but Max he suffers the story more than he provokes it and he felt that it was a problem uh that that that that that that that that that

That that that that that we were certainly in the universe of Mad Max but that we weren’t telling a story about Max uh me I find that it’s it’s on the contrary Miller is doing very well despite this despite C what

We could consider as a pitfall but uh I find that he manages to finally make the two characters find each other very very well they collaborate very very well and there a I I have no problem with that but clearly uh if we have to designate a main character of the

Rit I I clearly think that it is fuosa and it is also obviously not a coincidence that in a few months we will have here a prequel called Furiosa it’s there it’s indeed it’s a character uh who well who will allow I think the saga of here to take another

Turn even if we hope to find max again perhaps a little later but but if Warner bet on a film called Furiosa it is because the character has sufficiently strong potential for the studio to take the risk of trusting the sea again on a character

Who does not is not max what which brings us to another another debate finally already to continue it’s not Bryen also that the film is called Furyo Furiosa I think there must be a little uh yes certainly like that but uh a lot say that precisely uh the main character is

Fuosa and com Max gets his film stolen but I want to say apart from in the first obviously the Mad Max post to au we will say that is to say from the 2 of 3 max has never been the hero of his

Adventures I want to say it’s the principle of the wandering cowboy who arrives somewhere who finds a situation and who will interact with this situation before breaking and it that’s exactly what he’s doing there so ultimately he’s not more active or less active than in the others

And what’s more he has a present part which he isn’t but I think that actually saying that is really missing miss one of the one of the essential elements of the saga uh in the character of Max is that actually uh I think that if Max he could avoid all possible adventures

And be as discreet as possible he just wants us to ‘don’t bother he wants in the of him wants to go off alone with his dog in the 3 with his camels in the 4 with his car There it

Turns out that he is embarked on adventures and indeed he is obliged to interact in the of for example when he at the start he no intention of interacting with the members of the refinery and then he meets the pilot of the gyrocopter who threatens him and

Then finally uh max turns the situation around and the pilot tells him but you know there is there is you are looking for gasoline there is a refinery you can find some there and so Max is going to make

A deal with his members his residents of the refinery and when his market is he realizes that the residents are in danger and there are bad guys who threaten them but once he has achieved his objective well he leaves with his essence and then uh

That’s it it’s it’s it’s is uh there he wants more he doesn’t want to do more could well finally there he will be obliged to do more than that the same in 3 in the 3IS he he’s going to beat because because

He wants to get his vehicle back and then he’s on board with this entity character played by Tin Turner who once again offers him a deal so that again this notion of a market and then and then well he will land in this in this community of children who uh uh with whom

He will be obliged to collaborate and again in Mad Max uh 4 and well he is dealing with Furiosa who wants to flee immortanjo so once again Miller he plays with the codes of the saga which are

That of a solitary character who is embarked on adventures which at the start does not control and whose role will ultimately be major it is he who will have a capital role in the story in the basic story which is not actually his story so the people

Who say yes but uh suddenly it’s Furio that’s the main character I want to say and then that only highlights a little more the qualities of this character of Max who is a discreet character and who must force a little his his his character to

Have a real role in the story and and I think and it works very very well and we completely succeed in his attempt uh what we said earlier once again by telling one a little bit the same story but always reinterpreting the myth in a slightly different way

And uh and I find that not at all I have no on the contrary to have a new character which is Furiosa which is very well written which is very good interpreted who is who is here who

Who is who is an excellent character so I I I have I I can understand the people who say max is a little in the background I I I hear the speech but for me it’s not a speech

Which is held in relation to what Miller wanted to do and that is to say well continue to exploit a character of Max who first wants to evolve in the background and who and who by the force of things is obliged to act so before talking about other subjects that I find

Interesting so we are going to talk about something there is the trailer for Furiosa so the prquel which was released and uh people have already started to shout by saying ah it’s going to be W the big word so I

Want to say ok but you’ve seen Fury so be careful I’m putting this word aside we’re just talking about the film itself, that is to say Fury Road c It’s clearly a feminist film, it’s about women who say we no longer want to be objects and who decide to escape their conditions by

Themselves and who are going to lead a revolt roughly speaking, but the film also has the ‘intelligence to make that there are strong women like fosa there are less strong women like me my I know more that’s how we must say the M I don’t know more who accompany and there are

Strong men like Max and less strong men like that of NX which is therefore the Warby who will accompany them and the and the whole team will function better when they work together again with the women who find in the desert of where Furiosa comes from and so on

Actually the film is feminist but it’s a feminism I want to say far from certain currents that we had subsequently where if we are feminist and all the men it’s shit no the film is much more intelligent and much more constructed at this level moreover when Furiosa

And Max are hitting each other we clearly have I want to say this image where we have a Furiosa who is ultra badasse and who frankly she doesn’t laugh at both fingers to kill him TR times I

Want to say that Max wins this fight in a certain way he allows himself to win the truck but suddenly he is still obliged to team up so in reality it’s a perfect tie j I want to say I find this film at this level absolutely incredible in the handling of this subject

What do you think about it in fact Miller he has he has always said that we can we can see political echoes or even social in in the saga m max I think here in the first it is a film

Which is which which is very marked finally which has a real Australian identity so we are not going to develop everything but I think that a certain Melvin Z would be much more much more detailed

On this subject we have already made a video on the first one which lasts I think 3 hours so that I advise you I advise you if you are a fan of Mad Max you absolutely have to buy

The book it’s quite exceptional obligatory I close the parenthesis uh he in fact he always said that he took elements uh from current events uh for example when he does the when there are when there are oil crises in the 70s it is said well well I’m going to use the the

Theme of gasoline to put it in my film uh for all that he says not uh he says not well be careful uh if we do if we be careful fossil energy thing we have to be careful

We’re going towards towards the ‘Apocalypse in fact he shows Cert a dystopia but he says don’t pay attention what I’m showing you here is what we’re going to see in a few years and we absolutely must

Avoid it he shows a setting he shows here it is he tells a story and actually he takes elements of a society in which he lives the society he transposes it into his in a fictional universe but for all that they are not political films so we can

Totally interpret them in a political and social way but that’s not Miller’s basic goal and we also find it uh we also find it in perhaps a slightly more obvious way in this 4th episode uh well for example there he deals more with essence but it deals with water

Indeed the questions of water arise in a very significant way really today and concerning the roles of the female characters uh well if we see the if we see the film today we can say oh well hey Miller he did well on the meou wave except that

The film came out in 2015 and it was before the meou wave and I wouldn’t say that Miller is a precursor because n I won’t like this word but Miller said well no I have it I have my story uh

It was to tell uh uh how man is close to his extinction uh how am I going to be able to tell that and well I’m going to tell a story about a tyrant who uh who wants to

Try to take advantage of young women to have children and so these young women will rebel and uh they will find a solution to leave this environment that they can no longer stand and from there yes I tell a story where women are at the

Center of the story after people interpret the interpretations they want on this thing and if there are people who find that well well max he is less present and and I don’t like that it’s their right but in the end the way Miller integrates all that into his story is absolutely

Perfect in the sense that it’s the story he wants to tell that’s the point he has I think we shouldn’t go further than that he wants to tell the story of Furiosa who wants to save her

Five wives of the tyranny of imortan Joe and uh and what are they going to do to get out of this here she flees it’s the whole film is a chase there is there is Max who will arrive who will try to help them and then indeed we can see small details

In the film where we can say to ourselves there are there are there there are there are there are how to say little struggles between the men and women for example when they when they reach the the famous TER promised where she meets her women this clan of women uh

When when when they see max and NX immediately they have a reaction of recoil say but it who are these men and Furiosa is forced to say no don’t worry we can trust them so yes there is that in the film but does that mean that Miller wanted to

Say yes to the men we are all potential rapists and that and being able to women now it’s a little more complex than that and fortunately fortunately fortunately I wanted to say it’s more intelligent than that we’re going to do it say more intelligent than that absolutely

Yeah and and and so much the better if it appears as a feminist film I say it’s very very good it is and that’s it in no way does that prevent the film from being a monument of action film on the

Contrary uh and I think that Miller but I think he didn’t even ask himself the question in fact I think he said to himself I have these characters there I make them exist and and and he really proved that with this story he could he could actually maybe

Make a feminist story if people want to see it as a feminist story but above all tell a story that he had I just want to tell you, I see things like that and if some people want to use the film as a

Feminist manifesto, very well, I think that George Miller is not at all against this idea and the fact that he’s making a film now called Furiosa, there’s perhaps a bit of that too but it wasn’t at all the basic idea of ​​George Miller so I don’t think

Sometimes we need to times we must not overinterpret the films and uh and uh and here I I George Miller once again he wrote his story well before the vaguemou and uh and that his film and this eco there today it proves it only prove the intelligence of its story and

Its staging quite simply moreover the relationship between between Max and and Furiosa there is never any sexualization uh there is it’s more of a body movie I want to say we do n’t like each other then finally we collaborate so it’s wives not mothers she too could

We could sexualize the way they are dressed but he never does that and even there’s a while ago that I I found it quite touching because that’s what’s strong in the film, it ‘s full of action, everyone agrees on that but there’s still humanity

When the war boy he’s not good because basically he ruined everything it’s one of the wives who is nice to him and everything and then all of a sudden it affects him because we have we because we shouldn’t forget that the Warbys like wives are treated like objects it’s

The war boy it’s you go to war so the witnesses then you commit suicide basically roughly you have a short life you’re of no use to anything else you’re a Warby stooge and my wives also finally the m of the wives

I will get there with time the wives too and therefore the fact that precisely one of his wives who boosts the morale of the warb after he regains a little joy in life I find that magnificent I find it magnificent the characters are are well written in the sense that Miller his I

Think wants to take them from the start that is to say that uh uh he wants to take them from point to point B and uh and for example the character of NX I think is the one who evolves the most in

The story eh who is really at the start he wants to please imortan Jo and he wants like a kamikaz he wants to commit suicide in a glorious way to do him honor and then uh

Well uh a little like Max he is going to be drawn into an adventure that is a little beyond him and then he will end up understanding the the the the the the point of view of these five wives and and

Of Furiosa it’s also a really very interesting character NX but in the construction of the characters uh here is Miller he put in what he could put in 2 hours of time and that’s also its quality is that uh sometimes there are directors who want to say too many

Things and as they want to say too many things and well they do it a little too quickly in 2 hours and at final the characters are on flight and there we have characters uh who we find

I find I think the right balance that is to say that uh some people will be able to say well yeah but they are too simple characters yes but in 2 hours it is necessary to better tell the story of highlighting the characters in quotation marks a little simpler whose evolution we understand

Rather than going towards paths a little more tortuous and in the end flying over them and and here we go out of the room saying to themselves well yeah ultimately characters are not very well written uh and there is not there is not a character who is poorly written in this film

Even immortano is interesting even the other vinins are they have an excessive role and and but that’s what they’re there for, there’s not a character that we say to ourselves, yeah, that one meh, but

Even the mothers that we find in the last part of the film, that’s the one who has the seeds, she ‘s it’s a very symbolic character in the side there is a future that we can hope for so in fact I find that Miller put the right dose of everything needed in

Each of the characters to build a story which which keeps the nilist side of the saga and at the same time there was also that in the other episodes there is still a side, a side of hope, that is to say that indeed we are in a dystopia which with a humanity

Which which seems to be coming to an end but there is always a hope that remains that it is I think that it is it is it is capital for for Miller precisely while speaking there I said to myself

There is a rehumanization we talked about Max who rebuilds himself but ultimately all the characters learn to live with others to work together to finally rebuild a new Citadel on arrival to build a better tomorrow and that’s it’s beautiful for

That when they say that the film is about I’m sorry no it’s FA and besides it’s funny for the anecdote the the at the beginning the film should not have ended like that when it was Mel Gibson who played the who still enjoys max in fact they had the intention of actually getting

Max on the platform with Furiosa and with the with the wives and in fact one of the wives was to be colored blue at the time when the character of morortanjo was still in blue

To show that she was taking power in fact that it was now she who was going to lead and in fact uh max turned her face towards the camera so towards the viewer with a look

Saying well you actually see a there is another tyrant who takes the place of the previous Tiran to say so it was much darker in fact and why was it like that because in fact it was

Supposed to uh end in fact the Mad Max version Mel Gibson since Mel Gibson if he had performed it knew that it was the last time that he played it and therefore there was a much darker side

And when they realized that they were going to play with a Mad Max with a younger Max in fact they wanted to change this ending to say at the same time well we are going to keep the

Solitary side of Mad Max who here who who who is going to run away alone finally who is going to leave alone and at the same time we gives himself the opportunity to find this character a little later ah but

I like this ending too, well I like it in the other direction you see the side is more it’s more about what it says but the fact that finally someone else takes power and then by taking power well inevitably there comes a terant and history repeats itself I love it but

I also like the positive side of the ending that we have here we are not going to spit on him uh and suddenly I also wanted to come back to the treatment of what we call the World building

In science fiction because then overall the the idea of ​​Man max everyone there as I said we adapted homes I had a friend he was a fan of cout loqu he told me yeah it’s

Inspired by a film there something there well m max of what m max yeah yeah yeah I think that’s it I how that you think that’s it you don’t know you’re serious in short to say that everyone

Knows in one way or another and and what I find very interesting is the treatment of the citadel because once again it is not told there are words that come out like that and through these words and through what we see we create everything a universe which is quite vague enough to

Be fantasized but clear enough for example a very simple thing the fact that the characters take the steering wheels of the cars it’s not the keys they don’t have the keys they have the steering wheels it’s more visual

For say who drives who drives not the war boys who fry their faces and who want to die to go to Valhala thing of the vikings what does it come to do there the aquacola the aquacola what is it

What no but it’s is great because that means he controls it a bit in a way he says no don’t become dependent so there’s a whole aspect uh how his name is immortal Jo

And all that who are the author the others are down there obviously well come on we’re going to do we have culture that makes Metropolis let’s see and and to go up as we are in a world where

Energy is rare well what do we do we make a kind of com platform we said that we go up but we go up with the sweat of the arm and that creates a difference between those who are at the

Top and those who are at the bottom because those who are B cannot go up h I find there is a whole universe I also take advantage of the name of the cities we name them almost by their function is this

The real name of these cities or a bit like at one time and still today there are cities we call them from a in a certain way in the country he doesn’t call them like that right

Away I have the example that I have it’s a country it’s Croatia which isn’t called that at all in Croatian it vaguely resembles so I find that there is really a whole universe that is built very effectively to bring lots of things to life and a lot of indirect information,

In fact it was already present in the other episodes of the George Miller saga . seeks to play a little with the archetypes he has never hidden that from the already a little the case in the first but especially from the second film he he plays with the the monomite of Joseph

Campell who is who is an author who who who wrote several books and in particular the hero in Milé a face which starts from the principle that there are different myths in all cultures but that there are common points and that in fact all all these myths are close and it’s

An author also who influenced George Lucas for Star Wars and in fact Miller Miller plays with that, that is to say that he will create archetypes I max max it’s an archetype of d’ antiheroes uh the villains are archetypes imortan JO it is the archetype of here of the villain who who

Submits his people uh but but where Miller has a lot of talent he has not only for that but in particular for that it’s that in fact he says to himself what can I do with these archetypes

How I am going to create my own myth visually and where he is really strong is that he takes risks. is that for example in the second film making villains influenced by the punk side still had to be daring, that is to say that a villain with a red leather crest

And one and a leader of the bad guys with an oket mask and and studded underpants uh uh to be taken seriously you still have to dare what and and in fact it works and uh and all that all the

Aesthetic side of the saga it is it is extremely important and there are lots of little ideas like that actually as you said the ruffles in the with with this famous logo with a head a skull and flames uh and and it really sprinkles the whole saga and maybe can -be even more

Sure of that, particularly through the vehicles and at the same time he puts elements that everyone can understand, that is to say that well the water which flows and well that means that the

Here immortan Joe he’s the he’s the leader because he’s the one who owns the water he has he has a greenhouse where he grows plants at the top in in his lair uh there you go and and so he has he

To the whole cohort of warbys who are who are at his service so here is Miller’s strength is that he plays with archetypes but he uses them in a way I won’t say it’s a word a little strong but sometimes there is a grotesque side but which works very very well

That is to say that we could quickly fall into the ridiculous and in the end it gives a power, a very modern power in fact to his story yeah but for example if you take the bad guy from and you take imortan Jo but that’s quite telling because precisely as you said it

Seems to be a big arm you can imagine in the stereotype the big one arm a little stupid in fact the guy is super intelligent he is when he takes the microphone he negotiates well we give you a few days and all that contradicts the image and imortano it is then perhaps less

Marked at this level there but it’s still a character who must be very intelligent to reuse all the knowledge we’ll say from the old world for the to create his n his his his society like that I find that I find that great yeah I think that in Furiro we

Finally tell we show the side here is the side that is completely finally a little crazy and drawing from the character and I think that finally the character returns in Furiosa and it will be interesting to see also how well how he is became this character there how uh how actually he he

He has he has mastered the knowledge of the Old World and and the vestiges in fact of the old world to become this this here is this this character who who who dominates the others we find him in ‘elsewhere

A little that way a little a little less obvious but obvious sorry but in in m max 3 where where entity also she tries to here to have a little granny on barter th but it doesn’t totally happen because she has master blaster in the in the world below which

Poses some problems for her but there is always this side in Mad Max uh there is this side of domination there is there are always those who dominate and those who are below and and that’s part well I think an essential element also in the dystopia that Miller wants

To highlight and that he began to develop especially in the second film and you talked about Cell I think that there it is clear well it is already the K3 barter town we leave we come back

Even in the 2 we leave the refinery we finally come back and but there we really have this idea of ​​I leave the problem and finally we say leave not the problem confront it and we have the return the

Hero’s journey who returns transformed yes and then it’s an it’s an allegory of of of of Max also an I can a little I think who who has been doing it since the since the end of the first film

Flees a little from his trauma, that is to say that he became this character because he lost his wife and his child and who ultimately does not dare to face that too much and besides in the second film the character of the leader of the resistance tells him at one point but

You are a scavenger we have all lost people we have all suffered and and you live here are the remains of this world he try to make him aware of that and in fact he reacts the most in a slightly violent way and he leaves and and also actually returns

To where it all started I think that it’s actually a sort of metaphor for Max who uh who is going to try to well to reconnect with himself and uh and to reconcile with the person who he was so there is a form of cycle of circle that Miller

Finally it is totally voluntary on the part of of Miller of course then when we see the film the first time I understand that it could come to a head and say wait they went in a

Direction there you are just being serious but there is a logic behind it now I have a question to ask you really because I find that it’s a scene that is almost too much in the film, it’s

The scene in American night mode where there is precisely the guy who arrives with Verdi’s reem and then at a moment where Max he does I come back he leaves he comes back then like he shot everyone

He killed everyone how do you see this scene you ah I think that there uh Miller he said to himself he said to himself come on I’m going to show to what extent Max can be a bit of a badass and

Then there I think that he plays a little with the codes of the hero that is to say that there he says he says I I I I will show that Max he is afraid you’re welcome and then I think that in this scene at the

Same time it shows the bad side of Max and then there is perhaps also the almost less, a little strong and almost suicidal side of the character, it’s ultimately he didn’t a lot to lose

Then he says to himself well B come on I’m going I’m going to go anyway there’s we can only do it like that if we want to continue moving forward so maybe I’ll stay there but but I’m

Going there and the fact that Miller does not show the scene obviously when he comes back there is a side almost here a little bit heroic and and so I think that he showed so much max in

Positions sometimes a little a little weak and a little who suffered a bit from the situations in the film that he is also obliged to counterbalance with sequences with moments where Max shows that if we call him the road warrior it’s not for nothing either what a

Road warrior thing that gets tattooed at the beginning when he tattoos it at the beginning put Road Warrior among others they say that he also has good eyes eh eyes and that he is zero negative which allows finally

Universal donor which allows to achieve at the one of the last scenes with Furiosa obviously yes yeah and besides his name in the film if I don’t say anything stupid max he only says it at the end precisely to F that absolutely yeah well that’s a way to go to affirm the fact

That well that’s it he’s he he trusts Furiosa because up until now there’s still a bit of mistrust always in in the film and here’s the fact that he well not only that ‘he

Transfuses his 100 ang and who in addition gives him his first name it’s to confirm the fact that that’s it he they if they trust each other uh they trust each other or h and for me it’s okay

Also in the sense of this rehumanization that is to say abuse or completely where I I become the guy in short uh I had lots of other things to say yes uh yeah as you said for me the

American night scene is really also a side uh how to say that iconization of the character at full tilt which has you then I also think that visually uh the the blue side of this whole sequence uh there is also a logic finally a sort of aesthetic continuity with

Miller because we find him a little bit in Mad Max 2 when he observes the refinery at the beginning of the film and then there is also a scene which lasts just a few seconds but in Manad max 3 where the children sleep on the sand and in fact there

Is a child who says quickly come and see and in fact he sees he sees the lights in the distance of Barter Town and we are in this blue side too so that also gives a certain continuity to the saga

Uh of to see this scene actually in night in American night or and question have you seen the Black and chrome version uh I have it in I have it in my DVD tech bltech I don’t know how to say it

But I haven’t watched it yet but I have it I have it I’ve always wondered what it could give then there are shots it’s obvious you know when when for example Furiosa she has her her her gradient makeup on the eyes and everything and certain shots on the eyes that’s obvious

You after certain other things I am I’m not sure I’m not sure maybe it also helps because basically I think that’s what I wanted to do with a version like that in black and white so I don’t know I don’t have info on the fact that he eventually wanted to shoot in

Black and white anyway I think that he allowed himself that because the film did well afterwards I think that in any case Warner would not have authorized him to to shoot a film of this magnitude in black and white, finally releasing it in black and white anyway, so moreover at the start it

Also had to be shot in 3D because obviously with Avatar in 2009 the fashion for 3D and is came back to the forefront and he intended to do it there were some tests that were done and then realized that given the way he wanted to shoot uh here

In the middle of the stunts and all that would have was too complicated uh and so he abandoned the idea but the film was still converted to 3D uh after which but the film there is a 3D version that

Exists but uh but it’s not a native 3D version what’s the point now that we’ve explained all that we’re still going to talk a little bit about the action scenes even a little bit we’re not going to

Describe them throughout the film but everything we said there is in addition to ‘a film which over 2 hours of action must have at least 1 hour of action if it’s not more I don’t know I think more yeah yeah

Yeah yeah yeah I didn’t want to be too greedy but we’ll say that ‘ has an action film that never stops and all that is on top of everything action and the action I think you said it is the stunts as real as possible even if there are digital effects but

The important thing is that it feels that we feel the waterfall that we feel the action scene and with that you spoke very well about the editing of the readability of these Satan scenes ‘action

There are plenty of them which make action scenes which are visible they are there doing an action scene there are there are two elements actually we could go into the details of all the

Action scenes but there it we would have to talk for 24 hours for me there are two things which sum up pretty well the work of George Miller on this film it is the poulcat that is to say the

Pole vaulters who are who who go from right to left and uh it’s he had this idea there when he saw it when he saw a photo in a magazine and he proposed it to Bradan Macary and and Bradan Maary said no but we’re going to put soldiers on poles and then

It’s going to be a sort of desert pirate in fact they’re going to take people in the vehicles with their poles and and and Miller said to himself yeah great idea we need to develop that and

The question is was uh can we do that in real life that is, can we when the vehicles are moving really make here are people who will be on poles and who will lean towards the towards the vehicles departing Wed at 10 it won’t be possible and in

Fact his team of technicians said well we have to keep the spirit of the film we try to do everything in real life we ​​will also try to do it there are plenty of tests which were done then they

Managed to find a pendulum system I am not an engineer so I would not know how to describe in detail how it works but which made it possible to really do it and M tells it only when he saw

That it worked he almost had tears in his eyes so much he said to himself but but it ‘s going to be great on the screen and I find that the most shot really I find the most shot

Incredible for me, I think the film is when Tom Hardy is at the top of the pole and he comes back and there is the huge explosion behind him, this shot is absolutely incredible and what I was saying

Earlier is ‘is that it’s a combination in fact of all the effects that we can find, that is to say that in fact the vehicles which are next to Tom Hardy were filmed in real Tom

Hardy was filmed in real life on the pole the expl was filmed in real life and all of that was obviously assembled thanks to digital effects so there is really a combination of all the art in fact of

What is cinema and uh and and I find that this this shot and in particular the scenes with the PCs are very symbolic of the work of George Miller also a little word on the last scene the last chase when he leaves towards the citadel uh Marx sestone says

That when I ask him the question which scene was the most difficult to conceive and he immediately answered it’s it’s the last because at that time I was alone with George Miller when it was necessary to do design this scene and we had to work

8 months with George Miller every day to design the storyboards of this scene so that the all the vehicles that are in this scene there are many it makes sense only for the viewer to actually never let go of understanding what’s happening because

There are so many action films where we say yeah it’s impressive but in fact we don’t understand what’s happening and what’s crazy about Mad Max is is that correction on this channel we say that it’s shit and what’s crazy about Mad Max in fact is that the viewer does

N’t even have the opportunity to ask himself the question of what’s going on happens because in fact it’s so well filmed that we actually understand everything that’s happening whereas we could say to ourselves now I don’t understand the max he was on another vehicle now he finds himself in

The war ring how he did it in fact we understand everything that’s happening and what’s crazy is that there are some slightly crazy scenes and things that seem crazy which in another film we would say to ourselves it’s poorly filmed it’s nonsense yeah okay let me laugh it’s the end so

Even if it’s too much we believe it we’re completely in it that is to say that when for example Furiosa she catches up with his with his mechanical arm Max who is ready to fall that is

Hanging on the door and that he is 2 cm from the ground we are like that we say to ourselves wow it’s it’s it’s crazy what is it and we really believe in it and and that I think that Miller succeeded in that because he

Worked for a very, very long time on his film and he knew what he could do or not do, Marxone says for example that there are a lot of elements that were removed because it was too much

And he says in particular that at one point there was a scene where there was a vehicle that had to jump over the war rig and actually turn over like that and then finally here it is like that turning around and then relanding on its wheels like a little I don’t know if

James Bond fans will remember it in the man with the golden gun I had the Re before that you say that I was thinking where the vehicle here it jumps on a kind of springboard then it makes

A complete turn on itself and it falls back on the other side of the bank it’s a bit inspired by this idea there and there they said to themselves there we are perhaps going a little too far and as a result it will be

A little too much and in fact and the spectator will come out of the film this balance there he is crazy in Mad Max because that we see crazy things and yet we say to ourselves it’s possible that’s what

I find quite incredible in this film as far as the action scenes are concerned in any case yeah the famous suspension of disbelief which doesn’t It’s not offensive because the film manages to make everything that happens credible, yes, completely, it’s true, that’s absolutely it, personally.

Plus I have a total connection with the film because at one point we start a chase again we still see the guys running around like that at that moment I say it would be nice for a change a bit of LAN there that would be good I don’t know who a chainsaw and

Suddenly the guy puts his chainsaw on I like this film I like this [Laughs] film of things for example the lesck ers who are who are with their species of motocross in the canyon in fact bradan maccarti

Says that he was in a bar one day and and he sees on a screen a show a show with this kind of motorcycle with the here are the motorcycles which are on springboards which are doing

Here are some pretty impressive jumps and he said to himself why not use that it would give it could make a clan a little different and we will have another aesthetic and they used it and that’s it that’s it is this way of amalgamating a little different styles and of finding an

Aesthetic which uh which will serve the story in fact well I was talking about World building World building I will get to that later that’s exactly what each clan has its type of vehicle that we recognize

Easily and everything and what’s more it’s not easy in good mode bahx we’re going to paint them yellow ETX we’re going to paint them red it’s a little or for example we see at the very beginning in the

First race Furiosa’s truck which was attacked by the buzzards which are it’s this clan with which have vehicles which are covered with spikes and uh and in fact well Brandan mccary who came up with this idea there he is inspired by a vehicle that we see in a Peterware film The

Cars That Ate Paris from 75 or 74 and there is a vehicle like that at the end of the film which looks a lot like one of the vehicles that we see in Fury Road and it’s also inspired by an

Australian lizard which is similarly covered in a woodpecker so yeah there’s really this idea of ​​offering things that are visually interesting but at the same time which have a real role in what that is. who are not there just for free to look pretty, that’s what the film has and that’s why

There are lots of things that make it readable, which follows one another, that’s to say about the film, I’ll come back to That’s a bit of my battle there: he doesn’t have a scenario that doesn’t tell anything or

I don’t know too much about it, well I want to say no, people, no, I want to come back, in fact he he has a scenario which uh which which which which which is sufficient for what Miller wants to tell that is to say it is

Uh Miller he has one thing to tell and uh and he does not need a scenario where there is uh where there are uh 400 lines of dialogue and uh and in fact the people who say I think that there is no

Scenario it’s uh it’s in the conception that they have of the scenario it’s- that is to say that there must be a twist, there must be one character who betrays the other, there must be uh there uh there he has he has written a story uh which does not need to have 36,000

Twists and turns to work and I think that the scenario would have been more complex and more developed I think that that would have really served the film completely badly I don’t think that was necessary precisely and I had another thing to say but since

I’m listening to you at the same time and everything I forget things and it bothers me uh so I let you talk he finds something I don’t remember uh I don’t know anymore well no but I don’t know if we

Can -maybe if we’re nearing the end say a word about maybe what we can expect from Furiosa yes in a few months we’ve all seen finally I think the people who are watching the video have seen the trailer of the next film which has been a little criticized by some for the

Visual aspect it feels a little too digital but well I find that visually in terms of aesthetics it is still not that far from that that there is still a real continuity with Fury Road then above all we are we are in a BR announcement which is which is which is

Of a film which will come out in 6 7 months so therefore there is still polo certainly uh and then well me what I especially expect beyond what Miller is capable of doing from a

Visual point of view and that I I have no doubt that he will offer us some pretty incredible things is that is this going to show us the character of Furiosa of the character of Mortano that’s what

Chrisenws’ villain role is uh that’s it it’s uh that’s all that and then I’m especially crossing my fingers so that the film works because we can think of knowing that when he embarked on Fury Road he had so much time to think that he had already considered

Another film which would be called Westland and which there a priori will allow Max to come back so if if the film works if fuosa is a success that when I say a success today it must at least make around at least 400 million dollars in revenue worldwide, that’s it

We can hope uh to find max uh maybe within 2 3 4 years even if we won’t have to hang around too much because George müer is no longer very young he will soon be 79 years old in fact it’s absolutely

Uh phenomenal that at that age he still manages to make this kind of film in the in the magazine I interview uh the editor of Mad Max 3 Richard Francis Bros and I ask him the question and well You are retired now uh you are you have uh you are a little younger

A few years younger than George Miller but what does it inspire you the fact that he still makes this kind of film and he answers me but I I I I can’t at finally at the same time I

Understand that Miller makes this kind of film because he is passionate and that and that and that ‘s it that’s that he loves making films but making a film like Furiosa at his age it’s it’s it’s it’s crazy that he has the energy to do that actually it’s that’s it it seems quite

Crazy especially given the way he films Louis luoui it will be a made film on a green background here we can say to ourselves well well it’s different but given that he films the update of these stunts in real life it’s it’s

Quite amazing that at almost 79 years old he’s capable to provide this kind of production so I admit when I saw the special effects my effect was a little cooled I’m not going to lie but the film is not finished the special effects are not finished and a guy who made you

Fury Road even if his film comes out it’s rubbish ok it’s a guy who made you Fury ro could still let him have the benefit of the D until the film comes out no before you think that when the

Guy who did this to you says okay listen I’ll let you do it and I’ll look at what you pull out for me and then I’ll agree ENF okay it’s okay it’s worth it’s less worth a look what there we are we ca

N’t leave the profit at all to a guy who gave us a T the film I don’t know it’s clear yeah in any case I’m here I’m really crossing my fingers that the film works you never know maybe in the end Fur was a little miracle and a second miracle won’t

Happen but indeed after having Fur I think that not wanting to see Furiosa is that and then that’s it if we can have a chance to see the character of Max again in another film I’m signing I’m signing right away hey that’s completely clear so I

Found what I wanted to say ah I wanted to talk about something completely stupid but that I love in the film there is a shot which is incredible it is when we discover the guitarist because first we are behind we see the guys who make drums like on the battlefields

Eh people who made tombours it seems that basically the tombours on the battlefield was to avoid hearing one’s comrades agonizing therefore to give courage so we have C tombour of war on a vehicle because that we are in Manad max and you have the

Camera which goes like this which goes up which goes up which goes up tuar on the other side and you have the guitarist and there you say that’s it Mad vehicles old-fashioned things current stuff where we do music with a guitarist who plays the electric guitar you say completely yeah that’s it in

Fact we’re not afraid of the viewer saying but what is this thing what is it doing to us in makes meriller he’s not afraid of that because I think he’s so confident in what he’s saying and in and in his talent as a M on stage quite simply that

Well going into things that would be ridiculous elsewhere well with him in fact it’s part of the universe of Man max actually that’s when you have what we were saying earlier when you have a character like humingus who has a totally improbable look and yet

Is completely credible and well yeah in Mad Max 4 you are going to put a guitarist with a guitar that throws flames what why not there besides he he he he tells it a Brandan

Mcary he says that in any case with Miller you have to have some you have to have uh 5 ideas at the minute and then and then there are things that we throw in the trash and one moment there is something that we will

Say to ourselves yeah but that’s interesting come on let’s develop and and uh and and we go there when we’re not afraid of doing things that are out of the ordinary and that’s why Warner at one point during post-production had a a little afraid during

Editing because he realizes that they had a slightly strange film with a slightly bizarre aesthetic but that in the end well sometimes it pays off eh I mean why is the film so original and and really has marked the spirits it’s because it’s a combination of all that, let’s remember

That Warner at that time we were concerned with Man of Steel asking the question of how Superman was going to return to his planet eh I remind you in short I say that and I say nothing but what

Is also very strong with this guitarist is that first you see it you make ah excellent idea but it doesn’t appear that once it’s not just an idea it’s reused to the point that Max is

Even going to have a fight with this guitarist you say it’s not only and that’s the whole film he that’s just one that represents that there’s an idea and it is used to the end it’s not

Fair here is a vague idea no no no all the ideas are exploited exploited it’s great we are also in the idea of ​​giving very marked identities to the vehicles to the different vehicles of the film and that obviously the fact of putting a vehicle there with a sort of orchestra on it

And then a slightly strange guitarist and and then he goes to the end of the thing he Miller because when the when the the douf it’s the name of the vehicle dou wagon overturns in fact the last thing

We see is the guitar which approaches which approaches the screen what so he assumes the thing until the end Miller and it ‘that’s what also makes the quality of the film is that we assume this universe sometimes I was escusing the limit of the grottoesque but but but who that’s who that

Doesn’t harm the seriousness of the film when I say gravity this is the side here is the psychological strength of the characters their development there are things that can seem too much and I understand that some spectators can say but I didn’t agree because because

It does too much but but for me it does it really does as you said it’s part of the saga the saga we don’t see it in any other way so I put the first film aside because

The first film is a little different but but the whole saga it is evolving towards that side and it is impossible today to consider Mad Max other than like that and therefore since we talked about the guitarist there is another point on which we must talk because it has caused a lot of

Talk and I I have the impression that it really launched the career of the composer of the film’s music yes yeah yeah the music is it’s it’s an important element of the film anyway for his

Universe to exist Miller he knows he knew that he had to do a lot of things with the sound and in particular the music and it is true that the very powerful rhythm all the percussions that are in the composition in of of the music of this film it is it is

Totally in line with the with the rhythm of the film especially because to keep the rhythm that Miller imposes you also need music that is appropriate and uh and uh and that is strong because there are also passages where there is not necessarily a lot of music uh

Because that Miller also wants to put he says he had already done it in the in the in number 2 number 3 and sometimes there are scenes that we don’t need to add to them with music and and that also allows precisely when the music arrives to have an even more

Important impact and uh and it’s true that uh I have I have rewatched the film recently obviously several times for for the magazine and it’s true that uh the music is really an uh essential element of this film, perhaps even more than in the other films even if the music of Brian May

In the first two is excellent Bryan May who who is not nothing to do with the guitarist of Queen he is a homonym and that of Maurice ZAR too who is perhaps a little more classic in

The 3rd but but uh but actually I think that we remember if we if we remember almost even more the music of this last episode I think or we remind that the magazine there

Will be fur but there won’t be only that since basically it’s it’s the 2 L3 no if I say no nonsense its yeah in fact the the for those who want to always get the first issue I’m doing

A little advertising is still on newsstands uh still for a few days so if you in fact the the idea it was to talk about the whole saga on me I realized that in 100 pages it was

A bit short to do everything so I decided to make a first issue which is therefore the one which is currently devoted to the first film for the making of side but which

Also talks about the other films for the themes of the films that is to say here is the the the the the dystopian side the side how the culture of the road and the vehicles the character of

Max also uh so that’s the number which is which is which is still on newsstands and which I obviously advise people to buy if they want to better understand volume 2 which is coming out which

Must be released in January al j I don’t have the exact date but volume 1 which is linked behind with the Halloween saga yeah absolutely yeah well I have it on hand which means having leato with which

We made a video the Halloween saga so basically therein you there it is and if we actually go back we have Halloween behind there uh so that’s still on newsstands uh so do n’t hesitate to get it and the second one so I I can’t say exactly when it’s going to come out

But I think around rather around between January 10 and 15 I think in these waters maybe maybe before uh if it goes a little faster and there it’s really dedicated to actually episodes 2 3 4 that’s -say that basically the construction of the magazine is uh it’s uh

A whole making-off part for the three films and interviews in fact there are 10 interviews of I interviewed more people but I have a 10 interview I left in the form of an interview so there is a bit of everyone there are actors from the films there are screenwriters illustrators

Production designers so both for the 2 the 3 and the 4 so it’s it’s for those who are fans of the saga it’s good to have the two that it makes a good set on the

Four films here it is and we already know what there will be like other half we have the right to say it or not I don’t know the other half yes it’s John Carpenter that there it is so Halloween plus

It’s the continuity of Halloween that means that the two both complement each other so it ‘this is in short the final word regarding it’s fur it’s great stop saying enjoy it it’s a gift for me from heaven that this film that we had I’m not saying that it’s absolutely perfect

But frankly how much would we like such imperfect films more regularly a little word again on the film the final word uh yes I quite agree indeedi having rewatched it several times recently plus it’s it’s a film when we rewatch it we

Pick up things that we hadn’t necessarily seen uh during a first or second first or second viewing so uh it is and then it is a film which uh which does not lose its power when

We see it again, that is to say that there is I always find the same impact uh and indeed I think that there are quite a few current films which should be inspired by this film but it

Also proves that it is a film completely apart from what it is. -to say that uh I think we won’t see films we can’t see films like that every year it’s a film which has such a particular production and well for the final word I say recommend to the people here to go

See Furiosa if that can allow us if it can allow Miller to continue to make one more film, I’m signing right away so going to the theaters in a few months furi that’s it if it’s bad, we’ll say it, but it’s because we’ve seen it, there are

Bad films that make a lot of admissions, so as we said afterwards, we can trust M and go to the theaters for as I often say about the socix resex that’s good we’ll stop there for for this evening thank you for coming eh above all thank you thank you for

Inviting me it’s always a pleasure to discuss interesting subject that’s the pleasure is for me and I hope for the spectators who uh had a good time and then and then we see each other again for future adventures and with

A lot of pleasure very well see you very soon I’ll cut it ciao everyone