![]() ![]() Well, you can come to me and I’ll put you on to a couple of good mechanics. So, does this mean that if the apocalypse were to really happen, I should come to you because you know how to get us through it? We went out, we found things that were beautiful in and of themselves, now whether that’s the curve of a sprayless air gun or a Hills Hoist or a small jackhammer, but we’d repurpose them, see things anew, and take them out of context so that they had a new life. Everything was of a piece and the first thing we did was design the design process, and so we designed everything the way they would’ve come to it. All that flotsam and jetsam that had washed up at the end of the world, we just put it to new and slightly brutal use.Īnd this is a conversation you’re having with your costume designer, with your props designer, it is the entire universe in which this story unfolds.Ībsolutely. And so we found things that we thought were beautiful enough to salvage, or at least to tickle at some futuristic, apocalyptic, “I wonder what that was, what did they use it for, and now I’m going to repurpose it for war, for battle, for thirst, for the end of the universe” feeling. There’s the story-line requirements for the film itself and then there’s the character, the life that that object, car, weapon, fetish has to have. What we wanted to do was to build up a stockpile of things that had inherent interest or beauty and that we could then take out of context and reuse. Anybody thinks you can weld a piece of barbed wire to a Camaro and my God, it’s the future. There’s been a lot of degraded use of the idea of the apocalypse. One of the things that we wanted to do was to not treat anything. Not just their backstory, all the objects became a fetish. So you have to create basically a narrative for every piece of machinery in this movie. What is new is old again or what is old is new again, that everything is a composite of new and recycled parts, that everything gets repurposed. One of the things that’s clear in this movie is that everything is recycled. The art department worked with the stunt department and with the mechanical-special-effects department to ensure that we had the best unit possible that could do what it needed to do to get airborne at 80 an hour, to spin through the air, to deposit its load safely but spectacularly. Each of the vehicles was designed with safety in mind, but also with each and every one of their specific stunts, their deaths, their character arcs, built into the design, into the very DNA of how they were put together. ![]() It was a little antithetical to the idea of 300 stunts at high speed. The problem with George is that apart from being a man of immense imagination, he unfortunately is also a certified doctor, and so he had signed the Hippocratic oath, which means he’s not supposed to go out and hurt anybody on purpose. We wanted to make it the last real action film and to do the stunts as real as possible, and we designed all of that into the vehicles as we went. So, this was a new and exciting experience to go back to his roots. He had spent far too many years with pixels that did anything he wanted: tap-dancing penguins and pigs whose lips moved. How does that effect the design of the vehicles? ![]() Unlike so many movies that are made today where everything was created in a computer, a lot of these stunts were going to be practical. Gibson spoke with John Horn, host of Southern California Public Radio’s arts and entertainment show “The Frame,” about creating cars for practical effects, the rules of Mad Max’s dystopian world, and why the film includes a heavy-metal guitarist who rides a truck full of amps. (Listen to part of Horn and Gibson’s interview below and subscribe to “The Frame” at iTunes or Stitcher.) On Mad Max: Fury Road, that job fell to Colin Gibson, who worked with director George Miller on creating the film’s fleet of post-apocalyptic war chariots. When you make a movie that’s essentially one long car chase, you’re going to need a production designer who knows cars. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |