George Miller Has Lots of Stories Left to Tell, and One of Them Is a New Mad Max

by

In 2024, George Miller reigned supreme at the Vulture Stunt Awards. His epic action film, “Furiosa: The Mad Max Saga,” may not have been the highest-grossing blockbuster, but it was undeniably one of the most critically acclaimed movies of the year, particularly recognized for its expertly orchestrated action sequences. The movie clinched the Best Action Film award at our ceremony, and the Stowaway sequence, featuring the Octoboss and his troops assaulting the War Rig, triumphed in no less than three distinct categories. To add to this, Hayley Wright, our recipient of the Best Achievement in Stunts Overall award, was the stunt double for Anya Taylor-Joy in the production.

Miller, undoubtedly, has been masterminding automotive chaos since his initial blockbuster, the original Mad Max, hit screens in 1979. This long-standing career has allowed him to witness firsthand the evolution of action choreography and stunt work spanning over four decades. Notably, he’s played a significant role in shaping these traditions. However, when queried about his thoughts, he emphasizes that the fundamentals of filmmaking remain grounded in the dynamic energy and artistic flair characteristic of the silent movie era.

As a film enthusiast, I’ve always found the action genre exhilarating, right from the start. Over time, my journey as a filmmaker has led me through various genres, but my passion for action never waned. So, how has my bond with this genre evolved? Well, I’d say it’s been akin to a silent dialogue – timeless and profound.

I believe that the language of cinema was first defined in its essence before sound came into play. Books like Kevin Brownlow’s “The Parade’s Gone By …”, published in the ’60s, highlight this truth. Silent films by pioneers like Buster Keaton and Harold Lloyd were more than just movies – they were pure cinema for me. This timeless art has been a constant companion on my creative journey.

As a movie enthusiast, I can’t help but draw parallels between the art of cinema and music. Just like a symphony, films have rhythm, structure, and harmony. That’s why I find it utterly captivating to learn about stunt awards. I’ve seen firsthand the immense impact their work has at every stage – from conceptualization to execution, from managing logistics to pushing the boundaries of what’s scientifically possible.

It’s been suggested in the past to recognize stunts at the Academy Awards, but just acknowledging their contribution is already a joy to behold. Stunt people are nothing short of masterful – the way they execute their work, the athleticism, the teamwork, the precision. They are, in essence, true filmmakers.

In essence, stuntpeople were the pioneers of cinema, long before the era of movie stars. They performed daring acts such as horseback riding, leaping from trains, and falling off wagons. It was years later that filmmakers developed techniques like close-ups to create star personas. So, in a sense, these daredevils laid the foundation for the art of cinema.

Over the years, my collaborations with stunt teams have morphed and adapted much like the ever-changing landscape of the film industry. In our initial projects together, such as Mad Max 1, we carefully crafted and executed our stunts. A vital figure in this process was Grant Page, who passed away recently in his eighties. His influence on that film was immense. Reflecting back, I realize that without his guidance and advice during those early days, I may not have developed the skills and knowledge I possess today. Grant made a significant impact on Mad Max 1.

In the film “Mad Max 2,” there was a young and daring stuntman, aged just 21, who belonged to a band of cowboy-style stunt performers. This era in stunts was more akin to the untamed Wild West, as safety regulations were scarce. The stunts performed were quite risky and it’s amazing that there weren’t more fatalities or serious injuries. My fascination with safety grew significantly from witnessing this. The young stuntman in question was Guy Norris, who despite being the youngest among his peers, took on numerous stunts, some of them crucial. We’ve been collaborating for over four decades, in one form or another. He has grown with the stunt industry and the art of stunt work throughout this time.

During our shoot for “Fury Road” in Namibia’s desert, a massive white tent, reminiscent of a circus tent, served as our base camp. Inside, we gathered around a large table, each person having a miniature figurine representing their role – cameras, edge arms, motorbikes, stuntmen, all looking like tiny soldiers. We’d discuss the scene, deciding where each character would be placed: “This guy goes here, the car goes there.” It felt like children playing in a sandbox, but instead of building castles, we were choreographing shots and action sequences. The figurines helped us visualize and plan the real-life movements and camera work.

Currently, there are two offspring of a man who specialize in stunts. One of them possesses advanced technical skills. Together, they’ve created a tool called PROXi. Essentially, it allows for the pre-planning of scenes, but with an iterative approach. This means that it can be utilized during pre-production or later, during post-visual effects preparation. The technology used in this system is extensive, encompassing motion capture and highly accurate rendering of sequences, including camera angles, lenses, and movement paths. Unlike before, the stunts aren’t spontaneous; they are meticulously rehearsed and executed to ensure a seamless integration with the narrative. This method allows for a detailed analysis of how each element fits into the overall picture, similar to understanding how every piece of a puzzle contributes to its completion, or how each note in a melody impacts the composition. In the film Furiosa, this PROXi system was employed.

It’s clear that careful preparation plays an essential role in ensuring safety, not just for high-risk activities but overall. Perhaps due to my medical background, I found myself intrigued by the safety aspects of stunts and seeking to understand why things sometimes go awry. During my early days as a doctor, I was fortunate enough to work alongside some remarkable surgeons, both skilled and less so. The top-notch ones were exceptionally thorough in their planning and collaborative. They didn’t impose their will but instead gathered the entire team – even the cleaners, who play a crucial role on a surgical unit – and clearly outlined the steps, the procedure, and the specific challenges of each patient. I believe some of this collaborative approach seeped into my own work.

Was there a specific segment in the Stowaway sequence where the Octoboss and his Mortiflyers assault the War Rig that posed the biggest challenge for you to create?

I’d say the greatest challenge was ensuring that the entire sequence was well-balanced rather than focusing on individual parts. There were numerous aspects to consider. The sequence had to be rich in character development and storytelling, with a strong emphasis on the interactions between characters. In this storyline, Furiosa undergoes a transformation from being a stowaway to a seasoned road warrior. Initially trying to escape, she ultimately becomes one of the two survivors, and the one who must triumph for both herself and Praetorian Jack. It’s during this event that Furiosa is molded into the Road Warrior we first encounter in Fury Road. This transformation was crucial to get right.

How do you start mapping out such an intricate sequence as the one featuring Octoboss versus the War Rig? In this PROXi system, we had the flexibility to refine and adapt every aspect of the story, including the War Rig’s design. We could craft segments that took place under the War Rig, inside its cabin, on top, at the back, on the front, and even in the airspace surrounding the road next to it. By using this approach, we could meticulously develop these moving parts instead of relying solely on imagination or written descriptions, or even just rehearsals. While practical rehearsals would eventually lead us there, they wouldn’t allow us to design the War Rig with pinpoint accuracy—for instance, incorporating two excavator claws into its design or adding a feature like the Bommyknocker at the back. With digital rendering, we could visualize these details more precisely.

As a film enthusiast, let me tell you about two major perks of this innovation: First and foremost, everything that transpires on the set is crystal clear to every single person involved – from the director to the cleaners. This level of openness is monumental when it comes to safety; we can now wave goodbye to harnesses. Actors can move freely within scenes without relying on those thin wires like in old kung fu movies, which would often blend into the film grain. Instead, these cables are substantial and easy for visual effects artists to eliminate. Plus, there’s a backup plan: If one cable fails, another is always ready to take its place. Lastly, having everyone on set aware of each other’s actions is crucial because miscommunication is often the root cause of mishaps.

In my initial encounter with the first “Mad Max” movie, I discovered that I’ve always been confused about left and right. This confusion dates back to my childhood; if I intended to say ‘right’, I’d point in the opposite direction. This could have been disastrous when it comes to stunts! To avoid such mishaps, I started using a strategy early on: “Go this way, go that way” while pointing. Then, I would always ask, “What do you think I just said?” so they would repeat it back to me. It’s amazing how easily things can go awry due to miscommunication.

Can you still come up with spontaneous moments even after thorough planning? Some people argue that over-preparation kills the essence of spontaneity. I, however, believe it’s impossible to over-prepare a film any more than a basketball game. The preparation allows you to improvise and adapt to inspirations as they come along. Without proper planning, it’s like flying without a safety net; everything feels disjointed and unstructured. You take a shot, someone suggests an alternative, you agree it’s better, and so on. It’s through careful planning that we can create cohesive and inspired work.

Are you careful about giving each character in these films a history? I’m curious to learn more about the Octoboss. What is his background, if you don’t mind sharing?

In our conversation with Goran Kleut, the actor portraying the character, we discussed how this figure stumbled upon a stockpile of parachutes, likely discovered in a shipping container, and envisioned it as his ticket to success in the wasteland. He reasoned that not only would he be able to assault from ground level, but also soar above through flight. His attire, too, was given careful consideration: In war, the appearance can be crucial, so finding an appropriate look is vital, almost like winning half the battle. The grand octopus kite, which adorned Furiosa, was inspired by an annual kite festival in Bondi Beach that we used to attend in Sydney. I vividly recall a colossal octopus floating in the sky from several years ago, and it left an impression on me. Thus, for Furiosa, I suggested, “We have hang gliders, parasailers. What about the octopus?

The movie has received critical acclaim and even won awards, but it didn’t generate as much financial success as anticipated when it was initially released. Are you considering producing more Mad Max movies in the future?
I’ve got another script in the works. Given my extensive experience in storytelling, I find myself brimming with stories – not just ideas floating around in my mind, but fully-formed screenplays or detailed notes waiting to be developed into scripts. In essence, I can be described as a professional dreamer. Back then, it was noted on my report card that I would perform better at school if I didn’t daydream so much.

There are many tales, one of which is Mad Max. However, that’s not my immediate plan as I have two other tasks in mind. Yet, if the stars align unexpectedly, you never know! Making a movie often involves unpredictable circumstances. Some pieces fall into place, while others don’t, so all I can say is we’ll have to wait and see.

Read More

2025-02-27 20:56