Friday, 6 November 2015

Mad Max Research- 100 Facts

Produce a fact file for the 2015 film Mad Max: Fury Road (directed by George Miller)

I have scavenged some information about Pre production, production, postproduction, marketing and distribution.

You need to read all the article and complete a blog post contain 100 facts about the film. 

10 of your facts MUST be

  1. The invasion (yes invasion) and subsequent war in which country stopped filming? The Iraq War meant filming had to be delayed in Namibia.
  2. What TWO formats was the film originally going to be in to only then NOT be in? The film was supposed to be an animated 3D film but developed into a 3D live action movie.
  3. How many times was filming delayed? 
  4. In which year did filming first conclude? 2001.
  5. In what year did they have to go back and film additional scenes? 2013.
  6. At what point did Warner Bros panic and insist someone write a script? 2003.
  7. When did the stars sign up to be in the film? 2010.
  8. Where was the film originally going to be produced only for it to rain! Australia.
  9. How much was spent on TV adverts? $43.7 million.
  10. How long did crew spend in Namibia? Some spent up 10 months there.
  1. The director of Mad Max: Fury Road is George Miller.
  2. George Miller also directed the 3 other Mad Max movies and directed popular films like 'Babe' and 'Happy Feet'.
  3. The movie was created through first drawing around 3,500 storyboard panels.
  4. The 3D camera rig had to be small enough to go through the windows of the truck. Due to the desert environment of the filming location cameras had to be dust proof and waterproof.
  5. An edge arm was used to film 95% of the footage, an edge arm costs $500,000.
  6. They switched to a 2D shooting which was a major shift in approach. This made the shot much more straightforward.
  7. The initial idea for Mad Max:Fury Road was based on a single camera philosophy- he idea that somewhere on the set is a single perfect spot for the camera to record the scene. Sets back to Polanski and Kubrick.
  8. Once into the testing, Seale found the contrast range between the interiors and the harsh desert a challenge for the cameras.
  9. The film took 16 years to fully make from when the original idea came about.
  10. The movie editor was Margaret Sixel.
  11. Sixel was given over 480 hours of footage to create a final cut f Mad Max:Fury Road.
  12. The final edit ran 120 minutes and consisted of 2700 individual shots.
  13. Successful as an action film because of its editing style. 'Eye Trace' and 'Crosshair Framing' techniques during the shooting.
  14. Every new shot that slammed onto the screen must occupy the same space as the previous shot. This is no new technique, but by shooting the entire film in this was, Margaret Sixel could amplify and accelerate scenes, cut as fast as possible with confidence that the visual information would be understood.
  15. "Eye Trace" is anther editing technique that posits that you can guide the viewers ye and make them look where you want. By using motion in the frame and/or positioning critical points of focus in successive shots fall on a natural or comfortable area of the screen.
  16. Tom Hardy and Charlize Theron did not get along throughout the making of the movie. It got to the point where they would not speak on set.
  17. The film had to be delayed after the beginning of the Iraq war caused trouble with shipping and security in Namibia. Production began in 2009.
  18. Mad Max: Fury Road was released 30 years after the lat film Mad Max:Beyond Thunderdome.
  19. Charlize Theron shaved her head for her role of Furiosa, therefore had to wear a wig in 'A Million Ways to Die in the West'.
  20. Constant weather delays and location issue caused the film to be delayed more than once, including cold when it was supposed to be hot, and voice-overs. Reshoots also delayed the final product on countless occasions.
  21. Liam Fountain auditioned for Max but lost the part to Tom Hardy. Fountain played Max in 2011 short film Mad Max renegade, which takes place between the first two films.
  22. The film was shot in sequence, which is rare, and the storyboards were completed before the scrip.
  23. Over 80% of the effects seen in the film are real practical effects, stunt, make up and sets.
  24. CGI was used sparingly mainly to enhance the Namibian landscape, remove stunt rigging and for Charlize Theron's left hand which in the film is a prosthetic arm.
  25. Mel Gibson was originally to have the role of the rig thrifter in the film but this never came to fruition.
  26. John Seale used multiple digital cameras to capture practical stunts with more than 150 vehicles conceived by production designer Colin Gibson.
  27. The vehicles were rigged, driven and crashed by key crew and special effects supervisors: Andy Williams and Dan Oliver and supervising stunt co-ordinator Guy Norris.
  28. Hundreds of visual effects artists, led by overall visual effects supervisor Andrew Jackson, would spend considerable time crafting more than 2,000 visual effects shots and helping to transform the exquisite photography into the final film.
  29. A combination of real photography in Namibia of various cars and additional green screen and stage shoots combined with CG car take-overs, digital doubles and complex fluid and dust simulations by Iloura for the storm. Additional VFX elements were shot to help the pieces together and provide for more foreground dust.
  30. On location in Namibia, production approximated where the twisters in the toxic storm would be located, and then had vehicles driving accordingly.
  31. Iloura's CG cars were built from photogrammetry surveys, again processed in Photoscan.
  32. A CG car was used most dramatically in one scene which a twister picks up a vehicle and a group of War Boys into the air. The car is ripped apart as bodies tumble out. Originally the bodies were fixed figures in the air but following the real dynamics and physics at a high speed you have no control over your arms and legs, they fly out.
  33. Both Iloura and Jackson’s Fury FX group took on the canyon shots, which involved significant environment augmentations. “The canyon where we shot that part of the film got extended quite significantly,” states Jackson. “It was made a lot taller and narrower in places. There’s a major part of the film that gets narrower in the neck with a rock explosion - there was a narrow piece there but it didn’t really exist and didn’t have the rocks over the top.”
  34. For the rock wall detonation, the initial plan was to use CG sims to achieve the effect. But Jackson says he “spent a lot of time talking people into how they might shoot something for real that might otherwise have been a CG event. Therefore, they blew up a bit of quarry in order to shoot some large rock elements.

  35. They followed real dynamics and physics, since a great deal of crash reference footage the director had sourced tended to show that movement. This was based on Miller's initial ideas.
  36. Jackson incorporated a dust element shoot for swirling action close to camera and streams of sand blowing off the vehicles, this was to ensure the toxic storm looked somewhat grounded.
  37. They blew up a part of the quarry for the scene they desired.
  38. The scene for the night time part, was actually filmed in day light however, it was transformed to a blue environment by colourist Eric Whipp based on a suggestion made by Jackson.
  39. To great the day to night time scene they went a little more stylized and graphic with it.
  40. “The massive benefit you get with shooting overexposed for a day for night setup is that you get detail in the shadows that’s still there. You can pull the highlights down and darken the whole image, but still have detail in the shadows. It doesn’t just clip to black in the shadows.”
  41. Conceived as a practical effect, the refinery was blown up in Namibia, with Iloura then compositing in the other cars and Max on the foreground pole.
  42. They took the mobile refinery out in the desert and drove it remotely, surrounded by camera cars and a helicopter, and blew it up.
  43. Jackson went back out and shot equivalent plates for all the chase vehicles to be around it.
  44. The final chase sequence was also one in which The Third Floor delivered previs, under previsualization supervisor Glenn Burton. 
  45.   The final car chase consists of a lot of characters and a lot of switching vehicles and concurrent action.
  46. The previs had to carefully track where everyone was at a particular beat and help work out the transitions so the characters would be at the right place at the right time.
  47. The sequence of the final crash made use of numerous Namibia plates, including stationary action that would be enhanced by moving backgrounds, canyon augmentation, a War Rig and other vehicle crash stunts.
  48. Jackson even engaged Eric Whipp's iPhone at one point to film extra elements to be comp'd into the War Rig crash.
  49. When Joe addresses his citizens from a rock-platform balcony the only real thing are the four guys and the pump actuators. For below him they had shot about 150 extras and extended those to 30.000 with crowd sims.
  50. The went floor up on a balcony at Kennedy Miller and put a whole bunch of dry wall rocks and dust and crashed them down and filmed it at 240 fps for the slow mo bit at the end just because Andrew didn’t want to do CG dust - he wanted to do real dust.
  51. Furiosa has part of her left arm missing, to achieve the effect, Theron wore a prosthetic and a green sleeve during the shoot that the visual effects team then painted out, adding in a central mechanical piece where necessary.
  52. The final twisted mix of vehicle pieces, metal and bungie-corded guitar that fly towards the camera were largely practical effects.
  53. The frenetic pace and complexity of the shoot in Namibia meant that, as expected, backgrounds and skies were not always consistent from shot to shot. Add to that was the graphic feel Miller wanted to infuse into the film. Sometimes sky replacements were part of the visual effects deliverables, but often they were handled during color grading by Whipp that were collected around the world.
  54. Whipp notes that Miller had been adamant the film not have the typical post-apocalyptic bleached look.
  55. You have to be very aware which part of the frame the audience’s eyes are focused on in terms of the last frame of one shot and the first frame of the next shot. He’ll make sure that the relevant piece of the frame that you should be looking at is in the same place, so that you don’t use the first three or four frames to find where you’re supposed to be looking at.
  56. One of the trickiest parts on this film, for example, was for one of the day for night sections. We did a lot of sky replacements but we really wanted quite stormy skies with little breaks in the cloud, but it’s actually not that easy to find.
  57. Realizing early on that the film would require significant visual effects work, Jackson engaged an in-house team to perform postvis.
  58. The brief to the team was they were to do whatever it takes to help editorial, for every shot, to have all the components to present in some way - so you can sit down and watch the film and it makes sense.
  59. "The other thing that came out of the postvis process was, when your shots are half a second to a second long, the postvis was virtually good enough. There are massive differences with shots that are short - you can get away with rudimentary elements - we just had to swap out elements for DPX. So that meant the postvis team could switch over to finaling simple shots.”
  60. "Oh what a lovely day" is the films famous quote.
  61. Mad Max:Fury Road generated $374 million at the box office worldwide.
  62. Each and every one of the designs, regardless of their craziness or impracticality, lead to functioning vehicles capable of blasting through Namibian deserts at high speeds.
  63. After production finished, more than 150 of these post-apocalyptic transports were built, and more than 75 of them were torn in half, blown up or otherwise ripped into shreds.
  64. One of the signature vehicles of the Mad Max franchise is Max’s custom, 1973 XB GT Ford Falcon Coupe, known as the Interceptor. The Interceptor made its appearance in the first movie, when Max hunts down the killers of his child with the help of the V8 monstrosity.
  65. In Fury Road, during a scene that required the spectacular crash of the Interceptor, the stunt crew had to figure out the best way of flipping the vehicle in the safest way possible.
  66. The solution was an innovation called the Flipper, which is a flat blade of steel that slaps the ground and retracts, giving the stunt driver control over when the car flips.
  67. The War Rig is powered by a pair of V8 engines distributing power through a six-wheel-drive mechanism. According to Colin Gibson, despite the fact that Charlize Theron didn’t have to drive the massive War Rig, she chose to do so anyway, hurtling through the desert at speeds above 50 MPH.
  68. George Miller wanted to create a movie that relied heavily on visual storytelling, making it possible for the movie to be understood by Japanese audiences without subtitles.
  69. Performers and the film crew needed to consult with George constantly because the entire movie was in Miller's head.
  70. Tom Hardy admitted, “I have to apologize to you because I got frustrated and there is no way that George could have explained what he conceived in the sand while we were out there… I knew he was brilliant, but I didn’t know how brilliant until I saw it.”
  71. The new Mad Max film spent more than three months in continuous filming, utilizing a variety of digital cameras to capture incredible physical stunts and driving action from all sorts of different angles.
  72. The result of the shoot was around 480 hours of raw footage, which is nearly three whole weeks of non-stop visuals that had to be edited into the final product.
  73. Miller had the incredible good fortune of being able to recruit his wife, Margaret Sixel, to edit the footage with an expert eye.
  74. The movie was huge, requiring up to 1,700 workers on set to film the action, including over 150 stunt performers, stunt drivers, camera crews and even a team of snake wranglers to clear the path of deadly, desert serpents that impeded production.
  75. The stunt crew alone worked more than 15,000 person-days during the shoot, which translates into well over 40 years worth of effort, much of which was spent in high-risk scenarios that would terrify the majority of humans.
  76. These numbers don’t include behind-the-scenes work that took place off-site, such as special effects, design and marketing. Even though Miller estimates that 90% of the stunts were live-action, several additional teams were also required to create around 1,500 effects for the film.
  77. Computer graphics currently dominate as a blockbuster movie-making trend, but Fury Road instead relies on old-school, live-action stunts to create a unique, visceral experience for the audience. Incredibly, this movie almost ended up as a 3D anime in the style of Akira or Ghost in the Shell.
  78. Miller gave audiences around the world a one-of-a-kind, live-action film rather than another movie that relies on CGI.
  79. Some fans, especially the purists, feel frustrated that the latest Mad Max film doesn’t feature Mel Gibson. Initially, he was to reprise his role as Max Rockatansky in Fury Road before delays and a series of run-ins with alcohol addiction and the law publicly revealed an anti-semitic and misogynist side of his personality.
  80. Before tragically passing away due to an accidental overdose involving prescription medication, Heath Ledger was considered the front-runner for the role of Max – intriguing, considering his universally-lauded turn as the Joker.
  81. After the first two Maxes didn’t work out, George Miller chose Tom Hardy, who played Bain in the follow-up to The Dark Knight. All three actors considered for the role of Max have dealt with darker aspects of their own personality, including Hardy, who overcame serious addiction problems before transforming into an acclaimed actor.
  82. Similar to the pole-vaulting stunt towards the end of the original Mad Max, one of the signature stunts ofMad Max: Fury Road involves the use of tall poles that whip attackers from one moving vehicle to the next while traveling at significant velocities.
  83. Sebastian Dickins, a stuntman with three decades of experience as an acrobat and gymnast, described these pole stunts like “swinging on a trapeze but with the axis on the bottom, not the top.”
  84. The poles themselves were made of a special type of strong, flexible steel. Some of them were connected to hydraulics while others used counterweights swung by members of the film crew to approximate a more natural motion.
  85. Charlize Theron explained the stunt that induced the greatest amount of anxiety during her time on set. After Furiosa and Max team up, Max almost falls off the War Rig but is caught by Furiosa and a couple of escapees.
  86. When the tragedy of 9/11 struck the World Trade Center buildings in New York, the resulting chaos in the financial markets had a severe effect on many economic indicators, including the value of the American dollar against the Australian dollar.
  87. Funded in American currency and paid for in Australian money, the destabilization of the US dollar meant that the scope of the movie would have to scaled down to stay within a reasonable budget.
  88. Making matters more difficult, after the terrorist attack, vehicles, film gear and other equipment took three months longer to ship and insurance costs increased. Miller ended up putting Mad Max on hiatus, focusing on completing Happy Feet while waiting for the next opportunity to do Fury Road.
  89. 9/11 was the first delay in what turned out to be a fourteen year process to get Mad Max: Fury Road in movie theaters.
  90. The role of an arid, post-apocalyptic desert was to be played by Broken Hill in New South Wales, Australia, known for drought conditions that have lasted for more than a decade. Just as the movie was slated to start filming, sudden heavy rains broke the long drought, causing wild flowers to bloom, ruining the location as a wasteland.
  91. Much to the chagrin of government officials, who fought to have the film made in Broken Hill, the production picked up and moved to Namibia, another drought-ridden desert appropriate for the film.
  92. When the crews arrived in Namibia, they were greeted by unprecedented rain – the most the area had seen in well over a century.
  93. The Mad Max franchise derives much of its charm from a rogue’s gallery of incredible characters designed to fulfill George Miller’s vision of a post-apocalyptic world gone mad. Creators were given free rein to come up with whatever they wanted, as long as the character or prop had a backstory related to the fictional world.
  94. According to Miller, the Doof Warrior that plays the guitar is a blind survivor of the apocalypse who lived in a cave and spent his considerable free time noodling on his guitar. When he was found by Immortan Joe, the Doof Warrior was “recruited” to entertain the troops while rallying them to war.
  95. George Miller had a fully-working, flame-throwing electric guitar constructed for the film. Despite an impending explosion of worldwide demand for this flaming axe, plans for mass production have yet to be announced.
  96. The plot of the latest Mad Max film features a simple yet powerful premise that links the narrative with feminist issues around the world, in particular the right for women to choose what she does with her own body, especially pertaining to fertility. This and the fact that Charlize Theron dominates the film as Furiosa elicited pathetic, insecure responses from insecure misogynists.
  97. During an interview with Vanity Fair, George Miller said, “I’ve gone from being very male dominant to being surrounded by magnificent women. I can’t help but be a feminist.”
  98. Throughout the entire run of past Mad Max films, the theme and international tone has stayed the same – an Australian dystopian action film that’s set within a post-apocalyptic world. The men and women who still reside in that world make their way around with the use of wildly designed automobiles.
  99.  A future sequel focused on Charlize Theron’s character (Mad Max: Furiosa) has already been announced. Tom Hardy has already signed on to star in four more Mad Maxfilms.

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