Tag Archives: Tom Hardy

“Make It Cool Or I’ll Kill You” — The Apocalyptic Cars of MAD MAX: FURY ROAD

“In the MAD MAX world they worship machinery,” says Director/Screenwriter/Producer George Miller in this featurette about the insane vehicles in MAD MAX: FURY ROAD. To deliver these incredible machines, Miller turned to production designer Colin Gibson, saying “Make it cool or I’ll kill you.”1250584678943245483Gibson treated the assignment as if he were casting actors, looking for individuality and distinctive traits. “We wanted to find things that were iconic,” Gibson tells Jalopnik. “Cars that had a particular resonance in Australia, and then design them as the boys would’ve.” 1250584678635445931The cars needed to look right, but they also had to perform. “Cars were a metaphor for power,” says Gibson. “Forget about hunkering down in a bunker—come the end of the world, steal a V-8, steal a gun, you’re gonna last a little longer.”  Miller insisted on everything being practical: “We decided to shoot the film old school, with real vehicles and real people,” he says.1250584679344646827“The vehicles are almost an extension of the characters,” Miller continues. As a result the film is filled with “cars brimming with personality and with an absolute minimum of technology,” writes Damon Lavrinc in Jalopnik. “They had to be shells to impose and convey each of the character’s motivations – stars unto themselves that could stand alone, and also stand up to the sheer lunacy of what Miller had planned.”1250584679088716459Case in point: Charlize Theron’s War Rig, shown above, being attacked by men on long, high tensile steel poles. Those are stuntmen on the poles, not mannequins or CGI humans.1250584679022559403Gibson says, “We basically tried to build the vehicles the way it would have been done in the apocalypse.” His guys built 88 individual cars; at the end of the day, counting backup cars plus the variations that got blown up or ripped apart, they created 150 vehicles in all. 1250584679257699243The film was photographed by John Seale (THE ENGLISH PATIENT, WITNESS, DEAD POET’S SOCIETY) who came out of retirement to shoot the picture. His goal was to immerse the viewer in the action. “It’s always been a part of my work philosophy to…make it as smooth as possible for the audience to view it, because I feel if you can do that you’re going to suck the audience out of their seat and… put them in the situation. And you’ve got to hold them there, you know?” Seale tells Hitfix. “This was all part of George’s philosophy, to get them in the movie in the first two shots and hold them there for another 112 minutes.”1250584679496028331Tom Hardy stars in the title role (originated by Mel Gibson.) He’s joined by Charlize Theron, Nicholas Hoult, Rosie Huntington-Whitely, and Zoe Kravitz.safe_image

Cannes 2015 – “You never look as ugly as you do in a selfie”


The lineup for the Cannes Film Festival 2015 was announced today in Paris. The festival begins on May 13 with a jury chaired by Joel and Ethan Coen.

Reportage of the announcement has been varied, but the most unique news item concerns selfies. The Telegraph leads its article with the festival’s ban of red-carpet selfies, quoting festival director Thierry Frémaux: “We think it’s ridiculous and grotesque and really slows things down,” he officially declared, adding, “you never look as ugly as you do in a selfie.”

As always there is a wide ranging mix of international films and stars on display. Some outlets celebrate actors, others auteurs.  People zeroes in on the stars in attendance, under the banner “Charlize Theron, Emma Stone, Natalie Portman Headline Star-Studded Festival Slate.” The article goes on to mention Joaquin Phoenix, Matthew McConaughey, Rooney Mara, Michael Fassbender, Marion Cotillard, Jesse Eisenberg, Emily Blunt, Josh Brolin, Benicio Del Toro, Salma Hayek,  Rachel Weisz and others. The Huffington Post, on the other hand, concentrates on “cinema heavyweights including China’s Jia Zhangke, Italy’s Paolo Sorrentino and the United States’ Gus Van Sant.”

No surprise to see the parochial nature of some of the journalism; national interests drive regional reporting. The Guardian sulks, bemoaning the almost total absence of British directors: “Asif Kapadia’s documentary Amy, about Amy Winehouse, has been selected for a midnight screening, but there are no British directors elsewhere.”

Down Under, news.com.au cheers on Cate Blanchett and Naomi Watts. Strangely, the Aussie site also promotes the out of competition screening of George Miller’s Mad Max: Fury Road” with a photo of Mel Gibson, who originated the role, instead of a photo of Tom Hardy, who stars in this reboot.

Variety notes that “Asia will enjoy its strongest competition presence in some time with Our Little Sister,” a Japanese comicstrip adaptation from Hirokazu Kore-eda; “Mountains May Depart,” a three-part drama from mainland Chinese auteur Jia Zhangke; and “The Assassin,” a long-gestating martial-arts epic from Taiwan’s Hou Hsiao-hsien. Cannes 2015 also looks to be a robust edition for Italian filmmakers, with Palme bridesmaids Matteo Garrone (“The Tale of Tales,” a lavish, effects-driven fantasy starring Salma Hayek, Vincent Cassel and John C. Reilly) and Sorrentino (“Youth,” toplining Michael Caine and featuring Weisz, Jane Fonda, Paul Dano and Harvey Keitel) duking it out with Palme laureate Nanni Moretti, back with his semi-autobiographical drama “My Mother.”

The official festival poster features Ingrid Bergman this year. Some journalists, such as Brad Brevet at Rope of Silicon, are underwhelmed by this design, preferring the style of  posters from the past few years. 2014 presented Marcello Mastroianni, 2013 had a great photo of Paul Newman and Joanne Woodward, 2012 delivered a striking shot of Marilyn Monroe, and 2011 showed a sophisticated Faye Dunaway. Each one combines text and image in a powerful graphic interplay. Each one epitomizes cinematic glamour; no selfies here. Check them out below: 2014-cannes-film-festival-poster2013-cannes-film-festival-poster cannes-poster-2012-marilyn-monroe_02282012_234555 cannesposterlargecannes_2015