“Every chase in 'Mad Max' is an illusion,” said Miller by phone from Australia before kicking off the publicity tour for the fourth Mad Max film and the first in 30 years, "Fury Road." Lacking even the minimal technical resources of the low-budget American International Pictures motorcycle flicks that had inspired him, George Miller, the director, a medical school graduate who got into films by way of a university competition, couldn’t afford to film a single extended chase sequence. From 1979 to 1984, in New York, “the Citizen Kane of cheap, post-apocalyptic biker movies,” as the East Village Eye’s Sebastian Dangerfield called it, could only be seen at one theater, a tawdry little 24-hour movie house on 42nd Street. Not until 1995, when "Mad Max" and "Mad Max II" (or "The Road Warrior," as American filmgoers knew it) were shown at the Museum of Modern Art did we get to hear Mel Gibson’s real voice in the role that made him an international star as Max Rockatanski (his last name is spoken just once in three films - at the beginning of "Mad Max" over a police radio.)įor the first few years after the release of "Mad Max" the overwhelming number of statesiders never had a chance to see it at all. in 1979, American voices were dubbed over those of Aussie actors with the intent that viewers would think it set in the Western U.S. In the kind of nonsensical move common to Hollywood studios, when the film was released in the U.S. All we’re told is that what we’re about to see happens “A few years from now.”Īmerican audiences must have been puzzled as to what country George Miller’s first feature film, "Mad Max," was taking place in. I run the images through a batch encoder with Irfanview to get rid of black borders on the image, rename the files, and conform them to jpg.Ħ.It all began with a shot of a vulture perched on a highway sign that read “Anarchy Road,” apparently the main highway by which Australia’s rapidly diminishing oil supply is transported. and bring down the number of stills to my 60-65 golden number.ĥ. I go through the folder again (immediately)looking at the frames on large preview and try and remove frames that replicate a certain lighting style or framing. I’m then left with usually around 80-100 really interesting frames. I view all the frames as a slideshow and I remove any frame that there are doubles of (someone might be blinking in first frame and normal in second) or remove any that seem less interesting this time around.Ĥ. So the next step is to edit, usually there might be a week or 2 between the first grab and this edit stage. This usually leaves me with around 200-250 frames per film. Depending on mood I could spend a few hours just doing the grabbingģ. I watch through the movies on VLC, usually between 3x and 4x speed while listening to podcasts, grabbing any frame that interests me. i try to keep a mix of styles.genres/directors and DP’s so I dont get bored while working.Ģ. ![]() Make a to do pile, its a combination of recommendations, stuff Ive been enjoying myself, stuff I want to rewatch…. Hi Arturo, Ive considered having a donate button, but I feel bad for asking for money, maybe I’ll post an amazon wishlist so people can contribute in that way sending me movies I want to feature on the site.ġ.
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