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And, with each passing year, the digital technology which, in Miller’s mind, finally made this fourth installment possible became more sophisticated - yet he also took the counter - intuitive but entirely inspired decision to integrate as much “old fashioned,” physical effects work as possible.īut there is another factor in the long gestation of “Fury Road” which is easy to overlook: 2003 was, after all, only two years after the attack on the Twin Towers. The world’s ever-changing geo-political situation wreaked havoc with location-shooting plans. Then came the delays and revisions-most dramatically, Mel Gibson’s announcement that he wouldn’t be involved (because it would have to be retitled “Fat Max”), and his replacement by Tom Hardy.
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When my book “The Mad Max Movies” appeared in 2003, almost every person from the Australian film industry with whom I crossed paths excitedly whispered to me about their pre-production work on Fury Road. George Miller announced it was “going into production” thirteen years ago moreover, he related at the time that its central premise had “come to him while crossing a road” in 1987, and subsequently fleshed out in a “hypnagogic state” (David Lynch style!) during a 1996 plane flight. “Mad Max: Fury Road” has been in the works for a long time. The latest film in the Mad Max saga, which premiered in Cannes last May, will be screened as a special event during the San Sebastián Film Festival, where the FIPRESCI Grand Prix has been presented since its creation in 1999, to filmmakers like Jean-Luc Godard, Michael Haneke, Paul Thomas Anderson, Jafar Panahi, Pedro Almodóvar, Nuri Bilge Ceylan or Richard Linklater. In an open poll, 493 members of the International Federation of Film Critics, FIPRESCI, first nominated any feature-length work premièred since July 2014, and then chose among four finalists: Hou Hsiao-Hsien’s “The Assassin” (Nie yin niang), László Nemes’s “Son of Saul” (Saul fia), Jafar Panahi’s “Taxi” and Miller’s “Mad Max: Fury Road”. “You could have knocked me over with a feather! It’s lovely to have this great cohort of critics acknowledge our collective labours in this way,” he replied to the announcement. The Australian filmmaker will collect the FIPRESCI Grand Prix 2015, attributed by film critics from all over the world, during the opening ceremony of the 63rd edition of the Spanish festival, on the 18th of September. Following its worldwide success and critical acclaim, George Miller will receive a new award for his latest film “Mad Max: Fury Road”, at the upcoming San Sebastián Film Festival.