And yet it would take two decades for “Fury Road” to reach cinemas. (The film’s designers, several of whom would win Oscars for “Fury Road,” loved this approach the actors, not so much.) Ideas flowed freely. Miller recruited co-writer Eric Blakeney, comic book artist Brendan McCarthy and illustrator Peter Pound as collaborators, and the brain trust got to work immediately, creating a 3,500-panel storyboard in place of a traditional screenplay. Miller asked himself: “Can you tell an entire story on the run, and how much of the backstory can you pick up on the way?” (As in the equally grim dystopia of “The Handmaid’s Tale” – a novel published the year “Mad Max Beyond Thunderdome” hit theaters – their fertility would doom them to servitude.) Exposition? Banned.
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From there, his eclectic filmography swerved from the frantic adaptation of John Updike’s “The Witches of Eastwick” to the somber medical drama “Lorenzo’s Oil” to the children’s film franchises “Babe” and “Happy Feet.” By the mid-1990s, Miller was mulling a proposal to turn “Mad Max” into a syndicated TV series.īut a 1995 brainstorm set him to dreaming instead about the most frenetic and formally daring “Max” feature yet: a feature-length chase wherein the objects of pursuit would be five young women who had escaped enslavement. Miller was an emergency physician before he pivoted into filmmaking with the three initial “Mad Max” entries circa 1979-1985, making an international star of young Mel Gibson in the process. The Thunderdome that “Fury Road” navigated on its way to the Academy Awards and cinephile Valhalla was not made up merely of familiar blockbuster stumbling blocks such as swollen budgets and tender egos, but by actual wars, natural disasters and palace intrigue at the studio covering its payroll. The story begins long before and continues long after the movie’s grueling 2012 location shoot in the southwest African nation of Namibia. Juiced up from reporter Kyle Buchanan’s 4,600-word 2020 New York Times feature, “Blood, Sweat & Chrome” offers a candid, sometimes contradictory and always compelling examination of the most unlikely big-budget cinematic triumph since “Titanic.”Īssembled from more than 130 interviews with “Fury Road’s” makers and notable admirers, Buchanan’s book is a chronicle of near-miraculous creative, diplomatic and financial perseverance on the part of co-writer/producer/director George Miller, whom Buchanan dubs “The Visionary” in his dramatis personae. So, it’s fitting that the most comprehensive look yet into the franchise’s crowning achievement – 2015’s “Mad Max: Fury Road” – takes the form of an oral history.
The latter three films in the loosely connected “Mad Max” saga are set in a bleak future when the oral tradition is dominant, and more advanced forms of record-keeping have, like every other comfort of civilization, been blasted into dust.
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