First Official Look + Images for Mad Max: Fury Road!

[BRC1974]

so Max can communicate with Furiousa?

[Taipan]

Seems like that post-apocalypse is a bit more high-tech than we thought.

[Taipan]

Possible explaination:
"Cars are being picked up and flung around in all directions, and there is lightning going everywhere, with cars bursting into flames. The goggle-wearing guy driving the car that Mad Max is stuck on the back of opens all the hoses in his cockpit to flood his car with gasoline, while he says this is a lovely day. And Mad Max sees this and gets pretty alarmed — especially after they guy lights a flare and sprays silver paint all over his mouth. Mad Max punches through the glass of the car (which he's still chained to) but it's too late.

Mad Max is thrown in mid air as the car collides with another one, and soon everything is on fire.""

Max 3.jpg (283.23 KiB) Viewed 2805 times

[biolumen]

With 16 lines of dialogue, I don't think there will be much communicating. With words, anyway. I'm sure the earpiece will make perfect sense within the context of the story.

Taipan, I thought the upside down backround had a more subtle meaning, like reflecting how upside down the world is, but you are probably right.

[Mad_Diekhoff]

Maybe the earpiece is from the police uniform. Modern cops have those alot now although I don't know why he would have a reason to keep it since dispatch obviously collapsed years ago.

[Taipan]

To put it into perspective:
Arnold Schwarzenegger had more lines (18) in Terminator than Tom Hardy in Mad Max.

[Mud Guts]

Kurt Russell only spoke a total of 104 words in Soldier but was on screen 85% of the time.

The film went straight to video in the UK!

[Taipan]

Thankfully the number of lines isn't indicative of the quality of the movie.

[biolumen]

Bring The Mayhem: 4 New Character Posters of 'Mad Max: Fury Road' Released; New Footage Wows Comic-Con

NEWS BY DREW TAYLOR
JULY 26, 2014 4:29 PM

If there's a "winner" so far from Comic-Con, it's WB's "Mad Max: Fury Road" which utterly awed San Diego audiences this afternoon in Hall H. Four new character posters have been released. Here's our inside Hall-H report.

Shortly before the Warner Bros. panel in the cavernous Hall H at Comic Con, we were handed a T-shirt that said "Comic Con 2014 Belongs to the Mad." After seeing the panel for "Mad Max: Fury Road," we wholeheartedly agree with the sentiment. Director George Miller was on hand, along with a special video message from Charlize Theron, but the real excitement came in the form of the footage that was screened – a mind-boggling mix of practical and computer generated effects, with car chases the likes of which that have never been captured on screen before. This is some next-level, fire-breathing, post-apocalyptic mayhem.

When moderator Chris Hardwicke asked Miller why he wanted to return to the sun-bleached landscape of "Mad Max," Miller said: "The story popped into my head and just wouldn't go away. Like an imaginary friend. I love chase movies, I think they're the purest form of cinema. That's where the film language started," Miller said. "I wanted to make one long extended chase and see what we can pick up from the characters and story along the way."

(Charlize, in a pre-recorded message, said: "To work with George Miller is like being told you won the lottery. The idea of working with a filmmaker like George and attempting to re-imagine this world, for me as an actor, felt like such an opportunity.")

And when the footage for the movie was screened, this was pretty much confirmed. Over footage of a vast desert landscape, Tom Hardy, as the new Mad Max, narrates: "My name is Max. My world is fire and blood." A two-headed lizard, evocative of some kind of high-powered radiation, skitters towards Max – who is all bedraggled and hairy. His typical post-apocalyptic S&M gear looked tarnished and ragged. Max is engaged in some kind of chase, and captured by a scary man in a white gas mask that's painted like a skull. Nicholas Hoult is in white face paint, dressed like someone from the Mexican Day of the Dead celebrations (at one point he sprays silver metallic paint into his mouth).

The heathens that capture Max tie him to the front of a car and start driving towards a swirling dust storm – it's like something from the Dust Bowl but mixed with some crazy phantasmagorical weather formation. Lightning bolts shoot down from the sky and smack into the earth with a thunderous clap. Charlize is driving some kind of tanker truck, full of some unknown liquid (we've heard that it's not gas…) Cars crash into each other and debris flies around. It looked insane; a cacophonous, almost indescribable level of raw violence and, of course, fury. The idea that Miller wanted to do a pure car chase movie and get narrative and character details out through that chase very much comes across; there is barely any dialogue uttered and most of that dialogue is interspersed with grunts of exertion. This is a post-apocalyptic world, bleak and unforgiving, more heightened and bloody than anything that had come before it. It looks like all the pain they went through making this movie ended up on screen in a big, big way.

When it came to the design of the vehicles, Miller was guided by two principles. "We had to say to the designers: 'You can only base it on real vehicles and only things likely to survive,'" Miller explained. "So things with too many computers and so on wouldn't survive. So that was the rule that we used when it came to the vehicles."

Someone asked Miller what the movie was like, tonally, and he said that it was closer in spirit to the sequel, "Mad Max 2" (known here as "The Road Warrior"). "It's closer to 'Mad Max 2,'" Miller said. Then he elaborated: "Simply because it happens over a short period of time, over a few days, and it's an extended chase. And tonally that's more what Mad Max 2 was." (And the footage also reiterates this.)

Of course, Mel Gibson was also brought up, with moderator Hardwicke saying that he essentially turned into Mad Max. This was something that Miller took in stride. "We all ask the question – what is charisma? Part of that is they have that internal tension," Miller said, in regards to working with Gibson. "On one hand they are extremely lovable and on the other hand, there's a little bit of danger. I'm simplifying it." He said that Hardy shares the same tension that made Gibson such a wonderfully combustible Max: "Tom has that quality. He's extremely lovable but also has a quality that's like watching a big wild animal – you don't know what they're going to do next. I've been lucky."

And while it's been decades since Miller last engaged with Max and his bloodthirsty ilk, in many ways Miller feels very connected with that original mindset. "What happens is, you really put your skills and wisdom into your work. And I hope I've matured. I am one of those people who is quite fascinated by how the world evolves – some of it is involving and some is quite scary," Miller said. "I look back at the old films and I can barely remember how I understood how to make them." It all came back to him when he got back onto "Fury Road," when he was thrust back to that primal place. "When I got to this movie and you go out there for over 100 days crashing vehicles in the African desert and you kind of lose yourself and are working off instinct and gut."

When "Mad Max: Fury Road" burns rubber onto the screen next summer, it promises to transport audiences to a place at once familiar but also totally new. Max is a character who seems even better suited to today's fucked-up world than ever.

http://blogs.indiewire.com/theplaylist/ ... s-20140726

[TheDarkOne#1]

Max 1.jpg

Full: http://www.madmaxmovies.com/forum/downl ... hp?id=3023

So with this new close-up off theron, does the mechanical arm look like something that could've been bodged together in a post-apocalyptic world? Some people commented before about it looking/being too high-techy.

Hardy's costume looks like a hybrid between the MM2 & MM3. Can't wait to see more pics or even a bit off footage.