"I only have one question, it's 2022 Brett Michael Sloppy, Brett's putrid family, Misery Motorsports team, Patricia from MDR, Austin Fish Farner, Ryan Bonzen Lewis and the Bureau of Land Management Desert Director
HAVEN'T KILLED THEMSELVES???"
MONSTER MIKE
December 20, 2013 Final Crime Reporting, August 2010: 8 Innocents Die, "Blood and Bodies Everywhere". Desert Racing's Crackheads from today, 2022, were at the event and promoted it as
"it's just a race accident".
REMIND YOU OF ANY CHARACTERS FROM FURY ROAD???
RISE OF The Road Warrior, from Science Fiction Classic to desert motorsports 'DGAF' stereotype
CLICK HERE FOR THE ORIGIN REPORTING
HERE! Monday, July 11, 2022 High Noon
Monster Mike Reports
LOADING>>>
In 1975, this reporter attended a movie industry 'screener' for a new science-fiction film named, 'A Boy and His Dog'.
The Director, L.Q. Jones, walked throughout the theatre, before and after the film was shown. Answering questions and engaging with the interested film buffs, Jones was affable and informative.
What started out merely as an afternoon watching a new movie, turned out to be life-long phone tree to Hollywood and a supporter of really fun, hair-brained business ideas.
As time passed, the meanings of different films and business projects were hashed out, most often the subject was desert racing. Real life characters and unreal locations from Baja Mexico were often pitched as 'movie ideas'.
'The Bandito Brothers' and 'Dust To Glory' were mentioned as was the Mickey Thompson film project and many others. All the pitches to Hollywood, the failed and the success. One success.
One steel thread ran through time, how people were changing and how valuable the time that was left in front of us. Justus was clear as a clarion call about how the road warrior concept on screen had grown from his humble work that we screened in 1975.
The beauty of our mechanical universe, how little time we have to enjoy each other and time itself. Thank you L.Q. Jones.
THE Baja Racing News LIVE! ARCHIVES
FURY ROAD HITS THE BIG SCREEN
Insane ‘Fury Road’ Footage Debuts, Destroys
Fans & San Diego Comic-Con 2014
"My name is Max. My world is fire and blood. FIRE - BLOOD - OIL! BLOOD, OIL & GASOLINE". "UNREAL. Dirty, grimy, mean, WEIRD". "fire + metal + and death + craziness"
"It's a western on wheels"
x
While fan excitement was at a fever
pitch for Batman v. Superman, the footage at the Fury Road presentation
was among the most audacious shown at this year’s San Diego Comic-Con 2014 and had fans rapt in
silence.
Fury is Warner Bros. years in the making prequel to the Mad
Max movies from Australian George Miller. The last movie was
released in 1985 and all three of the projects starred Mel Gibson.
Moderator Chris Hardwick put
Miller on the spot when he joked about Gibson’s fall from Hollywood grace in
recent years. “Who knew that Mel would turn into Mad Max at one point," he
said. Miller was speechless. Then he
tackled the topic diplomatically.
“They have that eternal
tension," Miller said, referring to Gibson's charisma. " On one hand
they are entirely lovable and accessible. And on the other there is that
element of danger … It applies to every charismatic person.”
The new movie stars Tom Hardy
as the character originated by Gibson and also features Charlize Theron and
Nicholas Hoult. While the actors were not present, Miller did talk of the
journey to make a new movie.
Miller also showed an extended look
that featured desert vistas, elaborate and panoramic car chases, skull-drawn
characters with an assortment of Medieval weaponry, and an epic electrical
storm with tornadoes in which the heroes drive into while being chased. The
scenes were intense in their action and, most importantly, looked like
something audience have seen in a previous film in the series.
“It was very familiar,” said Miller
about returning to the Mad Max world. “A lot of time has passed.
Technology has changed. It was an interesting thing to do. Crazy, but
interesting.”
He called the movie work as “a Western on
wheels. Even if it’s in the future, we have gone back the more elemental
behaviors. More medieval. The setting is very spare and clear.”
It’s been a long, hard road to get to the long, hard road of “Mad Max: Fury Road” — but we’re almost there.
At San Diego Comic-Con, director George Miller and Warner Bros. brought the new “Mad Max” movie to fans, with some concept art and new footage that pulled the curtain back a bit on a film that’s essentially just one gigantic chase sequence.
“The story popped in my head and just wouldn’t get away, like an imaginary friend,” Miller said. “I love chase movies; I think they’re the purest form of cinema. That’s where the film language started. I wanted to make one long, extended chase, and see what we could pick up about the characters along the way.”
The “extended chase sequence” is on full display in the footage that Miller brought to Comic-Con. It begins with a long-haired Tom Hardy as Max, stomping on a lizard, then eating it. He hops in his muscle car and drives off into the barren desert — and before long, he’s captured by monstrous looking thugs, who take him to their lair, shave his hair off, tattoo him and chain him up — complete with a muzzle that looks almost Bane-esque. Except some “Fury Road”/”Dark Knight Rises” mash-ups come 2015.
The action picks up when Charlize Theron’s Furiosa and her band attack Max’s captors, instigating an insanely kinetic chase sequence with roaring muscle cars, exploding trucks, electric dust storms, flying bodies, and entirely unrecognizable and crazy performance from Nicolas Hoult.
At one point, muzzled Max, chained to the back of Hoult’s car, watches in awe as trucks and cars get swirled up into a flaming dust storm, exploding and sending bodies flying every which way. The shot is unflinching, the violence unforgiving; the scene seems to be on the edge of ending at every turn, but it just keeps going, getting more and more brutal and loud, until Hoult finally cuts the tension:
“What a lovely day,” he shouts. “What a lovely day!”
It’s just a taste of the non-stop action that Miller has in mind for “Fury Road.” He said that it was a “crazy but interesting” experience to go back to the world of “Mad Max,” but casting his three leads made the job much easier.
“People often say that 75% of your job is done as a director in the casting,” he said. “I was waiting for someone like Tom Hardy to come along; he has all the qualities. And Charlize, when you get to see the movie, there are certain dimensions of Charlize that fit the character of Furiosa. And the same, in many ways, with Nick Hoult.”
Miller said that he didn’t want to make “Fury Road” in a conventional way; as such, rather than writing a script, he first teamed up with co-writer and artist Brendan McCarthy to storyboard the entire film “as one long comic book; it was 3,500 panels. There’s not many words spoken in the movie. People only speak when they have to. I wanted to tell the story as best as possible in pictures.”
Even with new actors and new technology, Miller said that “Fury Road” calls back to the themes and tone prevalent throughout “Mad Max,” especially “Mad Max 2: The Road Warrior.”
“There’s no rule of law. There’s no honor,” he said. “People are just surviving. It’s like a Western: a very spare and clear movie. You can get away from all the clever.”
Here are 10 things more we learned about Mad Max: Fury Road from George Miller:
1. “Of course [Tom Hardy's performance] is based on the same character Mel [Gibson] played: the lone warrior in the wasteland, basically disengaged from the rest of the world. Naturally Tom brings his Tom Hardiness to it. The character is different, to some degree, because the story is different. Yes, it’s different, but no, he’s essentially grown out of the same material.”
2. “It’s a very compelling world to work with, because it’s allegorical. I think Westerns were basically what cinema grew up on, from the silent era on, because they were accessible elemental stories. That’s the attraction of working in this post-apocalyptic Mad Max world. Getting back into the world, it felt familiar in many ways, but also very, very strange. So much has changed. The technology has changed. We shot with digital cameras. You can do a lot more. You can now put cameras anywhere. I was able to get cameras where I never would’ve been able to with the first Mad Max.”
3. “We had a lot of the actors do their own stunts. When you see the movie, you’ll see them doing the actual stunts. We probably would’ve been criminal to do that in the old days, but now we can keep them safe with harnesses.”
4. “We are sort of doomed to repeat the whole history. We do change with information and so on, but…The Road Warrior was basically based on oil wars. Back in the early 1970s people essentially went to war over oil, and since then we’ve practically been fighting oil wars ever since. Now, in some places in the world, there are water wars, even in my own country. Well, there’s no war, but there’s a huge dispute over water and a financial crisis.”
5. “I didn’t want to tell the film with a lot of dialogue. It’s a world where people say very little. We basically have one extended chase where you discover the backstory of the characters along the way. A post-apocalyptic world allows you to make it very, very element. I like to call it a Western on wheels.”
6. “The movie is a chase. It’s very hard when people are chasing across the wasteland to write that in words; it’s much easier to do that in pictures. Because it’s almost a continued chase, you have to connect one shot to the other. The obvious way to do that was with storyboards [which is what they did first], then put words in later. I worked with three really fine storyboard artists and graphic novelists. We sat in a big room and instead of writing it down, we’d say, ‘So this guy throws a thunderstick at a car and there’s an explosion.’ You can write that, but exactly where the thunderstick is, where the car is, and the explosion, it’s very hard to get those dimensions, so we would draw it. We ended up with 3,500 panels, which almost becomes the equivelant to the number of shots in the movie.”
7. “Animation is much more thoughtful. Shooting movies is much like a sport. Making an animation is much more like writing about a sport. In the middle of a football game, I imagine you don’t have much time to think, so, like film, you’re just going out and shooting it. There’s also an exhilaration to it: it’s tough and, logistically, a bit of a military exercise. It’s tough, especially in the middle of a desert in the west coast of Africa. It’s pretty spare out there. We wanted to do this movie old school. It’s not a big CG movie. There’s CG in it, but, as I said, every stunt you see is real involving real people, often involving members of the real cast. That was a big logistical exercise, which brings with it a certain amount of anxiety.”
8. “It’s not super-reality, but it’s close to an imagined reality. They don’t have super powers. They can’t do anything against the laws of physics. Everything has to have a rigorous logic when you’re creating the world for people to believe it. When people get hurt, they get hurt. Charlize Theron’s character, Furiosa, has a mechanical arm. It’s more 19th century technology. She’s not a cyborg. Going back to WWI and pre-WWI photographs you see people with doozy mechanical arms and so on.”
9. “I didn’t want to do another Mad Max movie, because I had done three and I do have a lot of stories I want to tell. The story came to me over 12 years ago. I kept on pushing it away, but I find those stories that keep playing in your mind to be the ones you should pay attention to. I made a deal with myself if I could have the visuals come first and do it this way — with storyboards, not writing a screenplay — then I’d do it.”
10. “This is long history, but in the earlier part of the decade Mel Gibson was cast in the movie. We were about to shoot, but then 9/11 happened. That caused a whole lot of issues, not the least of which the decline of the American dollar. We lost a significant amount of our budget. At the same time, we had to move on Happy Feet, which took four years. By the time we came off that… it wasn’t the story of an old Mad Max, it’s a story about a younger Mad Max. I had to find a new Mad Max. Luckily, Tom Hardy came along.”
1. “Of course [Tom Hardy's performance] is based on the same character Mel [Gibson] played: the lone warrior in the wasteland, basically disengaged from the rest of the world. Naturally Tom brings his Tom Hardiness to it. The character is different, to some degree, because the story is different. Yes, it’s different, but no, he’s essentially grown out of the same material.”
2. “It’s a very compelling world to work with, because it’s allegorical. I think Westerns were basically what cinema grew up on, from the silent era on, because they were accessible elemental stories. That’s the attraction of working in this post-apocalyptic Mad Max world. Getting back into the world, it felt familiar in many ways, but also very, very strange. So much has changed. The technology has changed. We shot with digital cameras. You can do a lot more. You can now put cameras anywhere. I was able to get cameras where I never would’ve been able to with the first Mad Max.”
3. “We had a lot of the actors do their own stunts. When you see the movie, you’ll see them doing the actual stunts. We probably would’ve been criminal to do that in the old days, but now we can keep them safe with harnesses.”
4. “We are sort of doomed to repeat the whole history. We do change with information and so on, but…The Road Warrior was basically based on oil wars. Back in the early 1970s people essentially went to war over oil, and since then we’ve practically been fighting oil wars ever since. Now, in some places in the world, there are water wars, even in my own country. Well, there’s no war, but there’s a huge dispute over water and a financial crisis.”
5. “I didn’t want to tell the film with a lot of dialogue. It’s a world where people say very little. We basically have one extended chase where you discover the backstory of the characters along the way. A post-apocalyptic world allows you to make it very, very element. I like to call it a Western on wheels.”
6. “The movie is a chase. It’s very hard when people are chasing across the wasteland to write that in words; it’s much easier to do that in pictures. Because it’s almost a continued chase, you have to connect one shot to the other. The obvious way to do that was with storyboards [which is what they did first], then put words in later. I worked with three really fine storyboard artists and graphic novelists. We sat in a big room and instead of writing it down, we’d say, ‘So this guy throws a thunderstick at a car and there’s an explosion.’ You can write that, but exactly where the thunderstick is, where the car is, and the explosion, it’s very hard to get those dimensions, so we would draw it. We ended up with 3,500 panels, which almost becomes the equivelant to the number of shots in the movie.”
7. “Animation is much more thoughtful. Shooting movies is much like a sport. Making an animation is much more like writing about a sport. In the middle of a football game, I imagine you don’t have much time to think, so, like film, you’re just going out and shooting it. There’s also an exhilaration to it: it’s tough and, logistically, a bit of a military exercise. It’s tough, especially in the middle of a desert in the west coast of Africa. It’s pretty spare out there. We wanted to do this movie old school. It’s not a big CG movie. There’s CG in it, but, as I said, every stunt you see is real involving real people, often involving members of the real cast. That was a big logistical exercise, which brings with it a certain amount of anxiety.”
8. “It’s not super-reality, but it’s close to an imagined reality. They don’t have super powers. They can’t do anything against the laws of physics. Everything has to have a rigorous logic when you’re creating the world for people to believe it. When people get hurt, they get hurt. Charlize Theron’s character, Furiosa, has a mechanical arm. It’s more 19th century technology. She’s not a cyborg. Going back to WWI and pre-WWI photographs you see people with doozy mechanical arms and so on.”
9. “I didn’t want to do another Mad Max movie, because I had done three and I do have a lot of stories I want to tell. The story came to me over 12 years ago. I kept on pushing it away, but I find those stories that keep playing in your mind to be the ones you should pay attention to. I made a deal with myself if I could have the visuals come first and do it this way — with storyboards, not writing a screenplay — then I’d do it.”
10. “This is long history, but in the earlier part of the decade Mel Gibson was cast in the movie. We were about to shoot, but then 9/11 happened. That caused a whole lot of issues, not the least of which the decline of the American dollar. We lost a significant amount of our budget. At the same time, we had to move on Happy Feet, which took four years. By the time we came off that… it wasn’t the story of an old Mad Max, it’s a story about a younger Mad Max. I had to find a new Mad Max. Luckily, Tom Hardy came along.”
FURY ROAD ORIGINAL REPORTING CLICK HERE! CLICK HERE!
FURY ROAD EXPECTED IN 2015 RELEASE
FURY ROAD NEWS! CLICK HERE FOR THE UPDATE!
FURY ROAD WASTELAND WEEKEND! September 25-28, 2014 CLICK HERE!
SAN FELIPE 250 "FURY ROAD" CLICK HERE
Gary Newsome, Editor, Ensenada BC Mexico
Origin reporting by various AP writers in the US.
Monster Mike Reports
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