George Miller is a storytelling master with a unique process. Here's a few interviews, hints and tips, and script writing resources I've picked up during his press run for Furiosa: A Mad Max Saga (and a bit from Fury Road).
To see my writing resources for BBC's Inside No. 9 click here.
The Scripts
Scripts Sourced from TheScriptLab
Mad Max: Fury Road
Mad Max 3: Beyond the Thunderdome
Interviews with George Miller
QUOTE(S):
“I often say to my family; If I’m in a nursing home, in a wheelchair, and I’m staring out into the distance, I can guarantee you there’s a little movie playing in my head somewhere.”
BAFTA GURU: Note To Self
QUOTE(S):
"When I read Dick King-Smith book The Sheep-Pig [which became Babe], I saw immediately it was a classic hero myth story."
QUOTE(S):
"we had to (write Furiosa’s story) because (Fury Road) happens over three days and two nights, and you have to pick up all the exposition on the run. And all those of us making the film; the designers, the writers, the actors, everybody had to be working basically with the same organising ideas. So, we wrote Furiosa after we wrote Fury Road. Fury Road kept on being delayed so we had the time to be able to write this story"
QUOTE(S):
"About 12 years ago, I was on a long flight between Los Angeles and Sydney and the movie Fury Road came up and played in my head.”
QUOTE(S):
"One of the things that keeps me doing it is that you tell a story, you bring your best instincts and skills forward into the process, and you tell the story, and then you push it out into the world to see what people will make of it.”
Articles
"A passionate believer in cinema as a visual medium, Miller wanted to forgo a conventional script, and instead draw “Fury Road” as a series of detailed storyboards, a screenplay in images.”
“It’s a tale of damaged souls and Darwinian selection, told with monster trucks, battle zeppelins, and hot rods mounted with turbo-aspirated V-8 engines. It’s about how children learn to navigate the world, Miller has said, and how character is revealed in extreme situations.”
"Max was kind of an aberrant version of the classic hero. A movie is a whole-body experience. You experience it in your viscera, in your emotions, cerebrally. But you also experience it anthropologically, in the way you come to the cinema spiritually—that ineffable stuff which is underneath a film—and mythologically, which is ultimately one of the most important. That’s what I have come to realize; you have to tick off all the boxes in some way.”
"There has to be a backstory to that, and it’s not just frivolous. It’s the only way to keep the thing coherent.”
"We had quite a large room, and the storyboards accrued all around it. We ended up with three thousand five hundred panels. They were very fleshed out; you could follow the whole sequence of the movie.”
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