Production:
1. Mad Max is part of a franchise.
2. George Miller directed the film.
3. The 3D camera rig had to be small enough to go through the windows of the truck.
4. The desert location and shooting conditions required the cameras to be waterproof and dust proof.
5. A raft of cameras would be needed because Miller did not want to be delayed by a simple lens change.
6. All digital cameras with high data rates and on-board processing generate a lot of heat.
7. An active cooling system was required which added more complexity to the system.
8. It was Seale's first digital film that he had ever done and it was at short notice.
9. The initial approach to shooting Mad Max was based on a single camera philosophy- the idea that somewhere on the set is a single perfect spot for the camera to record that scene.
10. The camera philosophy stretches back to Polanski, Kubrick and others, but not one Seale was used to.
11. Seale believes giving the editors the option to cut on finer points of performance gives them flexibility and power.
12. The film used multi-camera shooting which compromises lighting.
13. The contrast range between the interiors and the harsh desert exteriors was a challenge for the cameras.
14. Seale was limited in balancing the windows because of action that would take place through the window frames.
15. The switch to 2D shooting was a major shift in approach, making the shoot much more straightforward, but loading post-production with a 2D to 3D conversion.
16. They made no consideration for 3D post at all during our 2D shoot.
17. Seale had the 11-1 zoom on what he called the paparazzi camera.
18. The single cameraapproach was eroded in practice.
19. Seale tested Canon 5Ds and ran them past the visual effects department.
20. The film had to be delayed after the beginning of the Iraq War.
21. Mad Max: Fury Road was to be released thirty years after the last film, Mad Max: Beyond Thunderdome.
22. Constant weather delays and location issues caused the film to be delayed more than once, including cold when it was supposed to be hot, and vice-versa.
23. Charlize Theron shaved her head for her role of Furiosa, and had to wear a wig for A Million Ways to Die in The West.
24. The film was shot in sequence, which is rare, and the storyboards were completed before the script.
25. It was going to be a 3D CG animated movie.
26. They finished shooting back in December 2012.
27. Three weeks of additional shooting was set to begin November 22nd, 2013.
28. Filming was delayed twice.
Post-production:
29. Film Editor Margaret Sixel was given over 480 hours of footage.
30. The final edit ran 120 minutes and consisted of 2700 individual shots.
31. One bad cut could ruin a moment.
32. The most popular editing tendency for action scenes and films over the last 10 years has been the “Chaos Cinema” approach.
33. By using “Eye Trace” and “Crosshair Framing” techniques during the shooting.
34. The editor could keep the important visual information vital in one spot.
35. Almost every shot was center framed.
36. Over the walkie talkies during every scene Miller could be heard saying “Put the cross hairs on her nose! Put the cross hairs on the gun!”
37. Miller wanted to protect the footage for editorial and to ensure that the entire high speed film would be easily digestible with both eyes and brain.
38. Every new shot that slammed onto the screen had to occupy the same space as the previous shot.
39. Margaret Sixel could amplify and accelerate scenes.
40. As they prepared to shoot the film, George Miller had no script.
41. Miller did have over 3500 storyboards created by Mark Sexton.
42. The Studio of course asked for a script and George said there wasn’t one.
43. It has taken him more than 10 years to get the story mapped out with this precision.
44. Rumors flew that Charlie Theron and Tom Hardy, who plays Max, did not get along at all, and that Theron got to the point of not even speaking to Hardy on set.
45. Liam Fountain auditioned for Max but lost the part to Tom Hardy.
46. The film was shot in sequence.
47. Over 80% of the effects seen in the film are real practical effects, stunts, make-up and sets.
48. Originally, Mel Gibson was going to have a role as a drifter in the film, but this never came to fruition.
49. The final chase sequence was also one in which The Third Floor delivered previs, under previsualization supervisor Glenn Burton.
50. It was also important that the cars did not exceed a given speed so that the action depicted would be true to what they could legally and safely shoot.
51. The film was going to be produced in Australia but the rain prevented that.
52. A combination of real photography in Namibia of various cars and additional greenscreen and stage shoots was combined with CG car take-overs, digital doubles and complex fluid and dust simulations by Iloura for the storm.
53. Additional VFX elements were shot to help tie pieces together and provide for more foreground dust.
54. On location in Namibia, production approximated where the twisters in the toxic storm would be located.
55. Iloura applied that real world behavior to digi-doubles of the War Boys in rag-doll sim software Endorphin.
56. The nighttime sequence was actually filmed in the Namibian desert in bright daylight, but was then transformed into a blue environment.
57. The previs had to carefully track where everyone was at a particular beat and help work out the transitions so the characters would be at the right place at the right time during the final chase scene.
58. The final twisted mix of vehicle pieces, metal and bungie-corded guitar that fly towards camera were largely practical effects.
59. Jackson even engaged Eric Whipp’s iPhone at one point to film extra elements.
60. The crew spent six-months in the Namibian desert.
Pre-production:
61. The studio has assigned producer Denise di Novi to supervise the ongoing production and report any further problems.
62. Miller has a history of going over budget.
63. Much of the expense attributed to the road-ripping vehicles and the creative, but savage weaponry that appear in the film.
64. 3D shooting rigs developed for the film were scrapped.
65. Warner Bros. demanded a script during the pre-production stage.
66. Peter Jackson’s WETA handled visual f/x, makeup and costume designs for Fury Road.
67. Production on Mad Max: Fury Road stalled.
68. Hardy and Miller, have been working on a way to establish a human story within the action-filled movie.
69. Hardy’s focus and determination to create a character is what will elevate Mad Max.
70. Hardy and Miller worked on a way to establish a human story within the action-filled movie.
71. The cast were chosen in 2009, including Tom Hardy.
72. Warner Bros. and Miller agreed to a full 12-month delay so he could continue work on Happy Feet 2.
73. They had to restart pre-production due to the delays.
74. Tom Hardy took over the iconic role from Mel Gibson.
75. Reasons behind additional filming were unclear.
Marketing:
76. Fury Road repeated its No. 1 position on the strength of a slightly lower estimated $7.5 million spent on 957 national airings across 42 networks.
78. The film’s marketing kicked into gear at SDCC, when Warner debuted a several-minute sizzle reel, a condensed version of which made it up online a few days later.
79. The first teaser debuted on December 10th of last year.
80. There were four television spots that each offered a token glimpse.
81. Due to years of delays and cost overruns, Mad Max: Fury Road ended up costing $150 million to produce.
82. The three original Mel Gibson films are cult properties without a lot of pull with general audiences.
Distribution:
83. Digital pirates have been more active in swiping illegal copies of top Hollywood releases this summer compared to others.
84. Mad Max was one of the most pirated films.
85. In the U.S., box office revenue was the second-best on record, after 2014 hit a seven-year low.
86. The top five movies pirated globally piracy also performed well in theaters.
87. Mad Max generated $374 million at the box office worldwide.
88. Mad Max had 22.90 million shares on torrent networks.
89. Mad Max remained on top of both national home video sales charts for two consecutive weeks.
90. Fury Road generated 48% of its second-week sale from Blu-ray Disc.
91. Mad Max was the top of the Top 20 Nielsen VideoScan First Alert chart for the week of 9/13/15.
92. In Variety Movie Commercial Tracker Mad Max beat out “Hot Pursuit” for the title of top-spending movie of the week.
93. The vast majority of that spending targeted the NBA Basketball playoffs.
94. Just under $1 million was dedicated to placing ads.
95. 'Hot Pursuit' dispersed their spending more.
96. 'The Age of Adaline' sold remarkably well, moving more than 57% as many units as “Fury Road” did in the latter’s second week of release.
97. 'Jurassic World' followed Mad Max with the amount of money generated at the box office and shares on torrent networks.
98. Max Max had 1.75 million pirated downloads over summer.
99. The five most pirated film, led my Mad Max, were downloaded on torrent networks worldwide 85.34 million times, according to piracy-tracking firm Excipio.
100. One reason for the piracy uptick may simply be that Hollywood released more popular movies this summer. In the U.S., box office revenue was the second-best on record.
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