‘Keeper Of The Seeds’
Sweet (equally bad-ass) old dame with her bag full of seeds from the Vuvalini tribe, played by Australian actress Melissa Jaffer.
Mad Max / Fury Road
Blood, seed and milk.
Of course i was gonna draw a fanart. I always liked original Mad Max movies, so i thought i know on what i’m going, but damn…. DAMN… not even close. Seriously, if you’re still somehow resisting the hype and haven’t see it, just GO. It’s dream come true.
So, can we talk about the very beautiful use of color in the night scenes? I feel there is a sense that they are traveling through the underworld in the marsh, which is echoed by the presence of the crows and the color pallet. But there is also this wonderful use of light that brings warmth when we see the characters connecting to each other in a human way.
Y e s. It’s thematically beautiful, and it’s also technically beautiful – my sound mixer friend saw this with his color corrector friend, who was apparently AWE-STRUCK over how good this blue was in these day-for-night scenes.
George [Miller] decided that he was kind of a wolf. A wild dog. There’s a transition for Max - he starts out as a beast, in the wilderness. Monosyllabic. Can’t talk. Doesn’t know his own voice. Hasn’t spoken for ages - apart from the voices in his head. He’s a creature. As he’s chased down, he’s feral. He then, on escaping his situation, and meeting Furiosa, slowly finds his voice.
Max is all about, from a character point of view, a man who has got a tremendous amount of trauma and horror in his life. Who just wants to be left alone. Who gets snatched up by somebody who makes him a part of their livestock. And all he wants to do is go home. But he doesn’t have a home.
Whatever he touches turns to death and sadness and just misery. So, in meeting the girls and meeting Furiosa, he just knows it can’t end well. Nothing is good and everything hurts out there, you know? And that’s exactly what Furiosa says, everything is painful. They’re very similar characters.
So of course they meet, of course there’s a relationship, an unspoken understanding. A recognition.
Tom Hardy, on the evolution of Mad Max and his relationship with Imperator Furiosa (x)
Tom hits on what is, to me, the most powerful thing about this movie—that it’s not just an ideology of overthrowing power. It’s about an ideology that empowers everyone. Men like Max have been ruined by a top-town patriarchy. They aren’t de-empowered by strong women; they’re upheld and embraced and allowed to be vulnerable, they’re recognized and treated as human beings.
Max finds his voice. He finds his voice! SOMEONE HOLD ME
(via bookshop)
This seems like an apt spot to drop a link to this article on The Heroic Masculinity of Mad Max, because YEAH
Furiosa isn’t the female action hero we’re used to. Furiosa doesn’t have a dad who taught her boxing or five brothers who taught her how to fix cars. Furiosa wasn’t a tomboy growing up, who preferred to play with the boys. Furiosa isn’t avenging the murder of her husband/brother/father or hunting down a rapist.
Furiosa comes from a community of women. She was raised by women. She works her way up through enemy ranks until she’s in a position to rescue women. Furiosa is here for women, she is here with women, and she is here because of women. Her rage, her ruthlessness, her courage – these are all things she learned from women, and from being a woman.
“What was great about this is that the luxury of a love story was not where we were, I mean they can’t even talk to each other. We never even talked about it - it was never there, no one said ‘maybe’, we never had to fight against it. It
was always going to be two warriors on par, starting off with very
little respect for each other and ending up with a massive respect for
each other.” - Charlize Theron (x)
MTV: So wait, the whole thing actually worked?
Gibson: You bet your sweet… George — unfortunately — doesn’t like things that don’t work. I have in the past built him props that I thought were just supposed to be props, and then he goes, “Okay, plug it in now.”
The first version of the guitar which — I think I put too much into the flame thrower, not enough into the reverb. And yes, the flame throwing guitar did have to operate, did have to play, the PA system did have to work and the drummers… Unfortunately, I did get practice in all positions and I’ve got to tell you, the drumming was very uncomfortable at 70 [kilometers] an hour, eating sand.
[…] George actually had the guitarist come over, fairly early on in pre-production in Africa. And so he had a month or six weeks of getting used to it, of actually being able to play at full speed, while bungee jumping and blind.
I THINK I PUT TOO MUCH INTO THE FLAME THROWER AND NOT ENOUGH INTO THE REVERB