She was so fucking cool in the movie dude
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She was so fucking cool in the movie dude

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Furiosa's prequel will begin filming action scenes and particularly alot of bike chases in 3 weeks.
Some of the familiar Fury Road vehicles are likely to return as they have been spotted on the move recently.
Thinking about how many reviewers at the time pointed out that Immortan Joeās water distribution system wasnāt just inefficient, but bafflingly, illogically so.Ā More and more it becomes obvious that was always the point.Ā
By Tim Pelan I just watched āMad Max: Fury Roadā again last week, and I tell you I couldnāt...
This is the most ridiculous, mind-blowing resource you could ever want. Thereās even a second of the 2002 script. Itās so strange to read - itās like a parallel universe Fury Road. Thereās enough that it still feels like coming home, but so much is different is just feelsā¦.weird.Ā
Happy 5th birthday, Fury Road.Ā
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Names and naming
Mad Max Fury Road is full of names: weird, inventive, evocative names. But it also uses them brilliantly. Thereās so much information packed into what names are spoken, when and how.
Names and titles are a classic way of revealing hierarchy. Joe is named repeatedly, and each time it shows his relationship with the person naming him. Nuxās āImmortan! Immortan Joe!ā is all about his godlike status. The Organic Mechanicās āJoeā is deliberately casual, not actively disrespectful but certainly not worshipful.Ā
Then thereās the ongoing tension in what Joe calls Angharad: āSplendidā most of the time, reverting to her proper name at moments of stress, when he really needs her to listen. In the canyon scene, he goes from āSplendid, thatās my child, my propertyā when heās trying to rebuke her to āAngharad! Get out!ā when he realises sheās at risk of hitting the rock. Ā Itās implied that she rejects āSplendidā ā certainly the other wives only ever call her Angharad. (More generally, the wives use each otherās names simply, to get each otherās attention: I donāt get any sense of hierarchy from it.)
Other names are hardly ever spoken. Furiosa doesnāt call the wives anything. Charlize Theron has said this was because she is trying not to get emotionally attached.
On screen, Furiosa explicitly uses names to form connections. When she asks for Maxās name, itās a deliberate attempt to achieve emotional engagement, because she needs him on side. And itās rare for her: not only does she not name the wives, she doesnāt use the war rig crewās names, either. In a movie that keeps its dialogue sparse, every word counts - and every omitted word counts, too.
Within the Citadel hierarchy, war boys donāt get named by anyone but each other. āIāve got a war boy, running on empty,ā says the Organic Mechanic.Ā An imperator later uses exactly the same phrasing to introduce Nux to Joe: āIāve got a war boy, says he was on the war rigā. It suggests that, from the top of the Citadel hierarchy, war boys are seen as interchangeable. One describes Nux as if he were a machine; the other - āsays he was on the war rigā - implies his lower status, framing his evidence as hearsay. Itās clearly a huge honour for Joe to ask Nux his name. Itās also the only time we see a Citadel full-life acknowledge a war boyās name.Ā Ā
War boys in this film are both abusers and victims - terribly fragile, desperate for attention from the powerful class that exploits and uses them, not questioning its values.Ā They go unnamed by their superiors, but they name each other as often as possible: āMorsov!ā āSlit, whatās happening?ā Though Nux shouts āCrew, out of the way!ā at Ace - maybe they donāt know names beyond their own crews, or maybe he just doesnāt recognise Ace from behind.
They use names to encourage each other. Just look at the way they all shout Morsovās name before witnessing him.Ā āWitness meā is a plea for affirmation: see what Iām doing, make it mean something. Witnessing is an act of performative masculinity - I liked @bookishandiās post on witnessing Nuxās death. But itās also framed as an act of mutual support (which I think is why itās taken off so much in fandom). Ā Morsovās death - which is really the viewerās introduction toĀ āwitnessingā as a concept - is part of a scene that shows us the war rig crew working smoothly together.
The exception is Slit, who tries to undermine his colleagues instead, shoutingĀ āMediocre, Morsov!ā rather thanĀ āwitnessā, or telling Nux that Joe wasnāt looking at him,Ā āHe was scanning the horizonā. And of course Slit is the most insecure of the lot, begging for any scrap of attention:Ā āI got the blood bagās boot! Take me, I got his boot!āĀ Ā
Imperators, and others from the Citadelās powerful classes, are clearly known by their names.Ā āFuriosa, she took a lot of stuff from Immortan Joeā, for instance. Thereās no sense that war boys give this recognition to anyone not at the top of that hierarchy. The war boy who tells Nux about Furiosa talks about the wives as things -Ā āstuffā,Ā āprize breedersā. Nuxās own reaction to the wives -Ā āso shiny, so chromeā - sees them as objects rather than people. And of course he goes on calling MaxĀ āblood bagā, even when he thinks theyāre on the same side. Itās not a conscoius insult; it clearly doesnāt occur to him that Max might mind - any more than Nux minded the way the Organic Mechanic or the imperator talked about him.
Then thereās the scene when Furiosa greets the Vuvalini. Hereās what she says:
āI am one of the Vuvalini, the Many Mothers. My initiate mother was K.T. Concannon. I am the daughter of Mary Jobassa. My clan was Swaddle Dog.āĀ
This is a speech proving her identity, but how she does it is so revealing. She doesnāt use her own name at all. Instead, itās all about a web of relationships, of connections, the ways in which she belongs. (Sheās also proving that she belongs by demonstrating knowledge of Vuvalini society.) She lists her initiate mother before her birth mother ā her place in the community before her lineage. Her tenses are interesting, too. Her clan was Swaddle Dog ā sheās left, the clan may no longer exist, sheās talking about the past. But when she talks about being Vuvalini, itās āI amā. Ā Even though sheās asking for recognition, it has none of the war boysā neediness ā sheās naming what she is, how she chooses to see herself. Sheās not seeking approval or affirmation.Ā
And though the Vuvalini team work is smooth, they do it without shouting names ā to the point where most of the Vuvalini characters donāt have names at all (which is very unhelpful for fandom, George). Citadel naming is intensely hierarchical, about who does, and doesnāt, get respect. Vuvalini naming is about community, identities built up through choices and relationships.
Of course, the filmās most powerful naming scene has nothing to do with the Citadel or the Vuvalini: itās Max telling Furiosa his name. (OH MY HEART.) Itās the conclusion of Maxās emotional arc, his return to being a human being: accepting a name, accepting his own identity. Crucially, he accepts it by sharing it. Throughout the film, names are meaningful because theyāre how people connect with each other. In the āMy name is Maxā scene, we see Max choosing to do that. Engage to heal.Ā
Mad Max: Fury Road Premiere at the Cannes Film Festival, 2015
You are witnessed, @quentinkenihan. Thank you for everything.
ZoĆ« Kravitz for Harperās BAZAAR (2018)
Some subtle but nice things about Mad Max I just noticed:
None of the people, including the villains, call Furiosa a ābitchā for all I can remember, which is a common thing for movie villains to say to a female protagonist. The villains only call her a traitor. None of the people in this movie use a characterās gender as an insult. This is great.
I think the director not only didnāt sexualize the female characters, he also set up an terrible yet interesting world where sexualization is probably too much a luxury to even exist.
Take the wives as an example, they are called pretty and precious by Immortan Joe and the War Boys only because they are not only fertile but also have no developmental deficiency, which is a rare thing in that world, not because they are, well, sexy.
Even though the wives are kept as āsexā slaves, and rape were involved, but they are not āsexualizedā both in the eyes of the audience and the movie characters. Not in a way āSlave Leiaā is sexualized in Star Wars anyway, which is obviously to please the male audience and the male villains.Ā
The wives are reduced to objects for their āfunctionsā, not because they are eye candies. Everybody else in the movie are objectified in the same, almost animal level kind of way: fertile female as breeder and milk producer (the scene is shot clearly not because āhoho male audience must love to see some big tittiesā, but to show mother milk is a precious nutrition source (which is true) only the high commanders can have); male as cannon fodders with short life span, their value not more than dogs; healthy captives and probably non-combatants as blood donor (Max was captured and forced to donate blood to the War Boys). Itās kind of like how we keep the cows for milk, oxes for steaks, and dogs to hunt. Thereās nothing āsexualā in it despite itās all about survive and reproduce. You can say everyone is fair in this terrible way.
And for an story angle, I think by letting the characters in the movie not dropping anyĀ āsexy babesā comments onto the wives (despite how easily thisĀ āsex slaves as breederā troop can be hella sexist), it really helps the audience not to focus on their sex appeal but on the fact that they are not treated as human, thus seeing them as human beings. It also shows the director really respects and put thoughts to those characters, not just eye candies in an action movie.
Iām not sure that it was that the world didnāt have sexualization, as that the sexualization wasnāt what Miller wanted to promote.
Iām pretty sure itās a directorial/authorial decision rather than something inherent in the world, given how the rest of the post also points out things attributable to storytelling choices rather than the world itself. The movie not only didnāt dwell on sexual violence but also didnāt use theĀ ācameraās gazeā in a sexual way on the wives (there were no lingering shots on breasts/legs/ass, there was just the prominent pregnant belly and the highlighting of the chastity belt). The belly, the belt, and the wives clothes highlighted that they were sexualized by the men in power, but the story itself didnāt reenact this violence on them.
And thatās, sad to say, amazing. This should be the norm but it isnāt; and Miller needs to just freaking make movies forever like I would legit give him some years of my life at this point if he would make more of these things.
The OP is mistaking filmmaker perspective for world perspective here. The wives are absolutely sexualized by the villains. You donāt dress women in those ridiculous gauze bikini getups unless youāre sexualizing them.Ā The gauze bikinis are in the movie, undeniable.Ā
Neither can you argue that the gauze bikiniās are in the movie for the benefit of a the movieās male audience.Ā Even when they are literally bathing together, we donāt see any water running down chests while the models arch their backs and run their fingers through their hair and sigh pleasurably. Instead we see a bunch of women perfunctorily rinsing off legs and feet, looking exhausted. When they see max, they take on fearful, closed off expressions, and project fearful, closed off body language.Ā
The movie makes it quite clear both that the villains went out of their way to sexualize these women, and that the filmmakers went out of their way to humanize these same women.
Moreover, the reason Imperator Furiosa is not sexualized by the villains is not because the men donāt objectify women, but rather because Furiosa has taken great pains to make herself genderless under their gaze.
From Entertainment Weekly:
It was Theron herself who unlocked the image of the androgynous warriorāa woman who has escaped the fate of other women by erasing her gender.
āI just said, āI have to shave my head,āā Theron recalls. Furiosa is a war-rig operator living in a place where all other females have been enslaved as breeding and milking chattel. But Furiosa is barren and therefore of no value to the despot Immortan Joe and his soldiers. She is considered worthless. āThey almost forget sheās a woman, so there is no threat,ā she says. āI understood a woman thatās been hiding in a world where sheās been discarded.ā [x]
The reason we donāt hear the villains using the overtly sexist and objectifying language weāre used to hearing in these kinds of movies is not because the villains areĀ āegalitarian oppressorsā who objectify all persons equally.Ā
Itās because their perspective is not part of the movieās narrative.Ā The movie is not told from the point of view of sexist men. The movie is not pandering to an audience of sexist men.Ā
This is a story about sexists, told by non-sexists.
I know itās a bit confusing, because weāre so used to seeing stories about sexists told by sexists. Weāre so used to sexism being portrayed in a certain way, that when itās portrayed in a different way, itās hard to recognize.
So let me clear something up ā when a man calls a woman a bitch in a movie, that is not the filmmakerās way of showing the audience he is sexist; that is the filmmakerās way of showing the audience that his sexist point of view is worth hearing.
Iām gonna say that again:
When a male character calls a female character a bitch in a movie, that is not the filmmakerās way of showing the audience the character is sexist; that is the filmmakerās way of showing the audience that the characterās sexist point of view is worth hearing.
fascinating read!
@lionessāhart
Excellent commentary by lierdumoa. One of the many, many, many reasons why MMFR will be in my top 3 favorite films of all time for⦠probably all time.
My personal favourite aspect of the moment where Max stumbles upon the wives bathing is because it is framed as an entrancing moment of desire - but not for the women. For the water. The camera focuses in on the flowing stream of the water just spilling freely onto the ground. The water, not the women, is the object. And thatās refreshing on multiple levels (pun intended).

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Not to brag, butā¦
I just met Jenny Beavan and am going to watch a panel on costume design at Industry Workshops in London. :3
Tried to be cool but itās hard when youāre around an industry great like herā¦
Thank you for sharing this, itās amazing!Ā Sheās so brilliant.
Before the Dirt - The Cars of Mad Max Fury Road on Behance by John Platt
More about Mad Max here.
On Fury Road and the value of non-threatening male heroes
So Iāve been re-watching Fury Road and something struck me;
Tom Hardyās Max is just really non-threatening. Now, thatās weird on a surface level because in story heās presented as very dangerous. But hereās the thing about the kind of men weāre used to seeing in action movie; They are threatening in their masculinity.
The capitol A Action hero is a fixture in our cultural awareness. Almost without fail this hero is a man (if you have a woman in the role of action hero, itās almost always proceeded by her gender. She canāt just be the action hero, she is very clearly cast as a FEMALE action hero.) So our male Action heroĀ is a badass. Heās dangerous, heās brooding, heās tough as nails. Sometimes heās sarcastic and witty, sometimes heās a moody stud. Point is, despite cultural changes that we see with our Action heroes as different pop culture trends change the flavoring, these men are all pretty much cut from the same mold. And hereās the thing about your typical Action hero; They have this underlying current of threatening masculinity. To put it bluntly, your typical Action hero is really all about cock. Theyāre intimidating to both their male peers and the women who are cast opposite them. They are toxic masculinity distilled onto our screens.
Now, in recent years weāve been seeing more varity in our Action heroes. More emotion. Of course, there have always been exceptions (Luke Skywalker is one of the most note worthy male heroes to break this mold, and I think itās worth noting that heās often called whiny. Hell, when I was a little kid I loved him, but as a young teenager I thought he was lame. Now I realize that this might well have been because he wasnāt acting like your typical male hero. Maybe that scared me on some level) Anyway, letās get back to Hardyās Max. In story heĀ starts out as frightening, but he is never threatening in the way of your usual Action hero. Heās feral, dangerous, and unpredictable at the start of our story, but he doesnāt have any of that toxic masculinity.Ā So, we have a mad Max who is dangerous, and seems mad, as it were.Ā But thereās none of that hyper male Action hero posturing.
Hardyās Max is a flawed man whose past has almost driven him past the point of no return. To the other characters in the movies he initially seems to beĀ feral (they donāt have the benefit of hearing his inner thoughts) Max is a frightening, but heās not a masculine he-man. In fact, the characters in the movie who fall close to what weāre used to seeing in Action heroes are the warboys and their leader. The culture espoused by Immortan Joe is hyper masculine and toxic. The young men who idolize him seem like extreme versions of what weāre used to with our heroes. Theyāre brainwashed into a society built on toxic masculinity and objectification, and the heroes of the story are the ones fighting against this idea. Interestingly, Furiosa has a lot of traits of your traditional Action hero, but itās coupled with compassion and self reflection, not because sheās a woman, but becauseĀ sheāsĀ a person. Like Max, she is fighting to regain her humanity through helping a group of young women fight for their freedom from a world of toxic masculinity.
So, again back to Max himself. As the movie goes on he regains his sense of self. A big theme int he movie is the objectification and commodification of human life. We see this with Immortan Joeās āwivesā as well as with the brainwashed warboys and the use living humans as ābloodbagsā and āmilkersā Max starts the movie literally strapped to the hood of a car as a hood ornament/living blood bag.Ā Max is reluctant to help Furiosa and theĀ āwivesā at first, but we see him change in a brief period of time. HeĀ regains his humanity through helping others and coming to terms with his own demons. Hardyās Max is dangerous, but heās also vulnerable, undeniably so. We see his fear, we see what haunts him, and we see him struggle to survive, and then struggle to come to terms with his past in order to help others have a future. This sets him apart from Mel Gibsonās Max, and in my opinion makes him the better of the two. By the time Max starts really showing his human side, we see a man who is compassionate and half broken, a man who relearns himself by helping others.
Another notable aspect of Max is his relationship with Furiosa. Usually when your typical Action hero is paired with a STRONG INDEPENDENT WOMAN in a movie, thereās this ongoing dynamic of ābut youāre a girlllllllā There isnāt respect, because the heroes of the story are acting out the deeply felt internalized misogyny of our own society. They canāt interact as equals because in our cultural minds they are inherently unequal. They are defined by their rigid gender rules, and they act this out like theyāre children on a playground crying about cooties. And of course, thereās usually the sexual element, with the heroes constantly griping at/disrespecting one another while itās played off as repressed attraction all along.Fury Road never once does this. Max and Furiosa are two flawed and broken people trying to survive. There isnāt a split second where Max stops to wonder how a GIRL can be so tough. Once theyāre established as allies, they immediately move into a working relationship built on mutual respect and trust. Two scenes come to mind. Firstly, the initial canon chase when Max first shows himself as an ally. Thereās one notable moment where Furiosa is standing up out of the roof and Max hands her a gun. That doesnāt seem important, but thereās something about that gesture thatās very c cinematically important. It shows us that theyāre a team now, and it shows us that they trust each other. The second notable scene is the āDonāt breatheā moment in the night bog. Max has previously seen that Furiosa is a good shot. He knows that she is the one to trust with this task, so he hands her the gun and lets her use him as a rifle stand. Itās a moment with no dialogue that speaks volumes.
All of this goes to Max as a nonthreatening hero. He never objectifies, disrespects, or distrusts his counterpart. Heās never an alpha male. Heās part of a story that he doesnāt need to dominate with his manly male maleness. Hardyās Max is a dangerous, vulnerable, and quietly compassionate man who gives respect and trust where itās due. He has no need to parade and prove his masculinity. In fact, the people doing that are the villains, and isnāt that telling?
via INTERVIEW - MARK NATOLI, METAL MAESTRO ON MAD MAX: FURY ROAD
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Hardy Friday
Mad Max Fury Road
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Behind the Scenes
This movie should have been called āWhen Jake met Tomā. The beginning of such a beautiful friendship.
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āIām not a fighter. Iām a petite little bourgeois boy from London. I donāt fight, I mimic.ā