Inside George Miller’s 20-Year Quest To Make ‘Three Thousand Years Of Longing’, As ‘Furiosa’ Revs Her Engines DeadlineDisruptors + Cannes2022
. And there was a lot of pressure to go straight into another [movie]. In a way, things got chaotic with the studio going through changes of regimes, and I knew I really wanted to make this film regardless., I mean it only in the sense that it’s got way more dialogue than the very laconic. Most of that was shot on location in the deserts of Southern Africa. This one was shot basically indoors, with only a couple of outdoor scenes.
Obviously, you change quite a bit when you take on a story like that, so that was one of the things. I thought we should have her stay in that hotel.DEADLINE: There’s a huge curiosity to these characters; about each other and about the world. And the attention to detail suggests that you had no less curiosity for the history and mythology you were playing with here, everything from pre-Islamic folklore through to the effects of modern technology.
One of those little details, if you notice, is Prince Mustafa [Matteo Bocelli] is riding a white horse, and it has got a pink mane. That’s not just a fantasy of the designers. In many of the illustrations of that time, they dyed the horses’ manes pink. Right, so you learn that, and you put it in. The tiniest little things like that. Now, the unexpected nature of that, I believe might lend some subtle authenticity to it, just because it was there.
There was a documentary — that I didn’t see, but I read about — about how modern-day military based their language on World War II movies. I became aware that even in our social behavior, and even in our courtships and so on, those details are learned and absorbed. DEADLINE: How a film is received and interpreted is also a moveable feast, and audiences can read things into a movie that even the filmmaker might not have appreciated.I think that’s always the case. Ultimately, it’s a poetic medium, regardless of how didactic you might want to be. Even the best documentaries have an allegorical quality to them. And like all stories, they are always in the eye of the beholder. They are for whatever the individual members of the audience wants to take from them.
That said, if you try to close the narrative at every point and be very didactic about it, it becomes something else, and it’s not a story, it’s an instruction. The best example of that is that someone came up to Freddie Mercury at one point, very excited, and said, “I’ve figured out what ‘Bohemian Rhapsody’ means.” The person told him everything that he thought the song was about and Freddie Mercury said, “If you see it, dear, it’s there.
You’ll hear stories of people who say, “I read the script in a weekend, and we went out and shot it, and it’s fully and perfectly formed.” Well, if you really inquire about it, that weekend is the culmination of a huge amount of work; often a lifetime’s work. And that applies to all areas of design and creativity. There’s a very wonderful story about how Frank Lloyd Wright designed Fallingwater. He didn’t put pencil to paper until 45 minutes before the client arrived to see it.
DEADLINE: As you’ve gone on, have you been able to get closer, by the end, to that image of a film you hold in your head at the start of the process?As you accumulate some degree of craft and work with people that you worked with before, you can get pretty close to what you set out to do. That’s not to say that there aren’t surprises, both positive or negative, but you learn to adjust or adapt them into the process.
So now, I’m at ease of that. Every time I think I’m overthinking it, I just relax and say, “No, you’re just fueling your engine.” And once again, it applies to everything that one does where you’re attempting some degree of excellence. You think of a basketball player and the constant drilling from when they’re a child. Or a musician, and the hours upon hours of practice. Performers are completely surrendering to the instinct.
I can get upset about that as an old-school filmmaker. But if I do, I’m being very foolish, because it has always been so. When radio dominated and everyone would go to the cinema, it pushed aside vaudeville in the United States, and people went to the silent cinema. And then, when the television came, it was going to be a major disaster, and cinema, as we all know, reacted to television by putting on epics in Cinerama and stereo sound. It was trying to get a competitive advantage.
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