8/2/2023 0 Comments Mad max fury![]() You know, right at the last minute where we do the color grading and you can manipulate the image, we actually put a shake on the shot, and so as the gun goes off, it just shuddered.Īnd we did that right then and went, "Yeah, that's great!" And so we went through the film and thought, "Let's put shake everywhere." So we just made the film even crazier. Max grabs the gun, and he's pinned Furiosa to the ground, and then he fires the gun in the sand around her head. It was very well choreographed, so that made it a lot of fun. The fight scene between Max and Furiosa that was my first fight scene, and it was such fun to cut. So I would deliberately go through the film and try to keep them alive. When you've got a whole lot of stunts, you can just get caught up in the action of that stunt and forget about where all your main characters are. So if you cut meticulously that logic was, it was there, you know, it had been thought through already by a whole bunch of other people. We tried as far as we possibly could to help the audience understand exactly what was going on, but ultimately, there was a very strong logic behind a lot of those stunts. Well, you know, George is, he's big on this, so the audience can understand spatially what's happening and you know, where your eye is, where exactly you want the audience to look. On ensuring the audience didn't get lost in the action He might have intended something else, but this is what I feel about this footage." So you stay more objective. It's basically, "This is what the director shot. ![]() That's so you have no preconceived idea of what a scene should be. So I just basically looked at the material that I had in front of me and made sense of that. ![]() And the storyboards, occasionally I'd have the storyboards there, and think, "Oh, how does that fit there and how does that fit there," but it ultimately wasn't that helpful. Well, there was actually a script of some form, but it was actually really difficult to read. Margaret Sixel, winner of the EE British Academy Film Award for editing for Mad Max: Fury Road at the Royal Opera House on Feb. ![]()
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