Mad Max: Fury Road is a frenetic, seething, almost enraged film. Normal, it has no less than 2,700 shots in barely two hours which follow one another at full speed. For the new opus of the saga, Furiosa screened at the Cannes Film Festival, it’s exactly the same idea. Because this speed has become the trademark of Australian director George Miller – he even made it a “criterion” confides John Seale, cinematographer of Fury Road.
To generate this ultra-fast pace, the film operates in different ways: time-lapses, very short shots, jerky images giving an almost stroboscopic effect… All of this contributes to making the saga totally addictive. Including for Furiosa.
But how can you maintain such a frantic pace for a hundred and twenty minutes of film without losing the viewer along the way? The world explains the recipe for making Mad Max: Fury Roadthanks to the lighting of John Seale, cinematographer of the film, and Vashi Nedomansky, passionate editor, member of the American Cinema Editors.
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