TAKING IT TO THE MAX
TOM HARDY GETS BEHIND THE WHEEL
Charlize Theron has said that there wasn’t really a script for Mad Max: Fury Road, that it was all in George Miller’s mind. How did that work?
He’d storyboarded the entire movie. I mean I’ve read comics, I like comic books. But I’d never seen a comic book like this, about 300 pages long. Every single frame of the film. Every frame. He had this film edited in his head long before we met him. So he didn’t have to download all of that information. There was a script. But it was wild, you know, because it changed every day. How detailed was his vision for the film?
Every single car is a character to George. You know, every single wheel. Every single prop is a meaningful prop. There’s nothing extraneous. If George could account for every grain of sand that flew through the window, he would have it do the same thing, the same way, again. He’d label that and bring it back. Because that was a very good piece of sand! Since your Max doesn’t rely heavily on dialogue, how did you develop his body language?
I always wanted to play him as a slightly old man in a cardigan that’s just had enough really. And he wants to go home and sit down with his dog and watch the telly. But he hasn’t got a home, and he hasn’t got a telly and he doesn’t have a dog. There’s nothing but silence, pain, and destruction. So he hasn’t spoken for a long time. It’s almost like this is Wile E Coyote [ laughs].