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MAD MAX 4... yeah... but not quite yet

Hey folks, Harry here with a pair of reports telling us exactly where the state of production is currently at. Apparently that Australian Newspaper got their story all wrong and jumped the gun... However, we have a report stating where the film is at... what is going on and so on. Plus another report from allegedly inside production... I imagine that there is quite a bit of Storyboards and Animatics at work in the pre-production world of MAD MAX 4... and God, wouldn't ya love to lay hands on those storyboards?

Hey Harry,

This ran in the Encore online newsletter today, Encore being the Australian trade mag.

If you run this, please credit me as 'Rasputin'.


Miller still writing 'Mad Max 4'

by Annette Madjarian

Writer/director George Miller is still in the process of writing Mad Max 4 and will continue to do so for some months yet, according to his office, despite claims production was currently underway.

Miller's assistant Belinda Johns this week quashed reports that production had begun on the latest Mad Max instalment.

"George is still writing the story, so nothing is for certain yet, but when it happens, it will happen quickly," she said.

It's not known whether Mel Gibson would take the lead role in the film - there have been reports he may join as a producer.

It's likely the script will be completed by the end of the year, with shooting expected to begin early to mid next year at an unknown location.



Harry here... alright, so the script isn't done, but George is still hammering out the film... Well our man, OrsonWelles, a rather inconspicuous fellow... was lurking about and making dangerous friends in Sydney and came up with this story about the production... A story that seems to jive with the above state of production. Oh yeah baby, Like MAD MAX 2... that's what I want to hear... Mythic Badassness! Oh yeah....

Hi there. About five years ago I submitted, to coming attractions, a piece about a friend of mine working at Kennedy Miller here in Sydney. They didn't use it but basically it was that my friend had told me that Brendan McCarthy was down here doing production designs for Mad Max 4, strange cars and villages etc. About a yearlater the same story showed up on their site credited to someone else...

Anyway with the recent talk of MM4 I can tell YOU that another friend of mine is working on the project and says a freelance storyboard artist who has worked on Episode 2 and Matrix Reloaded has been working non stop for Miller for the last year story boarding this movie.

He confirms Brendan McCarthy's presence here in Oz and also tells me that Mel himself has had a few sit downs in the offices back when he had a shaved head for some reason. He comes in from time to time to check on the progress of the project. (Apparently he fidgits a lot when talked to, and likes to put his feet on the desk.) My friend also tells me that there is no script as such for MM4 and that they are working off storyboards. George plans to make a very visual movie and he plans to get the series back to the feel of Mad Max 2 (The Road Warrior). He couldn't tell me any of the story or even confirm whether Mel has signed, only saying that he is interested.

And that's about all I know. Except this tidbit in the mid eighties there were plans to make a Mad Max TV series starring Aussie actor Jon Blake (The LightHorsemen) but then Blake had a car accident and has been hospitalised ever since. The US networks found themselves with a hole in their schedule and had to scramble to find a replacement and so Knightrider was born. It always bugs me that if Blake hadn't had that accident we might have been spared Baywatch.

Anyway that's everything. Use it or not I don't care.


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  • June 13, 2001, 12:48 a.m. CST


    by Xphile69

    thank you

  • June 13, 2001, 1:04 a.m. CST

    Mad Max 4 Feature Story Written For British Mag (but never publi

    by PitchMaster

    Fourteen years after he last slipped on the torn, dusty leathers of 'Mad' Max Rocketanski for Beyond Thunderdome, Mel Gibson is rumoured to return once more to the role that made him an international star. Although Gibson was only paid $15,000 for the original Mad Max movie, way back in 1979, this time around he will score one of the largest paycheques in cinema history. A reported $40 million, even though it is rumoured Mel's Max will only appear in the first 30 minutes of the next film, before being killed off to make way for a new, much younger Max. His son, or should we say, his genetic offspring. Mad Max 4 is set to begin filming in desert locales in both Australia and North America in May, under the directorship of creator George Miller, the same man who also gave the world the vegetarianism-inducing Babe movies. British comic book artist, and cinematic production designer, Brendan McCarthy cooked up the main plot of Mad Max 4 in cahoots with Miller, and has spent almost a year working on the overall design and 'look' of the new film. McCarthy did similar work on Highlander 2, as well as designing aliens for the Lost In Space movie, though he is best known, in comic book circles, for his Z-Men series. The new film is set two centuries on from where we last left Max, wandering the wastelands in the third Max instalment Beyond Thunderdome. While the first two films saw gasoline being the most precious resource left on the devastated planet, and water the catalyst of Beyond Thunderdome, this time around the unpolluted DNA of 'pure breeds' will be the treasure all seek to possess. Gibson's Max is expected to show up in flashback form, to show us what happened to him in the last years of his life, before the new Max, a 'son' derived from his DNA, takes over. His mission will be to act as a 'protector' and escort a group of non-mutants across the wastelands. Their pure DNA stock is desired by the mutant hordes, as it can be used to clean up their species, and make them resistant to the radioactivity that still infects the land, and is gradually winding down the mutant species. The infamous post-apocalyptic wastelands this time, however, won't just be the ochre flats of outback Australia. The new movie is heavily rumoured to be also set in the dusty desert plains of North America, with major action scenes taking place on the floor of the Grand Canyon. Naturally George Miller has been shy to confirm plot and locale details of Mad Max 4, but is delighted that internet speculation has already reached Phantom Menace proportions. Miller believes too many people knew far too much about the Phantom Menace movie before they had a chance to see it. He intends there will be no such massive leaks this time around, though with the plot details already circulating, it seems such high-security plans such as shooting scenes and circulating screenplays he has no intention of using, have already been scuttled. Mel Gibson, meanwhile, has been uncharacteristically quiet about his eventual involvement in the new film, despite repeated assurances from George Miller that he will be resuming the role. has been holding off from confirming whether or not he will be a part of Gibson, for the record, has said he does look forward to playing Max again, but his involvement will depend "on a number of issues being cleared up", most notably his salary and script approval. The Mad Max trilogy is generally recognised as being among the most influential action-adventure films ever made, and three of the most successful films to come out of Australia. But it was the first, low-budget Mad Max that was the most successful of the three. It's profit-to-budget ratio reigned long as the highest in motion picture history, and was only recently eclipsed by The Blair Witch Project. It seems almost incomprehensible, today, that the original Mad Max outgrossed such super heavyweights as Kramer Vs Kramer and Apocalypse Now in its first year of release in 1979/1980. And, unlike most of today's filmic heroes, who we seem to know more of their personal history than they do themselves, we were only ever given the most fleeting glimpses of Max' life, outside his role of wasteland warrior, in any of the three films. In the first film, we knew Max was part of a renegade cop outfit, trying to reign some law and order over the biker hordes who terrified country Australian communities. We knew there had been some kind of war, of the nuclear kind, that devastated vast portions of the world (or at least Australia) and resulted in an anarchic state replacing one of law and order. We knew Max was married with a wife and child, who were then killed by the biker leader ToeCutter, himself seeking revenge for the death of his friend NiteRider at the start of the film. The murder of his loved ones sent Max on an illegal mission of revenge, and for The Road Warrior and Beyond Thunderdome, they are the only glimpses we get into his personal life. We also know so little of the world that Max inhabits that Miller had to use the first five minutes of Road Warrior, and a dodgy montage of stock footage, to bring us up to speed and explain the backstory of the first film. Most fans of the Max trilogy would agree, however, that the films were richer for such brief biographical details. And he barely speaks. Gibson was given less than fifteen minutes of on-screen dialogue in the first film, only fourteen lines in the second, and barely triple that in the third. It was always Miller's intention that everyone else does all the talking while makes bides his time, and then takes care of the business at hand. With Max you didn't want to know what he'd done, or what had happened to him, or even what he was thinking, you only wanted to see what he was going to do. As is industry-standard for such a success story, the Mad Max trilogy had the most painful of births. Miller was repeatedly laughed at by executives within the Australian film industry when he tried to shop around his Mad Max script, hoping to raise a budget. Like those who said no to Star Wars, there are people still working in the Australian film industry who had the chance, and said no, to one of the most profitable films in cinema history. The half-million dollar budget was eventually raised through investment schemes, film funding bodies and personally guaranteed loans from friends and family. George Miller, and his producing partner Byron Kennedy, pieced together Mad Max over the course of six months; shooting chunks on weekends and three day bursts when cast and crew could be drawn, and coerced, away from their more well-paying day jobs. There was no budget, nor time, for any rehearsals, and stunt co-ordinator Grant Page had to make do with a stunt crew that comprised of, for the most part, himself and a few offsiders. Although it appears that numerous cars were crashed and smashed during the first movie, and long, superfast, highly dangerous road chases were staged, most of the true action was pieced together in the editing stages. It is more illusion than minutely staged carnage. There was no money for reshooting scenes, and some of the more impactful stunts and chase scenes were shot in only one take. When stunts went wrong, or did not go as planned, the changes were incorporated into the final storyline. After almost two decades of international silence, shattered only by the curious success of the fair-dinkum fare of The Adventures Of Barry Mackenzie in 1973, most in the Australian film industry in the late 1970s expected it would be the refined work of directors Fred Schepisi and Peter Weir that would crash US and European screens. Few even considered, during its shooting and lengthy editing stages, that Mad Max would even make it into Australian cinemas, let alone find international release. How very, very wrong they were. Hobbled by the indignity of being entirely redubbed by anonymous American actors, Mad Max crept out on only a handful of screens in the US, UK, across Europe and into Japan. Few critics (even in Australia) bothered reviewing the film. But the word-of-mouth on this unknown Australian action spectacle was hot. Mad Max stayed in cinemas long after Academy Award winning star vehicles like Kramer Vs Kramer ran their course. In some US cinemas it was still showing in midnight sessions two years later when the sequel The Road Warrior blasted onto screens. By the time it was done, Mad Max had clocked up more than $100 million at the international box-office, dropping jaws throughout the Australian and US film industries. For a time, in 1979, Mad Max was turning a higher profit as an Australian export than the wool and coal industries, combined. It was only while living in California, in 1980, writing the screenplay for The Road Warrior with Terry Hayes, that Miller began to understand why his low-budget epic had performed so well. Reviews from countries like Japan, Norway, Scandinavia would repeatedly cite how much Mad Max' character reminded them of their own historical warriors, be they Vikings or Samurai. Miller's original intention was that Mad Max would leave audiences "exhausted, like they'd been on a really great roller-coaster", but he wound up unconsciously transposing into Max the tale of the Hero's Journey that runs through the cultural myths of every indigenous race on the planet, from North American Indians to Australian Aborigines. As he and Hayes drafted the screenplay of The Road Warrior they read up on the myth-deconstructing works of Carl Jung and Joseph Campbell, confirming what they learned from the international reviews of Mad Max. He was an everyman Hero, equal parts lone-gunman, shaman and mythical saviour, and they had no intention of messing with the formula. The plotline of the Road Warrior was even simpler than the original. Max roamed the wastelands, looking for fuel, and met up with an assortment of characters before having his loner status tested one final time. He ultimately, willingly, sacrifices himself for the survival of the next generation, and is left alone, once more, in the wastelands, ready for another adventure. The third film, Beyond Thunderdome, despite its larger budget and the addition of an international name to the cast, Tina Turner, did less box office business than either Mad Max or The Road Warrior, but was filled to the brim with sub-plots and even more frenetic action scenes. But Max purists say it broke the golden rule. It took Max out of the wastelands, his home, and brought him into the societal madness of Bartertown. Miller looks not to wishing to make that mistake again. It is most curious, on viewing the trilogy again now, that despite his reputation for violence, Max only fires his sawn-off shotgun a total of six times in the course of the three films, and, overall, there are remarkably few scenes of explicit violence. Max saves himself at the beginning and the end of The Road Warrior with the one thing that is rarely seen in American action movies. He simply slams on his brakes. As the Mad Max 4 crew readies the production to begin shooting, George Miller won't spill too many beans on what he intends to do with the fourth instalment, only ready to reveal "it's going to take Max in a new direction". Miller admitted last year, to the New York Times, that he found it remarkable, although equally amusing, that after all this time there is still such a huge audience waiting for Max' return. "People get nostalgic about the strangest things..." said Miller. "But who'd have ever thought the apocalypse, and its aftermath, would be one of them?" END

  • June 13, 2001, 1:12 a.m. CST


    by bluelou_boyle

    sounds promising. I hope Miller isn't disowning thunderdome, as I think it's a criminally underrated film. Check out Roger Ebert's review. Mel's Shaved head look was for million dollar hotel, or 'boring as a dog's ass'. I saw an interview about a year or so ago where Mel was open-minded but sceptical about the project, saying that Miller mentions the project just to piss Warners off. Mel said he was too old for gladiator, so I'm not holding my breath. but a weary grizzled older max could be cool, although my guess is that mel will demand a huge fee and they will have to go with unknowns. Crowe or hugh jackman would suffice though

  • June 13, 2001, 1:39 a.m. CST

    Knight Rider premiered in 1982 he died in 1986

    by trankscuzzball

    Warner Brothers wanted to make a Mad Max series in '97? with a full merchandising onslaught. Speaking of Knight Rider. The imdb has an entry for Super Knight Rider 3000 A tv movie for 2002.

  • June 13, 2001, 1:46 a.m. CST

    Sorry correction

    by trankscuzzball

    The imdb states he had the accident in 1986 and was left in a near vegatative state, and died in 1995.

  • June 13, 2001, 2:55 a.m. CST

    bluelou_boyle ......what?

    by TheSilentType

    What are you talking about? When in Million Dollar Hotel does Mel Gibson appear 'bald'? I think what you meant is that he was bald whilst here for publicity for WHAT WOMEN WANT which released in Australia at the same time as Million Dollar Hotel. Anyway, some guy here in Sydney today gave this to a local radio station, and all of a sudden it seems as though the flick has been cast, shot and is in bloody post-production. Aaah....rumours. :) Cheers Harry, The Silent Type

  • June 13, 2001, 3:08 a.m. CST

    silent type

    by bluelou_boyle

    my mistake. I saw a clip of million dollar, and he had very short hair. I guess the shaved head was for crap titled vietnam movie.

  • June 13, 2001, 3:14 a.m. CST

    As long as...

    by TheSilentType

    ....they dont do the obvious, and cast Heath Ledger in the role of Max's son. That I DONT want to see.

  • June 13, 2001, 3:18 a.m. CST

    My two cents

    by Ridge

    I love the first two mad maxes, when watching the third movie however, I look at it and no offence to you Americans who have given us much fine cinema, but all I can see is American dollar signs being waved about the area when the likes of Tina Turner come onto the screen. To me Mad Max shows a fine piece of Australian cinema, cruelly underrated in its day, but still widely respected at the same time. Then Mad Max 2 came along, and we were introduced into a nightmare outback that Australia had become due to nuclear war, with car chases, gun fights, turbo charged v8 interceptors, we had Australias own Superhero as such. But whilst being a superhero, he was still everyman. Anyone could be max, Any Aussie man who had been pushed too far. However, when mad max 3 came along, I was dissappointed. Gone was the whole appeal for me, it reeked of cheap script pumped out to suit an american audience, but like I said, I mean no disrespect to Americans as they have given me 90 percent of my favorite cinema experiences. I would personally like to see Mad Max 4 return to its roots, the loner on a quest, a pointless indefinite quest to survive and get somewhere that was never quite revealed. I long to see Mel Gibson strap on the leathers again and step into the seat of a v8 Interceptor, what I long for mostly is the simple yet effective scripts like part 2 had. I know that it can't be *exactly* like part 2 as per se, but I would like to see them get back to the adult world of Max instead of the family orientated world of Thunderdome. I agree 3 had its moments of fun, but overall it just didn't feel like Max.

  • June 13, 2001, 3:20 a.m. CST

    Ebert's review of "Thunderdome"...

    by Dave_F

    Bluelou_Boyle, I checked out Ebert's review of "Thunderdome" per your recommendation. While I think he was a little easy on it, the review's still a good reminder of all the things the movie did right. People are overly bitter at the film because it wasn't a recreation of "Road Warrior" in tone or intensity. They forget about all the wildly innovative ideas and how Miller fleshed out the simple desert setting established in "Road Warrior." Bartertown is a fantastically surreal piece of work, and considering the fact that it dominates the first half of the film, it's hard to call the flick a complete failure! Here's a direct link to Ebert's review: ****** It's still a flawed film, but it's worth remembering the merits as we contemplate a fourth entry in the series. Lucas screwed up on a far deeper level with "Phantom Menace," and look how eager people are for the follow-up to that! Give Miller his shot. Even if he fucks it up, I guarantee an interesting flick, and nothing will erase the goodness of "The Road Warrior." And I still want to see the Feral Kid grown up and leading the Great Northern Tribes, twin razor boomerangs at his side...

  • June 13, 2001, 4:24 a.m. CST

    It will be interesting to see given the current movie climate.

    by Cruel Shoes

    As of the last Mad Max, Mel Gibson hadn't done Lethal Weapon and was far from a $20 million leading man/producer/director/oscar winner. George Miller wasn't yet the force behind "Babe", and Australia had yet to be the location for EVERYTHING, and Australians had yet to be cast in EVERYTHING. I almost want to see Mad Max 4 to measure the level of cultural acceptance in comparison to 1986.

  • June 13, 2001, 4:48 a.m. CST

    Miller didn't see that coming?

    by TectorGorch

    Mad Max 4- I'm there. I spent alot of time listening to drunken revereries about the glory days of shooting "Mad Max" from its cinematographer. I film school my directing mentor was so obsessed with the "Terror @ 10,000ft" segment of "Twilight Zone" that for one of our projects he set up and we shot a steadycam reinvisoning of the final shot at a local airport complete with cop cars, ambulances, and over acting Acting Students. I love the work of George Miller including his recent work on the "Babe" films. I'd watch anything he puts out. Time to go put on my head phones and crank up my "Road Warrior" DVD. I don't know who to blame more for my poor hearing- George Miller or George Clinton.

  • June 13, 2001, 6:37 a.m. CST

    I've got to rent these one day.

    by Sith Lord Jesus

    Though I've seen bits and pieces of each of the Mad Max flicks over the years I've never sat down and watched any of them all the way through. As for a MM4, all I can say is give me a good story and I'll be there.

  • June 13, 2001, 9:53 a.m. CST

    Pitchmaster's article

    by m@cleod

    I just learned more about Mad Max 4 from Pitch's article than I have from reading AICN, DH, CA, etc, for years. Thanks for the great info Pitchmaster!

  • June 13, 2001, 12:16 p.m. CST

    Wait...I'm so torn between scoops!!!

    by Rant_Man

    Who's this mysterious Pitch guy? How do we know this is valid? Hell, I even have a hard time taking Harry's scoops for scoops anymore. It's been better lately..but..what if...they're just hoaxes?!! And I hope Miller is going for the vein of The Road Warrior, but I must agree that Pitch's scoop with the pure DNA thing is quite original. I'm keeping the fingers crossed!

  • June 13, 2001, 1:31 p.m. CST

    Mel is Max

    by Wino-Forever

    Mad Max isn't a concept or a mantle to be passed on- he's Mel Gibson. The two are linked as inextricably as Harrison and Indy. The difference is, a movie about an older Max could easily work. The essence of the character is frazzled weariness. You could put an Unforgiven spin on it and have a terrific capper to the series. Or you could go the Batman Beyond route and have something really fucking silly. It's not like Max is a superhero or someone with an agenda. What sort of Passing of the Torch scene are you going to have? "He who wears this leather jacket must swear to wander aimlessly in search of fuel, occasionally pausing to eat a can of Dinki-Di..." If you're out there, George: Either Bring Back Mel or Leave Well Enough Alone.

  • June 13, 2001, 5:43 p.m. CST

    No Offense taken Ridge,

    by ArchDiver

    cuz your absolutely right! While I feel people bag on MM3 a little too harshly (I did have fun watching it...well, parts of it) it did lack that feel that the first two had. I think you nailed it, and if MM4 happens, its gotta be done in Australia.

  • June 13, 2001, 7:20 p.m. CST

    "...I remember...the Road Warrior..."

    by D.A.

    In so many ways, Mad Max 3 was so brilliant and yet didn't quite deliver. Don't get me wrong, I actually think it's tremendously underrated, but I think it really falls short during the last half hour. What should have been the big finale, left me feeling kind of ...blank. George Miller is a visionary. And was heralded as such by the MOMA in NY when they played Road Warrior and Mad MAx, considered by even the NY art crowd to be a ground breaking artistically driven film. With that, George Miller then gave us Barter Town. Which is exactly what would happen after society blew itself up. Society would rebuild itself. And there would be a currency. In this case, what do you need man, i got it. Let's trade. Hence the barter in barter town. As for the desert oasis full of lost children , yeah. Why not. It's the other end of the spectrum. Except this one is an example of community rather than society. I know, the general consensus is that this is where the WB decided to bring in the Ewoks. Hey, even I cringe whenever I hear their treetop yells. What's wrong with a good ol' "YO!" Until this point the movie seemed like a fascinating study of Sociology and Anthropology by looking at the future by bringing it back to the past. Now, it's when they get back to Barter Town and need to escape again for the big coup de grace that I begin to have problems with the movie. First, what the hell was with the return of The Gyro Captain as a different character whose name we only get in the closing credits as Jebediah, and yet he still seems like the same exact character except with a funky plane instead of a chopper.Oh yeah, and an annoying kid. This totally threw me off when I saw the movie and my instincts told me something was wrong. I know the argument of the archetypes being the same type of character without necessarilly being the same character, but common. Use a different actor next time. The Road Warrior was still fresh in our minds when Thunderdome came out, it just seems like common sense. If Bruce Spence shows up in the next film playing a flying character named Jerry who goes nameless until the closing credits... ah nevermind. I read an interview with George Miller once where he described what he was originally hoping to convey with the evolution of the Max character in the 3rd Installment. He said something like at this point in Max's life he would have proven himself to be the baddest mother fucker in the valley. So naturally, Max would do what everyone else would do...he would start to own stuff. Stuff that comes in handy, stuff to trade, dtuff to survive. He is now completely self sufficient. So when the film opens up we will find him a badass prince of the wasteland wandering the desert with his caravan. But unfortunately, Miller's explanation and beautiful description of what Max would evolve into was cut really short by having his stuff stilen before he revealed himself to be Max. I would really have liked to have seen at least a glimpse of what Max's has survived himself to be. perhaps pulling back a curtain to reveal o whole shelf supply of Dinki Di Dog Food. Oh yeah, and the guy who steels his shit, the Gyro Captain ...uh, I mean Jebediah. See what I mean? Whatever. Anyway, Miller wanted to convey an emotional story arc for Max by allowing him to care again. And sacrificing himself for the ewoks...uh, I mean for The Tribe Who Left. Whether he conveyed any of these things to the audience has been the topic of debate for years. Oh yeah, and the final sequence just wasn't that exciting. It was kind of the same thing, only not as good. But I did like how Tina Turner laughed at him and called him Ragedy Man. And I did like how the Tribe Who Stayed had their rituals to pass down history as best they could from one generation to the next. They have no connection to the outside world other then their own mythological history. That was interesting. Miller has a really good sense for reflecting who we are and what we might be like in a world that blew itself up. I think we would all go mad with the new rules of survival. I think it rings true which is why the character and the world of Mad Max continues to live on for the now in our imagination and in our memories. I say bring on the old Max! I want to see his character revisited. I want to know that he's out there still wandering the wasteland. I want to know what the wasteland has now become. What have WE evolved into. Barter Town showed us that we would regroup and rebuild. And not only that, we would have entertainment in the form of justice. And we would begin agin to have laws and deals and consequences. Would we be having families again (please no suburbs! yikes!) Would their be cops? Or people trying to uphold some kindof law. Are they what Max once was? Would they pull Max over and try to give him a ticket? I want to see Max! Max as he would be if he were Mel's age. No Heath Ledger, Hugh Jackman or Russel Crowe! Jeez, the corporate suits really have you guys brainwashed out of your imagination guys, common now. I am talking the total evolution of the shell of the man who learned to live again out in the wasteland. If you want to revisit The Ferral Kid, then make a movie about The Ferral Kid and the Great Northern Tribes and call it The Ferral Kid. I think that movie would be awesome. But Leave Max out of it then, because in his dying days The Ferral Kid says that he never saw the Road Warrior ever again. To have them meet would be to destroy the mythic qualities of Mad Max2. Personally, I would love to see Max become the stuff of legend. getting by in his old age simply on his reputation. Rumors get around you know. I would love to see him stop some people dead in their tracks by his very presence. I would love to see people whisper his name in awe and respect. If they are going to have Max in the movie for only a short period then I would love to see a journey movie or a Quest for The Legendary Road Warrior. Perhaps finding an old warrior now hermit. Perhaps seeking help from the great warrior for one last battle. Remember, Miller likes to play with mythic archetypes. And one last thing, George Miller has been doing some amazing work visually with Babe and Babe2. The second one especially was gorgeous to look at and was actually Gene SIskel's pick for his favorite movie the year that he died. I can only imagine what George Miller might be capable of now at this point in his incredible imagination.

  • June 13, 2001, 8:43 p.m. CST


    by alcester

    i dont want to see another MAD MAX movie unless it has plenty of car chases and cool vilians, if it dont have plenty of cars and motorcycles, it will suck, and i dont need to see Mel in it either, they can come up with a new leading character, how about a female road warrior?

  • June 13, 2001, 9:47 p.m. CST

    THE ROAD WARRIOR Is My Favorite Movie; MAD MAX Was Pretty Darn G

    by Buzz Maverik

    I dunno. As an American, I have almost no geography in my education. The Outback is a pretty big place. Could it be that THUNDERDOME didn't take place as far after the events of THE ROAD WARRIOR as Miller originally stated? If so, might there not still be fuel left, vehicles powered by the black fuel on the highways? Couldn't Bartertown have been built off the roads to escape the marauders? Couldn't Max have simply left the roads behind and taken up his camel train? We last saw him, grown more primitive, with an armload of spears, but what if events forced him back onto the blacktop where the gangs still wage war over what is left of the black fuel? For the answer to those and other'd be watching a pretty good movie.

  • June 13, 2001, 9:54 p.m. CST


    by Buzz Maverik

    The films opens with Max dying on the road and telling a group of wacky marauders the location of a secret stash of fuel. The maruaders spend the movie racing for it and trying to screw each other out of it. Look for a scene where Jack Black is chained up in an old gas station but manages to tear it down while clobbering Bruce Spence and Steve Buscemi.

  • June 14, 2001, 5:24 a.m. CST


    by keisereela

    you keep on going on with these long list or wrong information. Mel didn't get his head shaved for that vietnam movie (and it's not a "crap" Vietnam movie, it's "We We Soldiers", based on a true story), Mel got his head shaved, just at the time of the Olympics in Australia, as a bet to his sons if he'd ever do it. Mel, the unpretentious love of my life, just said, well, what the fuck, and the australian press dogged him snapshots all over the newspapers.

  • June 14, 2001, 5:27 a.m. CST


    by keisereela

    I don't want other actors playing Mad Max. Mel is hardly too old! He did 3 movies last year, one is a very physically demanding role with the Patriot. Who other young star(lets) is capable of that, and make them all big hits. Please, please, don't give me names. This won't sell if it is not Mel. And it's an insult to Max's fans. So forget about it then.

  • June 14, 2001, 5:43 a.m. CST


    by mdi6a

    Mad Max without Mel?! Mel only in the first 20mins. of MM4?! Are you guys fucking puffing cigaweed? Mel Gibson is the only Mad Max! Give me that leather suit and I'll fucking burn it before someone else puts it on! Listen to me Mel, I know 45mil can be tempting, but don't destroy the legacy just because some fucking shitty, pimply actor wants to be the next Max.

  • June 14, 2001, 5:44 a.m. CST


    by mdi6a

    Mad Max without Mel?! Mel only in the first 20mins. of MM4?! Are you guys fucking puffing cigaweed? Mel Gibson is the only Mad Max! Give me that leather suit and I'll fucking burn it before someone else puts it on! Listen to me Mel, I know 45mil can be tempting, but don't destroy the legacy just because some fucking shitty, pimply actor wants to be the next Max.

  • June 14, 2001, 11:23 a.m. CST

    Mad Max movies are cool.

    by virkku

    I would give the each installment in the series 7/10. Not great, but very good films. One of the cool things about the films is the fact that each film is very different when compared to others. This pisses many people off, but I prefer that than watching the same film again and again, like it is with most sequels. The spirit was there in every Mad Max. Part 3 had structural problems. The climax is of course the thunderdome, which is one of the greatest action sequences ever committed to film. However, the film goes something like 50 minutes after that and the ending seems anticlimatic in comparison to the thunderdome sequence.