#MAD MAX 2015

[mynonsenseistingling]

MAD MAX (2015)

[kobochajunkbox]

The Outcrier and Lectricy Boy, Mad Max (2015).

[chardbones]

Because my laptop is royally fucked and I can't draw anything digitally, here's an old drawing of Chumbucket I did somewhere in 2021 I believe

Chum found some dried dead flowers but still collects them as he sees them as something beautiful

[nostalgc]

Charlize Theron in mad max (2015)

please if you save or use like or reblog

[tomhardymyking]

Yesterday, 8 years ago...

it was the 𝑴𝒂𝒅 𝑴𝒂𝒙: 𝑭𝒖𝒓𝒚 𝑹𝒐𝒂𝒅 premiere 💓

I can't believe so many years have passed and we don't know more about the future of 𝗧𝗼𝗺 as 𝗠𝗮𝘅 𝗥𝗼𝗰𝗸𝗮𝘁𝗮𝗻𝘀𝗸𝘆 yet except that he said in an interview a few years ago that he is still waiting for the call to play him again 😯

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El día de ayer hace 8 años...

fue el estreno de 𝑴𝒂𝒅 𝑴𝒂𝒙: 𝑭𝒖𝒓𝒊𝒂 𝒆𝒏 𝒍𝒂 𝑪𝒂𝒓𝒓𝒆𝒕𝒆𝒓𝒂 💓

Increíble que ya hayan pasado tantos años y aún no sepamos más sobre el futuro de 𝗧𝗼𝗺 como 𝗠𝗮𝘅 𝗥𝗼𝗰𝗸𝗮𝘁𝗮𝗻𝘀𝗸𝘆 a excepción de que él dijo en una entrevista de hace unos años que todavía sigue esperando la llamada para volver a interpretarlo 😯

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[vercetti-estate-sale]

Max Rockatansky in the Max Video game be like.

[savage-kult-of-gorthaur]

"...GEORGE HAD BEEN WORKING ON THE PROJECT FOR YEARS. SO HE'D LIVED WITH IT; HE HAD A LOT OF IMAGES IN HIS HEAD."

OVERVIEW: "English costume designer Jenny Beavan has been nominated for nine Academy Awards, but this year’s, for "Mad Max: Fury Road," is unlike any other. The heavy corsetry and thick, wide linens of British costume dramas have been her area of expertise, including her Oscar-winning work for 1986’s "A Room with a View," starring a young Maggie Smith, Helena Bonham Carter, and Simon Callow, and her other nominated films including "The King’s Speech" and "Gosford Park." So what’s it like to move from period to post- apocalyptic? We got on the phone to find out."

-- VANITY FAIR, "How Charlize Theron Taught "Mad Max" Costume Designer Jenny Beavan to Take a Compliment," by Bridget Arsenault, February 26, 2016

VF.com: "You’ve been nominated, what, nine times now? Do you still get that goosebump feeling? Does it still feel the same as it did that first time?"

JENNY BEAVAN: "This was particularly special because as you may know it’s obviously quite different to my normal work, not that I ever wanted to be typecast, but one just tends to be a little bit, and so when I got this opportunity that was fantastic. Yes, I was absolutely thrilled and went sort of weak at the knees."

VF: "Did a lot of the film’s lunacy come from the director, George Miller?"

JENNY: "Of course, absolutely, and George had been working on the project for years. So he’d lived with it; he had a lot of images in his head."

VF: How long do the costumes for a project like this take?"

JB: "This was an unusual one. Absolutely each project is its own thing. "On The King’s Speech," I had five weeks from getting the job to the first day shooting. This, we made everything, and in fact we had all the stuff they’d made previously, but even more importantly, we had all the junk they’d collected. Old car parts, old cutlery. So, I got from Australia something like 200 boxes of junk. Old goggles, old bits of ammunition, just stuff, and we set up a workroom. We found materials, like vellum, which I’ve never worked with before. It’s disgusting, it’s raw leather, really, but it made marvelous masks."

VF: "What specifically was different about working on "Mad Max" to other projects?"

JB: "Not only did it have to look amazing, they had to be able to work in it, they had to have safety built into it. Everyone had to wear goggles in the end because of the sand and you know racing through the desert churning up the sand was dangerous."

VF: "Did you have a moment of feeling overwhelmed?"

JB: "No, a friend told me a long time ago, "We don’t do panic, we do sense of urgency.""

VF: "Can you talk a little about some of the more unusual materials and fabrics, as well as how you found them, where you sourced them?"

JB: "Well, I’ve never had a metal worker and a mold-maker in my costume department before because you don’t need them a lot on "Jane Austen.""

VF: "Who do you design for?"

JB: "I’ve never been asked that before. I think I do it for the director and for the film. I’m a storyteller with clothes, and I just try and do the best job probably to support the actor, for the director, and the film, and I don’t think of the audience."

VF: "How much of a collaboration do you have with the actors?"

JB: "Enormous, if they want to be collaborative, and most of them do. It’s normally you have the ideas, and you present them: it might be a drawing or a mood board or a collection of clothes, and you take it to the actor and then you start with the dialogue, you don’t just throw them into it. And when they say, “Oh yeah, now I know who this person is,” or, “Yeah, you’re helping me understand it,” that’s when the whole thing is just the most marvelous job in the world."

VF: "Do you have a favorite anecdote from set?"

JB: "When Charlize [Theron] came for her fitting in Namibia, she put one on and said, “This feels really great,” and it had to be a sort of corset because she had to put this harness on top of it. I went all sort of English and coy and said, “Oh well, you know, we’ve been trying to make it…” And she just said, “Take the compliment, bitch,” and George Miller literally elevated about a foot in the air; he sort of jumped. She’s just very straight talking, and I just loved it, so I’ve been taking the compliment, bitch, ever since."

Sources: www.pinterest.com/pin/577375614697448750,www.vanityfair.com/hollywood/2016/02/jenny-beavan-mad-max-costumes-interview, www.madmaxcostumes.com/mad-max-fury-road/max-4, etc...

[z2z-gaming-and-random-art-ai]

Mad Max - Game World Ambience - Blackmaws - Gasworks Looking North Towards Jeet's & Gastown

Step out onto the rusting hulk known as Gasworks a former Oil Rig looking north into the expanse of the Blackmaws. further afield Jeet's stronghold in an old lighthouse can be seen as can the Chalkies and the old wind turbines desperately holding on against the coarse and hostile environment. Beyond here the unmistakable flames and thick black clouds of Gastown can been seen.  🚗🏭⛽💨

Every gust of wind carries with it the remnants of a world long lost, whipping against the skeletal remains of the once-mighty oil rig. Below, the winding paths of the Blackmaws stretch out, a labyrinthine network of treacherous terrain. In stark contrast, the lighthouse at Jeet's stands as a solitary beacon of hope amidst the desolation. The Chalkies, resilient against the relentless forces of nature, and the battered wind turbines, turning sluggishly, tell tales of a bygone era. Beyond the horizon, Gastown's inferno rages on, a testament to the relentless pursuit of survival in this unforgiving wasteland.

For other game world ambience videos check out this playlist https://www.youtube.com/playlist?list=PLFJOZYl1h1CFo5LyAEvdIcP4syymQaI50

[celine-song]

Mad Max: Fury Road (2015) dir. George Miller

[pedroam-bang]

Mad Max: Fury Road (2015)

[vertigoartgore]

Mad Max: Fury Road's Furiosa by comics artist Alex Garner (2015).

[mynonsenseistingling]

MAD MAX (2015)

[theconjurervfx]

Mad Max: Fury Road (2015) dir. George Miller.

[kamakrazeewarboyz]

Cameo video from Josh Helman I got back in december, talking about any backstory he or George Miller may have had for Slit that wasn’t delved into on screen, and hinting at his new role in Furiosa!

[hyacinthsdiamonds]

Was nobody going to tell me that Oscar was one of the grid kids holding flags at the Australian gp which was also happened to be Max's F1 debut or was I just meant to do the math myself -

[tomhardymyking]

𝗧𝗼𝗺 already drives me crazy, but seeing him in this suit, with the sunglasses, and his belt showing...

It drives me even crazier 🥴💓🔥!!

How hot he is 🥵❤️‍🔥💥

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𝗧𝗼𝗺 ya me vuelve loca, pero verle con este traje, con las gafas de sol, y que se le vea el cinturón...

¡¡me vuelve todavía más loca 🥴💓🔥!!

Qué sexy es 🥵❤️‍🔥💥

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