I don’t know what it would be in Australia or in America.
#Tina turner mad max movie
And it had a different approach, a different feel, so we said oh yes, this is like doing another movie entirely, so we did that.ĪB: I notice that Thunderdome was a different certificate to the others. GM: One of the things that kicked this one off was that we thought it could be different: they’re the only features I’ve really directed so you don’t want to be doing the same thing all your life. I just didn’t think you could beat number two. I would love to see this again, but have never been able to track down a copy perhaps an enterprising DVD company will one day unearth it for use as an extra on a collector’s set.ĪB: Well, congratulations on three Mad Maxes in a row! I was prepared to be disappointed by number three but wasn’t. My biggest regret is that I never asked Miller about the first of his films I’d seen – an insanely gory 20-minute satirical short called Violence in the Cinema, Part 1 (1971) which in 1975 had been the support to Flesh for Frankenstein. It was, from my point of view, an impossible act to follow, so as you can see, I told a lie about this straight off the bat. I had enjoyed Mad Max Beyond Thunderdome, but found it slightly disappointing after Mad Max 2, which had knocked me sideways. The interview was interrupted several times as Mr Miller answered phone calls – once to talk to his brother.
Here it is, lightly edited to excise hesitations and repetitions, as well parts of the interview which transcription rendered gibberish (through no fault of the transcriber – merely the sound quality of the cassette tape). I long ago misplaced my Miller interview, possibly permanently, but I still have a copy of the transcription. Photographs were taken (not by me, alas), the contents of the tape were transcribed professionally, and I diligently wrote up the interview for the magazine… only for it to be spiked at the eleventh hour when Orson Welles died of a heart attack and Time Out consecrated its film pages to remembrances and appreciations of the director of Citizen Kane. He was amicable and articulate, a pleasure to talk to. Mr Miller struck me as very different from other film directors I had encountered – slightly boffin-ish, with wild hair and wearing spectacles attached to a cord around his neck, a bit like a slightly nutty professor. In October 1985 I interviewed George Miller in London for Time Out magazine, to tie in with the imminent UK release of Mad Max Beyond Thunderdome.
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