WAMG is giving away the soundtrack from Warner Bros. Pictures’ and Village Roadshow Pictures’ post-apocalyptic action-thriller MAD MAX: FURY ROAD from Grammy nominated producer and composerJunkie XL.
Starring Tom Hardy, Charlize Theron, and Nicholas Hoult and directed by Oscar winner George Miller, the mastermind behind the legendary “Mad Max” franchise, FURY ROAD is a return to the world of Road Warrior, Max Rockatansky (Hardy). Haunted by his turbulent past, Max teams up with a mysterious woman, Furiosa (Theron), to try and survive a high-octane Road War.
The film is in theaters now.
The movie’s vast landscape provided ample opportunity for the composer to explore a diverse range of musical territory, from beating drums to sweeping strings and electric guitar-driven operatic themes, utilizing nearly 200 instruments. “The score includes almost everything in a composer’s arsenal. The instrumentation ranges from big, brutal percussion with string sections and musical sound design, and everything in between. I used anything I could get my hands on,” says the composer.
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Tracklist
Survive (Extended Version) Escape (Extended Version) Immortan’s Citadel (Extended Version) Blood Bag (Extended Version) Buzzards Arrive (Bonus Track) Spikey Cars (Extended Version) Storm Is Coming (Extended Version) We Are Not Things (Extended Version) Water (Extended Version) The Rig (Extended Version) Into The Canyon (Bonus Track) Brothers In Arms (Extended Version) The Chase (Bonus Track) Moving On (Bonus Track) The Bog (Extended Version) Redemption Many Mothers (Extended Version) The Return To Nowhere (Bonus Track) Claw Trucks (Extended Version) Immortan (Bonus Track) Chapter Doof Walhalla Awaits (Bonus Track) My Name Is Max Let Them Up Mary Jo Bassa (Bonus Track) Coda (Bonus Track)
Riding on rave reviews and huge anticipation around the globe, Warner Bros. Pictures’ and Village Roadshow Pictures’ MAD MAX: FURY ROAD thundered at the worldwide box office with an opening weekend of more than $109.4 million, making it the #1 new release at the global box office.
It is also the biggest opening ever for director George Miller and is already the highest grossing of all the “Mad Max” films. The announcement was made today by Dan Fellman, President of Domestic Distribution, and Veronika Kwan Vandenberg, President of International Distribution, Warner Bros. Pictures.
George Miller’s return to the world of “Mad Max” was a major draw overseas, where it earned an aggregate estimated $65 million in 68 territories on 16,900 screens. It was #1 at the box office in almost 40 territories, including Australia, the birthplace of the post-apocalyptic anti-hero, as well as such key markets as France, Russia, Spain, Italy, Brazil, Korea, all of Scandinavia, and many more.
On the domestic front, MAD MAX: FURY ROAD had an excellent opening of more than $44.4 million at 3,702 locations. (review)
In making the announcement, Fellman said, “George Miller, together with his extraordinary cast, led by Tom Hardy and Charlize Theron, and fellow filmmakers, has created a movie-going experience that critics agree is not to be missed, as evidenced by the 98% ‘Fresh’ score on Rotten Tomatoes—resulting in the biggest opening weekend ever for an R-rated actioner so well-reviewed. Word of mouth is already tremendous and should drive box office returns well into summer.”
Kwan Vandenberg stated, “It’s truly gratifying to see the fantastic critical reaction translate to such strong numbers at the box office. George Miller’s edge-of-your-seat, action-packed experience is a must-see big-screen visual stunner that is luring both diehard followers and new fans around the world.”
Sue Kroll, President of Worldwide Marketing and International Distribution, said, “Anticipation began with our early campaign, which offered just a taste of the world inhabited by George Miller’s unique characters. Triumphant premieres in Los Angeles and at the Cannes Film Festival further fueled the social media buzz surrounding ‘Fury Road,’ which, combined with phenomenal reviews, turned the release into a global event.”
Greg Silverman, President, Creative Development and Worldwide Production, added, “The success of ‘Mad Max: Fury Road’ is a testament to the commitment of George Miller and his team to deliver something moviegoers have never seen before. George’s vision not only lives up to the legacy of his pioneering ‘Mad Max’ films but expands upon that legacy for a new generation. We thank our partners at Village Roadshow and, together with them, congratulate everyone involved in the film.”
From director George Miller, originator of the post-apocalyptic genre and mastermind behind the legendary “Mad Max” franchise, comes MAD MAX: FURY ROAD, a return to the world of the Road Warrior, Max Rockatansky.
Haunted by his turbulent past, Mad Max believes the best way to survive is to wander alone. Nevertheless, he becomes swept up with a group fleeing across the Wasteland in a War Rig driven by Imperator Furiosa. They are escaping a Citadel tyrannized by the Immortan Joe, from whom something irreplaceable has been taken. Enraged, the Warlord marshals all his gangs and pursues the rebels ruthlessly in the high-octane Road War that follows.
Tom Hardy (“The Dark Knight Rises”) stars in the title role in MAD MAX: FURY ROAD—the fourth in the franchise’s history.
Oscar winner Charlize Theron (“Monster,” “Prometheus”) stars as Imperator Furiosa. The film also stars Nicholas Hoult (“X-Men: Days of Future Past”) as Nux; Hugh Keays-Byrne (“Mad Max,” “Sleeping Beauty”) as Immortan Joe; Josh Helman (“X-Men: Days of Future Past”) as Slit; Nathan Jones (“Conan the Barbarian”) as Rictus Erectus; collectively known as The Wives, Rosie Huntington-Whiteley (“Transformers: Dark of the Moon”) is The Splendid Angharad, Riley Keough (“Magic Mike”) is Capable, Zoë Kravitz (“Divergent”) plays Toast the Knowing, Abbey Lee is The Dag, and Courtney Eaton is Cheedo the Fragile. Also featured in the movie are John Howard, Richard Carter, singer/songwriter/performer iOTA, Angus Sampson, Jennifer Hagan, Megan Gale, Melissa Jaffer, Melita Jurisic, Gillian Jones and Joy Smithers.
Oscar-winning filmmaker George Miller (“Happy Feet”) directed the film from a screenplay he wrote with Brendan McCarthy and Nico Lathouris. Miller also produced the film, along with longtime producing partner, Oscar nominee Doug Mitchell (“Babe”, “Happy Feet”), and PJ Voeten. Iain Smith, Chris deFaria, Courtenay Valenti, Graham Burke, Bruce Berman and Steven Mnuchin served as executive producers.
The behind-the-scenes creative team included Oscar-winning director of photography John Seale (“The English Patient”), production designer Colin Gibson (“Babe”), editor Margaret Sixel (“Happy Feet”), Oscar-winning costume designer Jenny Beavan (“A Room with a View”), second unit director and stunt coordinator Guy Norris (“Australia”), and makeup designer Lesley Vanderwalt (“Knowing”). The score is from Junkie XL. (Interview).
This film has been rated R for intense sequences of violence throughout, and for disturbing images.
Thirty years after writer/director George Miller led us all to believe his Mad Max franchise had run out of gas with MAD MAX BEYOND THUNDERDOME, he resurrects the Road Warrior with a larger budget, a bigger crew, and more vehicles to destroy. Well worth the wait, MAD MAX: FURY ROAD is pure dynamite, with enough wit and ingenuity to put all recent action films to shame.
Not a sequel nor prequel nor reboot, MAD MAX: FURY ROAD is simply another installment in the post-apocalyptic chronicles of Max Rockatansky (Tom Hardy replacing “Mad Mel” Gibson). He’s introduced as a man haunted by flashbacks of past barbarity, mostly involving a young child he failed to protect. He’s seized by a band of pale-faced desert outlaws known as War Boys, and taken to The Citadel, a settlement where his uninfected blood will be gathered. The War Boys do the bidding of their masked ruler, Immortan Joe (Hugh Keays-Byrne – who played Toecutter in the original MAD MAX 36 years ago – not that anyone would recognize him but it’s a cool touch). Max seems doomed until he meets Imperator Furiosa (Charlize Theron), a hard-bitten, one-armed driver who has organized an escape for herself and Joe’s five wives (I guess he’s Mormon). Wanting his spouses (including Riley Keough, Zoë Kravitz, and a pregnant Rosie Huntington-Whiteley) back, Joe and his band of deranged toadies give chase. Max helps Furiosa in the road rage scrimmage against these degenerates as they sprint their way across the desolate Wasteland to the safe oasis known as Green Place.
MAD MAX: FURY ROAD is the movie every action has been waiting for since THE ROAD WARRIOR and this time no one will be disappointed. Director Miller stages his film as one long, gonzo action set piece, mostly involving custom vehicles of death barreling down deserted post-apocalyptic highways at breakneck speeds. Miller’s adherence to practical effects makes CGI-neutered noise like FURIOUS 7 look removed and low-rent. Some of MAD MAX: FURY ROAD – the sand storm and Curiosa’s left arm – are CG-enhanced but when you see out-there vehicular carnage and stunts on an epic scale – motorcycles flying over huge trucks in order to drop fire bombs on top while actors balance precariously between vehicles – there’s a palpable sense of danger because you know that’s for real. The action has none of the confused visual sense so prevalent in movies like FURIOUS 7 and the Transformers franchise that use ridiculous fast editing that makes keeping track of who is where or doing what during a fast-cut sequence nearly impossible.
In keeping with Gibson’s precedent, Hardy’s Max doesn’t talk much. He looks ragged and disheveled, his leather jacket dusty and cracked, his face covered at first with a Bane-like mask. Hardy does as good a job as anyone could, but my one complaint about MAD MAX: FURY ROAD is that I miss Gibson. Mel is 59, hardly too old to repeat this role (Harrison Ford was still playing Indy at 66), and his familiar, haunted Max would have made this already-great film even better (and would have turned around his self-imposed career slump). But Theron’s Furiosa is really the film’s true center. The actress is terrific and gets as much screen time as Hardy, maybe more, and its Furiosa’s quest that is the driving force of the story. The R rating doesn’t quite seem justified. MAD MAX: FURY ROAD is violent and intense but seems to be cut around the really gruesome stuff, as if they were shooting for a PG-13. But that’s not something I even thought about until the movie was over, as Miller brilliantly sustains the edge-of-your-seat 120-minute chase with crisp editing, sharp photography by John Seale, and a pounding music score by Junkie XL. Nothing is spared in MAD MAX: FURY ROAD and the sheer inventiveness of it demands repeat viewings, so buckle up, spray-paint your mouth silver, and enjoy the ride.
Director George Miller has triumphantly brought to the screen MAD MAX: FURY ROAD and it’s awesome. With its rich dimension and exhilarating ride, this is the film that so many have been waiting for.
It’s 45 years after the fall of the world. There is no rule of law, no power grids, no water, and no mercy. In “Mad Max: Fury Road,” civilization is a memory, and only to a few. The world’s great economies have fallen into dust, the coastal cities have been erased, and in the wake of wars for water and oil, food is scarce and air is poison.
What’s left of humanity roams the Wasteland in wild tribes or clings to survival at the foot of the Citadel, a fortress spun into a cave system where water is pumped from the only aquifer for miles around. By controlling the essentials, the Citadel and its allies, Gas Town and the Bullet Farm, control the Wasteland.
Miller unleashes a world gone mad with the concussive force of a high octane Road War as only he can deliver it. The mastermind behind the seminal “Mad Max” trilogy has pushed the limits of contemporary cinema to re-imagine the beauty and chaos of the post-apocalyptic world he created and the mythic Road Warrior adrift within it.
To realize the clash and concussion of the Road War, the film’s musical sound could only be fully explored once Grammy-nominated producer and composer Tom Holkenborg aka Junkie XL entered the fray.
Miller had long been a fan of the experimental music of Junkie XL and it is there that the director chose the composer to take his post-apocalyptic universe to the next level.
Junkie XL has chartered the Wasteland with tempered moments of stillness and heightened levels of psychotic abandon, utilizing nearly 200 instruments to weave a blend of beating drums, sweeping strings and electric guitar-driven operatic themes.
In addition to MAD MAX: FURY ROAD, Holkenborg is also scoring a wide range of upcoming films, including the reimagining of the action thriller POINT BREAK, the crime comedy KILL YOUR FRIENDS, and Zack Snyder’s much-anticipated action adventure BATMAN V SUPERMAN: DAWN OF JUSTICE.
Earlier this year I spoke with Junkie XL on his score for Jaume Collet-Serra’s RUN ALL NIGHT and recently we had a conversation on his latest music for the highly anticipated MAD MAX: FURY ROAD – a wild journey that stays with you long after the film ends.
WAMG: I’ve been listening to your score for the better part of the weekend.
There’s such scope and energy to the film and your music. For 15 years, MAD MAX: FURY ROAD existed as an idea. When were you invited by George Miller to collaborate on the score?
Junkie XL: Three years ago. It’s been really intense. I was wrapping up 300: RISE OF AN EMPIRE, really on the last day, and I get this phone call from Darren Higman, the vice president of the music department at Warner Bros. and he said, “What are you doing tonight?” I said, “I wrapping up this movie and I think I can go home and have dinner with my wife.” And he said, “No you’re not. I have a ticket for you to fly to Sydney Australia.”
I had no idea what he was talking about. He said, “I’m sitting here with George Miller.” Boom! I wondered if he was going to ask me to score for FURY ROAD. He said, “I think you should come down here and we’ll talk.”
When he called me, I literally went home, grabbed my suitcase, and off I was. After 17 hours of flying, I arrived the next morning, was picked up at the airport and taken straight to the office. I go right into the screening room and I’m watching the first cut of the film with no beginning and no ending. It was just the car chase.
I’m completely jetlagged and I’m wondering what am I watching? What’s going on here? It was so overwhelming! I sit down with George and he asks if I liked the film. I told him it was fantastic and mind-boggling. I said I have to process this for a little bit. He said, “Go back to the hotel, go see and enjoy Sydney and come back tomorrow morning and tell me what you think we should do.”
I went back to the hotel and I couldn’t sleep. I’m so excited and I wind up staying up all night. I came up with this plan of what I thought the film’s score needed to be. The next day, 9 a.m., we just sit there over a cup of coffee and I explain to him in two hours that the score needs to be a big rock opera. That’s all we need.
At the end of that two hour conversation, George stands up and gives me a firm handshake and says, “I want you to be the composer on my film.” And that was that. I took the plane back, went home, my wife and I opened up a bottle of wine and I said, “What just happened to me?” (laughs)
WAMG: Did you go back and watch the 1979 film and listen to Brian May’s score?
Junkie XL: I didn’t. Plus I had very clear instructions from George not to do that. He wanted something different for this film and that was the reason I was talking to him in the first place. He’s worked with a string of fantastic composers in the past, Brian May being one of them. It’s a different film and Max is a different character. The whole setting is much more gruesome than the original.
The original two films had a lot of humor in them – this one, not so much.
WAMG: Certain tracks –We Are Not Things, Many Mothers, Coda, My Name is Max – contain such rich, emotional, sweeping orchestral themes. They’re lovely for the quieter, human moments of the film.
I wasn’t expecting the string motifs. Why go for these cues?
Junkie XL: There are moments in the film where the characters step out of this gruesome, dystopian world that has been created for them and they interact with one another as human beings. George and I were debating for a long time what color and tone the music needs to be. Even with emotional scenes, we didn’t want to go with music that didn’t say anything.
One of my favorite time periods in film scoring is the 1940’s and 1950’s and in the early 60’s during the golden days of Bernard Herrmann and the start of Ennio Morricone. So much amazing music was written then. Not only for film but classical pieces from the neoclassical composers. There was so much rich material written then and George and I wondered why more of that wasn’t being used in film scores today.
Film scores today – especially when its action movies – it’s become its own language and they all start sounding the same. We wanted to create something that had a really unique, counter-identifiability to it that needs to be strong – even in the emotional cues. These are strong characters and even where the music is emotional, they needed to be strong melodies brought with absolute performance execution.
That’s why we went for this style. I think it works remarkably well with the picture.
WAMG: A perfect example is the “Redemption” track.
Furiosa (Charlize Theron) and the Wives are in the War Rig for much of the film. It is like a ship of lost souls. They have this quiet dignity, while not lessening what they’ve gone through.
Junkie XL: Exactly
WAMG: Since they’re in there for such a long time, tell me about the ambient sound effects from inside and out that you hear in these scenes?
Junkie XL: I did a lot of music sound design. I worked closely with sound designer Mark Mangini and the people that work with him – amazing, talented people. The music was so far developed when the sound design people came on board, they used my music to balance off the sound design.
Sometimes the car noises were in sync with the music. The sounds of the cars they were using were in a related key of my music. It was wonderful to work together and to have that space to work on it.
WAMG: It adds to the claustrophobic feel of the film.
With the “Walhalla Awaits” track, did you utilize a choir? Do we hear vocals?
Junkie XL: None actually. These were all done with the sound design, but it sounds like a choir. That was part of the thinking on how to compile this score.
For instance, all the cars that you see, all the objects that you see in this film are all repurposed bits and pieces from other things because that’s what that role is. If I wanted to create a truck, or a car, I needed to create it from spare parts from other cars. That’s why each car looks so unique. It’s not like you can go to a dealer and say, “Get me a War Rig. I’d love one.” You have to make one. A lot of the smaller objects were made from something else.
If we apply that to the score, a lot of things you hear in the score function a certain way like a car, but it’s not a car you’re actually seeing or listening to – you’re listening to something else that was repurposed to become this thing. That’s where the choir comes in. That’s why I sampled a lot of metal objects and the sound design of them to create rhythm instruments, but they’re not drums.
Of course I did use drums, but the same goes for strings, same for brass and same for choir. What you think you’re listening to is actually something else. It’s been repurposed to become that instrument.
George Miller
WAMG: George Miller has said, “We see Max’s evolution into a nobler, more reliable man. We see what his better self could be. It’s where Furiosa already is. She’s fierce in her determination. Her heart gets pretty close to being crushed on this journey they take, but together, they find some way to stand against the chaos of the world and find some sort of redemption.”
The fight between Furiosa and Max is like a rugby match. She could have her own spinoff movie.
Junkie XL: The photography is pretty intense there.
WAMG: This is where the big percussion section comes in. What instruments were used for this scene?
Junkie XL: That is the section that is 100% compiled by me hitting on all kinds of metal objects, whether it’s a car or car doors or oil drums or paint cans. Even chains hitting against a metal plate – it’s all made from metal sounds. It actually took me a week to compile that whole sequence from those sounds. It was very over the top.
MAD MAX: FURY ROAD opens in theaters Friday, May 15
Mel Gibson made an appearance at Thursday evening’s MAD MAX: FURY ROAD black carpet premiere in Hollywood.
Check out all the photos from the red carpet, which include Mad Max creator George Miller, as well as stars Tom Hardy (Max Rockatansky), Charlize Theron (Imperator Furiosa), Nicholas Hoult (Nux), Hugh Keays-Byrne (Immortan Joe), Rosie Huntington-Whiteley (Splendid), Zoe Kravitz (Toast), Riley Keough (Capable), Abby Lee (The Dag) and Courtney Eaton (Fragile).
Mel Gibson, director/producer George Miller and Tom Hardy seen at the Warner Bros. premiere of “Mad Max: Fury Road” on Thursday, May 7, 2015, in Los Angeles. (Photo by Eric Charbonneau/Invision for Warner Bros./AP Images)Mel Gibson and Tom Hardy seen at the Warner Bros. premiere of “Mad Max: Fury Road” on Thursday, May 7, 2015, in Los Angeles. (Photo by Eric Charbonneau/Invision for Warner Bros./AP Images)
From director George Miller, originator of the post-apocalyptic genre and mastermind behind the legendary “Mad Max” franchise, comes MAD MAX: FURY ROAD a return to the world of the Road Warrior, Max Rockatansky.
Haunted by his turbulent past, Mad Max believes the best way to survive is to wander alone. Nevertheless, he becomes swept up with a group fleeing across the Wasteland in a War Rig driven by an elite Imperator, Furiosa. They are escaping a Citadel tyrannized by the Immortan Joe, from whom something irreplaceable has been taken. Enraged, the Warlord marshals all his gangs and pursues the rebels ruthlessly in the high-octane Road War that follows.
MAD MAX: FURY ROAD explodes into UK cinemas May 14, US theaters May 15.
From director George Miller, originator of the post-apocalyptic genre and mastermind behind the legendary MAD MAX franchise, comes MAD MAX: FURY ROAD, a return to the world of the Road Warrior, Max Rockatansky.
Haunted by his turbulent past, Mad Max (Tom Hardy) believes the best way to survive is to wander alone. Nevertheless, he becomes swept up with a group fleeing across the Wasteland in a War Rig driven by an elite Imperator, Furiosa (Charlize Theron). They are escaping a Citadel tyrannized by the Immortan Joe (Hugh Keays-Byrne), from whom something irreplaceable has been taken. Enraged, the Warlord marshals all his gangs and pursues the rebels ruthlessly in the high-octane Road War that follows.
MAD MAX: FURY ROAD opens in 3D and 2D in select theaters 5.15.15.
WAMG invites you to enter for a chance to win passes (Good for 2) to the advance screening of MAD MAX: FURY ROAD on MAY 11TH at 7PM in the St. Louis area.
We will contact the winners by email.
Answer the following:
MAD MAX: FURY ROAD stars Charlize Theron as Imperator Furiosa in the fourth film of the iconic series.
Match these female characters below with the 3 previous films (MAD MAX, MAD MAX 2 and MAD MAX BEYOND THUNDERDOME):
Big Rebecca
Savannah Nix
Aunty Entity
May Swaisey
TO ENTER, ADD YOUR NAME, ANSWERS AND EMAIL IN OUR COMMENTS SECTION BELOW.
OFFICIAL RULES:
1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.
2. A pass does not guarantee a seat at a screening. Seating is on a first-come, first served basis. The theater is overbooked to assure a full house. The theater is not responsible for overbooking.
3. No purchase necessary.
This film has been rated R for intense sequences of violence throughout, and for disturbing images.
Grammy nominated producer and composer Junkie XL provides the score for Warner Bros. Pictures and Village Roadshow Pictures’ post-apocalyptic action-thriller MAD MAX: FURY ROAD, starring Tom Hardy, Charlize Theron, and Nicholas Hoult.
Directed by Oscar winner George Miller, the mastermind behind the legendary “Mad Max” franchise, FURY ROAD is a return to the world of Road Warrior, Max Rockatansky (Hardy). Haunted by his turbulent past, Max teams up with a mysterious woman, Furiosa (Theron), to try and survive a high-octane Road War.
The film opens in theaters worldwide May 15, 2015, and will premiere at the Cannes Film Festival on May 14, 2015. The “Mad Max: Fury Road” original motion picture soundtrack will be available on WaterTower Music on May 12, 2015, and is now available for preorder on Amazon and iTunes.
For the franchise’s first installment in 30 years, director George Miller took the madness to a new extreme. Junkie XL explains, “When you’re watching the film, you’re in a world that has gone completely mad. Everything we know about society is out of the window. It’s so out of this world crazy that it felt like the sum of the previous three movies. To capture this, the music couldn’t be a standard action score. It needed to be incredibly over the top to fit the imagery, almost as if it were a modern rock opera.”
The movie’s vast landscape provided ample opportunity for the composer to explore a diverse range of musical territory, from beating drums to sweeping strings and electric guitar-driven operatic themes, utilizing nearly 200 instruments. “The score includes almost everything in a composer’s arsenal. The instrumentation ranges from big, brutal percussion and an 80-voice choir, with string sections and musical sound design, and everything in between. I used anything I could get my hands on.”
For the film’s lighter moments, Junkie XL studied the classic film scores of Hollywood’s Golden Age, particularly those of Bernard Herman. “In the moments you leave the super mad world and get back to the humanity of the characters, the music gets stripped down. For these scenes, I incorporate woodwinds and use the string section as the driving force. I wanted to channel the great film scores of the ‘40s and ‘50s and studied the era. Those scores had a complex classical quality to them that I wanted to capture,” explains Junkie XL.
Junkie XL (Tom Holkenborg) has built a reputation on musical experimentation. The Grammy-nominated multi-platinum selling producer and composer’s versatility puts him on the cutting edge of contemporary music, as well as at the vanguard of film composition. Junkie is able to draw on his extensive knowledge of classical forms and structures while maintaining a connection with popular music.
POINT BREAK
His recent film credits include DIVERGENT, 300: RISE OF AN EMPIRE, and RUN ALL NIGHT. Read our interview here.
Junkie XL’s upcoming projects include BATMAN V. SUPERMAN: DAWN OF JUSTICE (trailer) and Warner Bros. POINT BREAK, inspired by the classic 1991 hit film of the same name, releasing December 25, 2015.
He is teaming with Oscar winning composer Hans Zimmer for BATMAN V SUPERMAN, providing the music for Batman with Zimmer composing the score for Superman in the film.
Junkie XL has collaborated with Zimmer on several projects including The Amazing Spiderman 2, Man of Steel, Shark Tale, and one of the highest-grossing films of all-time, Christopher Nolan’s The Dark Knight Rises. He is also currently creating new themes for EA Sports’ prestigious NFL video game franchise Madden ’16.
George Miller directed MAD MAX: FURY ROAD from a screenplay he wrote with Brendan McCarthy and Nico Lathouris. Miller also produced the film, along with longtime producing partner, Doug Mitchell, and P.J. Voeten. Iain Smith, Graham Burke and Bruce Berman serve as executive producers. The film stars Tom Hardy, Charlize Theron, Nicholas Hoult, Hugh Keays-Byrne, Nathan Jones, Josh Helman, Rosie Huntington-Whiteley, Riley Keough, Zoë Kravitz, Abbey Lee and Courtney Eaton.
The behind-the-scenes creative team included Oscar-winning director of photography John Seale (“The English Patient”), production designer Colin Gibson (“Babe”), editor Margaret Sixel (“Happy Feet”), Oscar-winning costume designer Jenny Beavan (“A Room with a View”), second unit director/supervising stunt coordinator Guy Norris (“Australia”), and makeup designer Lesley Vanderwalt (“Knowing”).
Warner Bros. Pictures will release MAD MAX: FURY ROAD on May 15, 2015.
The film has been rated R for intense sequences of violence throughout and for disturbing images.
Three decades ago mastermind George Miller broke every rule. As we head into the final month before its release, Warner Bros. Pictures brings you stunning new posters and the ultimate Legacy Trailer for MAD MAX: FURY ROAD.
With new footage and a reminder of all the power, chaos and madness from the franchise, this is one not to be missed.
Oscar-winning filmmaker George Miller’s movie revisits his own post-apocalyptic trilogy featuring the anti-hero known as Mad Max. Tom Hardy stars in the role of Max Rockatansky, alongside Charlize Theron, Nicholas Hoult, Zoe Kravitz, Riley Keough, Hugh Keays-Byrne and Rosie Huntington-Whiteley.
Haunted by his turbulent past, Mad Max (Tom Hardy) believes the best way to survive is to wander alone. Nevertheless, he becomes swept up with a group fleeing across the Wasteland in a War Rig driven by an elite Imperator, Furiosa (Charlize Theron).
They are escaping a Citadel tyrannized by the Immortan Joe (Hugh Keays-Byrne), from whom something irreplaceable has been taken.
Enraged, the Warlord marshals all his gangs and pursues the rebels ruthlessly in the high-octane Road War that follows.
Composer Junkie XL (RUN ALL NIGHT, the upcoming BATMAN V SUPERMAN: DAWN OF JUSTICE with Hans Zimmer) has composed the score.
MAD MAX: FURY ROAD opens in UK cinemas May 14; US theaters May 15.
More exciting MAD MAX: FURY ROAD news before you eat too much chocolate over Easter.
Warner Bros. Entertainment UK and ODEON Cinemas have partnered up to give customers a chance to see 6 minutes of exclusive footage ahead of all showings of FURIOUS 7.
Full of new footage, tons of mad action and explosions, Odeon cinema goers will be in for an adrenaline fuelled experience with MAD MAX: FURY ROAD. This exclusive deal launches nationwide at all Odeon cinemas from Friday April 3rd and will be the only time the public can catch this mind-blowing footage ahead of the film’s release on May 14.
Oscar-winning filmmaker George Miller’s movie revisits his own post-apocalyptic trilogy featuring the anti-hero known as Mad Max. Tom Hardy stars in the role of Max Rockatansky, alongside Charlize Theron, Nicholas Hoult, Zoe Kravitz, Riley Keough, Hugh Keays-Byrne and Rosie Huntington-Whiteley.
Haunted by his turbulent past, Mad Max (Tom Hardy) believes the best way to survive is to wander alone. Nevertheless, he becomes swept up with a group fleeing across the Wasteland in a War Rig driven by an elite Imperator, Furiosa (Charlize Theron).
They are escaping a Citadel tyrannized by the Immortan Joe (Hugh Keays-Byrne), from whom something irreplaceable has been taken.
Enraged, the Warlord marshals all his gangs and pursues the rebels ruthlessly in the high-octane Road War that follows.
The MAD MAX: FURY ROAD score is from composer Junkie XL.
Tom Holkenborg (aka Junkie XL) is also currently creating new themes for EA Sports’ Madden ’16 and will be scoring director Ericson Core’s POINT BREAK remake, to be released in theaters Christmas 2015. He is also composing the score, alongside Hans Zimmer, for BATMAN v. SUPERMAN: DAWN OF JUSTICE.
The first track from the MAD MAX soundtrack is now available for free download via Watertower Records.
MAD MAX: FURY ROAD opens in UK cinemas May 14; US theaters May 15.
Buckle Up! The latest explosion filled trailer for MAD MAX: FURY ROAD has landed.
Oscar-winning filmmaker George Miller’s movie revisits his own post-apocalyptic trilogy featuring the anti-hero known as Mad Max. Tom Hardy stars in the role of Max Rockatansky, alongside Charlize Theron, Nicholas Hoult, Zoe Kravitz, Riley Keough, Hugh Keays-Byrne and Rosie Huntington-Whiteley.
Haunted by his turbulent past, Mad Max (Tom Hardy) believes the best way to survive is to wander alone. Nevertheless, he becomes swept up with a group fleeing across the Wasteland in a War Rig driven by an elite Imperator, Furiosa (Charlize Theron).
They are escaping a Citadel tyrannized by the Immortan Joe (Hugh Keays-Byrne), from whom something irreplaceable has been taken.
Enraged, the Warlord marshals all his gangs and pursues the rebels ruthlessly in the high-octane Road War that follows.
Composer Junkie XL (RUN ALL NIGHT, the upcoming BATMAN V SUPERMAN: DAWN OF JUSTICE with Hans Zimmer) has composed the score. Read our interview with him here.
MAD MAX: FURY ROAD opens in UK cinemas May 14; US theaters May 15.
