We found this terrific article on Mad Max: Fury Road examining the impossibilities of the film existing. It was written by Rob Bricken from iO9.com and it's quite interesting. Here are a couple of excerpts from the piece, to read it in it's entirety click here
Do you know what Miller was doing before he returned to Mad Max? In the last 20 years, he has only directed three other movies: Happy Feet, a CG cartoon about a bunch of dancing penguins, Happy Feet Two, and Babe: Pig in the City. Three movies not just for kids, but for little kids. Movies that contain no action to speak of, no violence, and nothing in common with Fury Road."
The reason I know that Miller must have had almost total control over the movie is because he was allowed to make decisions no studio executive would have or should have allowed, no matter how much cocaine he/she was on. Here five things I can’t believe Miller was allowed to do:
• Have Max be the sidekick in his own film.
• Hire Nicholas Hoult, one of Hollywood’s youngest, most attractive stars, then shave his head, paint him bone white, and have him play a character with disgusting chapped lips for the entire movie.
• Get rid of Max’s iconic car in the first few minutes of the flick.
• Ignore conventional action movie structure in order to present one giant, two-hour long car chase.
• Give the main villain a name that will confuse every one all the time, because they assume there’s been some kind of error and the character’s real name must be “Immortal Joe.”
These are all reasons the film is awesome, but they’re also not things the studio should have allowed. These aren’t safe decisions. But then again, there’s nothing safe about Fury Road."
Bricken makes some great points, Fury Road although having a massive budget is unlike any Hollywood action film ever made and it's a minor miracle it even exists. If you haven't seen it yet, you should, we as the hardcore segment of action fans need to support movies like these.
Recent Steven Seagal aikido demonstration in Russia
aintitcool recently did an interview with Seagal,
Steven Seagal: I think ON DEADLY GROUND is a special film in the sense that it did and said everything twenty years earlier that Al Gore did when he got an Academy Award and a Nobel Peace Prize – which is hilarious. But it’s a very good movie because of the message and all of that. Major motion pictures that are environmental movies are very few and far between. So that one I like quite a bit. UNDER SIEGE 2 I like quite a bit. HARD TO KILL I’m indifferent. What was the other one?
Jeremy: OUT FOR JUSTICE.
Seagal: OUT FOR JUSTICE has some great action in it. Some great fight scenes, and some good acting.
Jeremy: I think the pool hall sequence is one of your finest set pieces.
Seagal: I agree.
Jeremy: In your latest film, ABSOLUTION, you’re up against Vinnie Jones, which offers a very stark contrast in styles of fighting. He’s a scrapper. I’m curious as to how you decided on Vinne Jones for the role of the villain.
Seagal: He’s just a good friend of mine, and some of my friends said that he’d like to do it. So I thought it would be nice to work with him again.
Jeremy: You’ve been working with [ABSOLUTION director] Keoni Waxman since 2009. You’ve made a lot of films and television with him. What is it about that relationship that works for you?
Seagal: I think that Keoni is one of the brightest young men out there. I think he’s a very good director. I think he has a wonderful story-mind, which is very important – in other words, he doesn’t just have to film what’s on the page; he understands what’s on the page. I think he’s a wonderful director who understands editing, looping, dubbing, mixing, foley… he just understands all of that stuff. He’s a great friend: very ethical and very moral. I’m his biggest fan.
Seagal: I don’t think my philosophy has changed much. What’s changed is the business, the people, the technology, the attitudes… you know what I mean? It’s like I was saying the other day, I really do the things that people pretend to do. I really am a fully-commissioned police officer. I really do work on the border: I take a machine gun and a plate carrier, and get out there. We go on high-risk warrants, and we chase bad guys. I really do the shit people pretend to do in the movies, but that doesn’t matter one bit to anyone because they can take a huge zero of a person – and when I say “zero of a person”, I mean someone who doesn’t have the ability to do any action at all – and make them a huge action star with the technology we have today. You look at [IRON MAN 2]: you can take a girl who has no background in fighting, martial arts or anything, and just turn them into the greatest action person on earth. It’s all really different now. They don’t need someone who really did it or does it or can do it. They just need someone who looks the way they want them to look, and someone who can act – which I understand.
Jeremy: But there’s a reason we were drawn to your films in the same way we were to Bruce Lee’s or Jackie Chan’s or Chuck Norris’s. There’s an authenticity there. It’s a great pleasure to watch a fight unfold, and see people who can do the actual fighting. I think that’s still true today.
Seagal: That’s nice of you to say. It’s really refreshing. The guys who’ve been doing martial arts all our lives, we’ve always lamented that it doesn’t really matter to the filmmakers all that much.
Jeremy: Are there any martial arts stars who really impress you nowadays?
Seagal: Yes, there is. There’s one guy who is a friend of mine that I think is a thousand times better than anybody out there, and that’s Donnie Yen.
Jeremy: Your movies have often been about violent men who are on a path to peace and/or enlightenment. There’s obviously a bit of a contradiction there, so I’m curious as to how you reconcile these ideas.
Seagal: In the ultimate way – that’s called the “tao” – we believe that the original calligraphy of “dô” means “war” or “warrior”. But within that kanji for “warrior”, if you dissect it from the beginning, it means from the origin “he who has the ability to stop war”. So in my opinion, in order to be a great warrior, you also have to have the spiritual foundation to want to be a man of God. A peacekeeper. One who keeps the benevolence of society, the greater good and the safety of well being of good people and righteousness above all. That’s kind of how I look at it. Does that make any sense to you?
Seagal: I think what I did in OUT FOR JUSTICE may have been the most challenging, because Dan Inosanto is known as the greatest Eskrima master in the world, and the greatest knife fighter in the world. He is my brother and my friend. We’ve done a lot together, and I had him there, so I wanted to show one of the best fight scenes ever shown – with my idea of this pool ball in the bar towel, and the Eskrima stuff that I did with Dan. I wanted to take over that bar, and dominate it and really show some great technique. It was challenging, but I think I did it.
Jeremy: Yes. Mission accomplished. And it’s so amazing to watch a scene like that with a crowd. It must be such an exhausting process to pull a scene like that together. Have you ever sat with a crowd and listened to them react to your work?
Seagal: I was just going to mention this to you, but I thought maybe it’s better that I don’t because I didn’t want to sound too self-aggrandizing. I was at the premiere for OUT FOR JUSTICE, and I think it was in New York. It was New York or L.A. But anyway, something unusual happened there. The people throughout the whole movie were going crazy, but during that fight scene… I don’t know if you noticed, but I was actually on my knees doing this fighting with the sticks. It was the moment where Danny and I were fighting, and the sticks were flying faster than hell. You make a little mistake with those sticks, and someone gets a broken face or an eye knocked out or a broken nose or a broken wrist. I’ve never seen this before in my life, but all of a sudden, during the middle of that scene, everybody [in the audience] just stood up and started screaming. That was an amazing moment for me. At a premiere, you usually see people cheering and happy, but everybody went out of their seats and just started applauding during the middle of the fight scene. (Laughs)
Jeremy: That’s what it’s all about. I’m seeing that we’re running out of time here, but I just wanted to communicate to you that your films still have the capacity to bring people out of their seats. I’ve been watching since 1989, and as long as you keep making them, I’m going to keep watching them.
Seagal: Well, thank you, brother. I’m very grateful to God and you for having fans, and I’m still going to do it for a little while longer. (Laughs)
Jeremy: Is there a certain age you’re targeting where you might say, “I think it’s time to get out of this”?
Seagal: I don’t think it’s really the age. It’s going to be more spiritually and philosophically what’s happening in my life. It’s like my police work. (Laughs) There’s going to come a point where I say, “I don’t want to do this anymore.”