Mad Max Black Screen Full Of Recycled

We eventually learn, at the end of the story, that the narrator is one of the characters (the Feral Kid) nearing the end of his life.

Before rolling the camera on his 1971 masterpiece, Kotcheff purchased thousands of dead flies from Sydney university, spread them everywhere on set (on top of books, on the ground, on shelves and tables), and sprayed the air with a fine dust-like substance.

You cant see these things on screen but, he argued, they have a psychological impact.

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Mad Max Black Screen Full Of Recycled

The dystopian Mad Max universe, with its visions of a junkyard future comprised of the flotsam and jetsam of human civilisation, is full of recycled commodities: what the director calls found objects repurposed.

And thus the perfect sandbox for Leibnizian alternate worlds etched out in small details.

Few viewers of Mad Max: Fury Road would be aware, for instance, that there is a subtle bird theme running through the design and makeup of The Valkyrie, a Warrior Woman-esque character played by Megan Gale.

Fewer still would know an illustration of a bird was carved on to the handle of her gun, a stainless steel Winchester rifle.

Nobody can say precisely what effect monochrome photography has on petite perceptions; the extent to which it makes certain things even harder to notice.

And by George (Miller, as the case may be), such re-stylisation throws a spanner in works when it comes to contemplating how a films visual tone informs overall psychological impact.

I was one of many Mad Max super-fans who, over the weekend, returned to see Fury Road on the big screen this time in a rejigged colour-drained Black Chrome edition that is out now on DVD and Blu-ray in a special two-disc set (which includes the original version).

It feels like the film itself has become nostalgic for the film itself.

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The director has spoken about how he has always wanted to release a Mad Max movie in black and white, and considers this the best version.

I suspect youll be hard-pressed to find somebody who agrees with him, given the rousing burnt orange look of the original.

But it is unquestionably a fascinating way to re-evaluate the greatest action film of the new millennium.

On the Fury Road PR circuit Miller observed, with a touch of bemusement, how the reception to Fury Road demonstrated a strange compulsion in audiences: that they can become nostalgic for the apocalypse.

In a sense Black Chrome is a weird extension of that thinking.

Or, as I prefer to think of it, that somebody separate from the narrative has got their hands on Fury Road and changed the perspective from which we view it.

In real life that person is obviously Miller but its more fun to think of them as a character linked to this universe.

The misty black-and-white surface is, then, a reflection of that.

I was reminded of words familiar to Mad Max aficionados: My life fades.

Those are spoken by an elderly person narrating the opening sequence of 1981s Mad Max 2: The Road Warrior, which contains black-and-white graded footage from the original movie, in a faux documentary reel.