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George Miller Poster

Biography

Jump to: Overview (3) | Mini Bio (1) | Spouse (2) | Trivia (15) | Personal Quotes (9)

Overview (3)

Date of Birth 3 March 1945Chinchilla, Queensland, Australia
Birth NameGeorge Miliotis
Height 5' 7" (1.7 m)

Mini Bio (1)

George Miller is an Australian film director, screenwriter, producer, and former medical doctor. He is best known for his Mad Max franchise, with The Road Warrior (1981) and Mad Max: Fury Road (2015) being hailed as amongst the greatest action films of all time. Aside from the Mad Max films, Miller has been involved in a wide range of projects. These include the Academy Award-winning Babe (1995) and Happy Feet (2006) film series.

Miller is co-founder of the production houses Kennedy Miller Mitchell, formerly known as Kennedy Miller, and Dr. D Studios. His younger brother Bill Miller and Doug Mitchell have been producers on almost all the films in Miller's later career, since the death of his original producing partner Byron Kennedy.

In 2006, Miller won the Academy Award for Best Animated Feature for Happy Feet (2006). He has been nominated for five other Academy Awards: Best Original Screenplay in 1992 for Lorenzo's Oil (1992), Best Picture and Best Adapted Screenplay in 1995 for Babe (1995), and Best Picture and Best Director for Mad Max: Fury Road (2015).

- IMDb Mini Biography By: Pedro Borges

Spouse (2)

Margaret Sixel (1995 - present) (2 children)
Sandy Gore (1985 - ?) (1 child)

Trivia (15)

George was a practising physician until, after a film course at Melbourne University he teamed up with Byron Kennedy to make Violence in the Cinema, Part 1 (1971).
Older brother of Bill Miller.
Not to be confused with the director of The NeverEnding Story II: The Next Chapter (1990).
Warner Bros. gave him the rights to The Road Warrior (1981) and Mad Max Beyond Thunderdome (1985) to get him to step aside as the director of Contact (1997).
Raised money to make Mad Max (1979) by working as an Emergency Room Doctor.
He was a part of the movement dubbed the "Australian New Wave" by the press. They were a group of filmmakers and performers who emerged from Down Under at about the same time in the early 1980s and found work in other parts of the world. Other members included actors Mel Gibson and Judy Davis and directors Peter Weir, and Gillian Armstrong.
Member of the 'Official Competition' jury at the 52nd Cannes International Film Festival in 1999.
Member of the 'Official Competition' jury at the 41st Cannes International Film Festival in 1988.
He was awarded the A.O. (Officer of the Order of Australia) in the 1996 Queen's Birthday Honours List for his services to the Australian Film Industry as a director, producer, and writer, as founding board director of the museum of contemporary art and as a Member of the International Jury of the Cannes Film Festival in France.
Kings Cross, New South Wales, Australia [January 2009]
Was set to direct Contact (1997) but was replaced by Warner Bros studio due to creative differences on the project and the delay of the whole production start date. Miller was replaced by Robert Zemeckis.
In 2007 he was set to direct a film adaptation of DC comic's Justice League. Miller started the preproduction and casting but the project was put on indefinite hold due to the 2007-2008 Writers Guild of America strike and finally canceled.
Directed one Oscar nominated performance: Susan Sarandon was nominated as 'Best Actress' for Lorenzo's Oil (1992).
President of the 'Official Competition' jury at the 69th Cannes International Film Festival in 2016.
As of 2015, Lorenzo's Oil (1992) and Babe: Pig In The City (1998) are the only feature films he has directed that were not produced by Warner Brothers.

Personal Quotes (9)

Roman Polanski, a master filmmaker, said there is only one perfect place for the camera at any given time. When you shoot animation, and you have exactly the same performance, exactly the same words, exactly the same lighting, but you shift the camera, you're virtually able to prove that. You can experiment with the camera in animation with no cost. And you would find, as best as you could, that ideal place... That's why I think some of the best filmmaking comes out of places like Pixar and DreamWorks and all the animation houses, because they know where they can put the camera. [2015]
Bernard Herrmann said that cinema is a mosaic art. It's all the little pieces that go together that make up the whole. So you find those little pieces. [2015]
There's only one perfect place for the camera at any given time. And I learned that on the animations. You can move the camera wherever you like. But to tell the story - it was interesting how much you could influence the story by simply shooting from another perspective. [2014]
I just love action movies. For me, the most universal language and the purest syntax of cinema is in the action movies. [2015]
[about the world of Mad Max: Fury Road (2015)] All of the catastrophic events we read about in the news - economic collapse, power grids breaking down, wholesale climate change, some nuclear skirmish on the other side of the globe - as of next Wednesday, all of those things will have happened. Then we jump 45 years into the future. There, we have a world that has regressed back to almost medieval behavior. Only the artifacts of the present world survive. For instance, the kind of vehicles we have now, which rely so much on computers, really wouldn't survive in a postapocalyptic world. But the hot rods and muscle cars not only survive, they become almost fetishized, like religious artifacts. [2015]
[on the character Max Rockatansky] He's all of us, amplified. Each of us in our own way is looking for meaning in a chaotic world. He's got that one instinct-to survive. After the first Mad Max (1979), we went to Japan and they said, "We know this character, he's a ronin, like a samurai." In Scandinavia they called him a lone, wandering Viking. To others he's a classic American Western figure. [2015]
[on Mad Max: Fury Road (2015)] In the 30-odd years since not only has the world changed, cinema has changed. The way we experience films has changed. And I've changed too. [2015]
The way I think of filmmaking - it's such a seductive thing. It encompasses every human discipline you can imagine - composition, art, technology, music, movement and choreography. It encompasses all life. We are the servants of the zeitgeist and we live in a chaotic world. There is so much information coming at you, we are trying to find resonances out there to create some kind of meaning. Stories are a way of distilling something out of all that bombardment. They are a way of finding signal in the noise. That's very seductive. Very.
I see filmmaking as a strange journey. In mythology, the trickster leads you into the forest. Film is, to me, the trickster. I think I can be around a thousand years and never understand the process.

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