The George Miller of the 1970s would never have believed he would one day be spearheading a production with a budget estimated at a staggering $150 million. Miller had made the first three movies when he was in his thirties. At sixty-seven, when “Fury Road” commenced principal photography, those days were far back in the past. Shooting the original film in Melbourne felt like a lifetime ago.
For his first “Mad Max” movie in close to three decades, Miller wanted to be on the frontline at all times. But he soon realized that was impossible given the scale of production: a 138-day shoot with complicated stunts occurring on a near-daily basis. State-of-the-art technology made the job easier — or at least improved communication. High-definition video reception was broadcast in multiple locations,