Cinematographer Simon Duggan discusses the challenges in ensuring visual continuity for the prequel to the operatic road warrior saga Mad Max: Fury Road.
Director George Miller had been plotting a prequel to Mad Max: Fury Road for some time and even approached original cinematographer John Seale to shoot it. Seale had been nominated for work on the 2015 film but, approaching 80 when Miller finally got around to making it, Seale decided to pass.
The baton went to fellow Antipodean DP Simon Duggan, a New Zealander who has shot Alex Proyas’ I, Robot, Duncan Jones’ Warcraft and Mel Gibson’s Hacksaw Ridge.
“I knew that George had been developing both Fury Road and a prequel story for many years and had originally planned to shoot both films back to back,” Duggan tells IBC365...
You are not signed in.
Only registered users can view this article.
Behind the scenes: The Brutalist
Cinematographer Lol Crawley finds the monumental visual language to capture an artform that is essentially static.
Behind the scenes: Bringing live deepfakes to the fore in Here
The breakthrough in the making of Here was not the authenticity of a de-aged Tom Hanks, but that the face-swapping technique could be achieved live on set.
Behind the Scenes: Disclaimer
For all the slippery perspectives in psychological thriller Disclaimer, the truth is lying in plain sight, explains Editor Adam Gough.
Behind the Scenes: Conclave
Mystery, suspense and a game of thrones in the Vatican lensed by cinematographer Stéphane Fontaine.
, Director Jon M. Chu, and Ariana Grande (as Glinda) on the set of Wicked.jpg)
Behind the Scenes: Wicked
Opposing colours in the same frame, 6000 lightning cues and shooting 17 sound stages - one the size of four American football fields, all merit why Wicked is the ‘latest hurrah to the golden days of epic studio filmmaking,’ writes Adrian Pennington.
