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It’s about choices driven by the primal needs of your characters. Plot is just the things that happen to happen to your character. Who really cares if you’re in a desert or driving through the mountains or navigating a salt flat or a bog? Structure is not about plot. We start to think that our movies are about the things that happen, but the truth is that plot is interchangeable.
Oftentimes, as writers, we get obsessed with plot.
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And this simple trick of structure is a trick that you can use, regardless of what kind of movie you’re building. Every path has a road block or an obstacle worse than the one that they imagined before. The only thing that really happens in this movie is that Mad Max and Furiosa head in one direction and then head back home.Īlong the way, as they are trying to get to their own personal Valhalla – that green place that they dream of that place in the desert that they’re navigating toward – they are attacked by the most horrific figments of director George Miller’s imagination. The actual plot of Mad Max: Fury Road is ridiculously simple: they drive out into the desert in search of the green place and then they drive back in the other direction. So, the first thing that you should notice when you’re watching Mad Max: Fury Road is that it ain’t about the plot. Forget whether ultra-violent movies make you happy or they make you want to run for the hills because I want to talk about Mad Max: Fury Road in terms of the things that we can all learn from it, as screenwriters, regardless of the genre that we are writing in and regardless of the challenges that we’re having in our writing. Now, forget for a minute whether you love action movies or you hate action movies. This week, we’re going to be looking at one of the most critically acclaimed action movies in recent history: Mad Max: Fury Road. We look at good movies and we look at bad movies and everything in between. As you know, in this podcast, rather than looking at movies in terms of two thumbs, up two thumbs down, loved it, hated it, we try to look at movies in terms of what we can learn from them, as screenwriters. Hello! I’m Jacob Krueger and welcome to the Write Your Screenplay podcast.
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Selling a TV Series: The Role of the Show Bible.
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Top Gun: Maverick – All Writing Is Political.How to Transition from Playwriting to Screenwriting.The Bear: The First Image and the Opening Sequence.The Inner Game of Screenwriting with Christian Lybrook.Novel, Memoir & NonFiction Writing Classes.
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IndieWire will continue to update the list as breaking news around the project is announced. Production won’t start until next year, but there’s a lot to get excited about right now in regards to “Furiosa.” Our rundown below includes every detail we know about “Furiosa” so far. The future of “Mad Max” looked bright after “Fury Road” thanks to Theron and Furiosa, but Miller is choosing instead to continue the franchise by rewinding the clock for a prequel about everyone’s favorite Imperator. “Initially unyielding in her toughness, steady revelations finally let Max - and the audience - into her deep emotional reserves, with Theron marrying Furiosa’s toughness and smarts with an unshakable sense of nostalgia and destiny.” “Furiosa is the real hero of the story, armed with not only intelligence and grit, but serious skill behind the wheel of a war rig,” IndieWire’s Kate Erbland wrote of the character. IndieWire named Charlize Theron’s performance as Furiosa the ninth best of the decade. It didn’t take long for the character to join Sigourney Weaver’s Ripley from the “Alien” franchise or Linda Hamilton’s Sarah Connor from “The Terminator” films as one of cinema’s most definitive action heroines. George Miller’s “Mad Max: Fury Road” is widely considered one of the greatest action movies ever made (the film ranked ninth on IndieWire’s list of the 100 best films of the 2010s), and a big reason why is Imperator Furiosa.
