A Film at 45: Mad Max

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Hello everyone, and welcome back to
nineteen seventy nine in a Film Buys limited

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series A Film at forty five.
I am David Burns and I'm Scott Hoffman

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with this limited series from a Film
by a Podcast where we're dusting off the

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end of a decade changed cinema forever
with a fresh look at modern classics and

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hidden gems that we can't stop watching. In this episode, we're going way

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back before Thunderdome, at least four
rest stops before Fury Road, and talking

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about the start of cinema's most maniacal
road trip, Mad Max. At least

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eight people who don't believe and he
aroes anymore. We'll damn them. The

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chain in those handcuffs, it's high
ten single step, take you ten minutes

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to heck through it with this.
Now, if you're lucky, you can

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heck through your ankle in five minutes. He rules the roads. Were heading

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to a post apocalyptic world in a
story that started it all, the story

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that would give us a man named
Max and introduce the world to an actor

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known as Mel Gibson. We are, of course talking about George Miller's nineteen

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seventy nine classic Mad Max. Scott, let's dive into this post apocalyptic action

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film. How would you describe this
to someone who hasn't seen or even know

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who Mad Max is? Which would
be hard to find. I would like

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as possible. In Australia's near future
by nineteen seventy nine standards, the roads

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are terrorized by hell bent bikers and
high octane night riders. These gangs ripped

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through every step on the highway looking
for another gallon of gas to take them

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on their next terror trip. The
only things standing in their way are the

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main Force patrol, an equally hypercharged
justice squad of interceptors who focus on running

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these gangs down. Chief among them
is Max Rakatanski, which I mean,

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come on that last name, who
finds himself going from a devoted family man

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to a leather clad spirit of vengeance
writing on the edge of his own sanity.

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This is where all apocalyptic movies that
follow find their inspiration. This is

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the story of Mad Max. So
I have a confession to make, Scott,

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to you, to our listeners.
Oh boy, I was introduced to

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the world of Max as a kid
with seeing Mad Max to the Road Warrior

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first. Then I went on and
saw beyond Thunderdome. Then later on as

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an adult, when I was working
at Suncoast, I went back and saw

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Mad Max to fill in the gap. So let me tell you how weird

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and strange the first Mad Max felt
to me at that point, because what

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I had seen in the others,
you know, was really that post apocalyptic

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that you get in those films.
When I went back to this one,

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I mean, it is post apocalyptic, but you still get some normality in

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this, right, There's some normal
things that are happening. You've got families,

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stuff like that with Max. So
I didn't get that the way I

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watched these movies. So this movie
felt strange to me. I will say

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that I had a similar experience,
but a different perception of it. So

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first experience exposure to Mad Max was
beyond Thunderdome, which is awesomely weird but

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awesome. It was one of those
you know, it's on heavy rotation on

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HBO or Showtime or whatever my family
had for Cablin at the time. That

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and Starman just you know all the
time. But going from that to Road

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Warrior and then going from that to
Mad Max, so I kind of went

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in a reverse order. For whatever
reason, I think at the time I

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saw that The Road Warrior was you
know that Beyond Thunderdome was a sequel to

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The Road Warrior. So I was
like, oh, okay, I'll check

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out The Road Warrior because I didn't
associate it with Mad Max. Two right,

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titles get kind of weird. So
when I saw Mad Max, it

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felt to me like pre apocalyptic.
It's just on the edge. If this

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was one episode before the first episode
of Walking Dead, that's what this would

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be exactly. It's interesting because a
lot of times when there's some kind of

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apocalyptic movie, there's an event,
right, it's the virus, it's a

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bomb, it's some kind of war, and everything else like that. It's

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kind of interesting that this was inspired
by a gasoline crisis in Australia in nineteen

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seventy three. So the writers of
the movie decided, well, what if

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that goes completely pear shaped and follows
it to the nth degree. That makes

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sense learning about that kind of put
the pieces together, because what's puzzled me

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about all these movies is what happened
that tore everything to shreds And why is

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so way is everybody so focused on
getting gasoline? Yeah, Like because they're

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trying to get to that next destination
because they're trying to chase down water.

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I just never understood it until that
little nugget put it all together. And

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that makes perfect sense when you look
at it that way, and you know,

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the genius of the writers to come
up with something like that that everybody's

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after that gasoline, and you know, it is a theme that you know

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goes throughout Mad Max, and that
makes sense when you think about it.

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But you know, but you know
this movie, you know, we see

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Max as kind of a normal guy, right, you know, he he

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has a family, He works with
the m f P, who I like

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to refer to as the mother efing
Police, which I know that's not who

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they're called. It's the like Main
Force Patrol, but I mean they've got

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on there. Yeah. But you
know, of course we get this motorcycle

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gang ran by toe Cutter, a
name of all people, his mother must

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be proud, who is going around
causing problems, you know him. He

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kills Max's wife, Jesse and their
child, you know, which is basically

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sending Max into the madman. You
know that. We know when I saw

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this in reverse order, you know, when I saw this when I was

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like, oh, so that's how
he got hurt, and he has the

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brace on his knee. You know
that makes sense now, those kind of

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things. But you know, this
film opens up with that that really cool

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least chase. You know, that
car carries on for a while. You

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know, we kind we can kind
of get really glimpses of Max, you

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know, in his car, sitting
there waiting as the other as the other

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MFPs are chasing until you know,
they all crash and were basically out of

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the chase and they reach out to
him, and you know, then he

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enters the chase. I love that
shot after the car, you know,

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veers out of control and slams and
blows up and Max is out of the

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car and that camera like kind of
moves in on him right there. You

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get the full reveal of Max right
there. I love that shot. Yeah.

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Yeah, And I think we're starting
to see some kind of proto rigs

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from lethal weapon in this right where
he's that that officer who's on the edge

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and his his methods or what everybody
kind of faults to when when nobody else

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can stop them. So you read
this frantic first scene with the night writer,

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that's just blowing through the rest of
the patrol, right, and yeah,

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then you finally get Max, who's
able to stop them. But it's

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not in a hyper violent way.
I guess depending on your perception of it,

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it's a pretty violent crash, but
it's not like he you know,

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goes to the links that he does
at the end of the movie. It's

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also interesting how much controversy that violence
caused, with this movie being banned in

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several places for a long time.
But it's all implied violence, like aside

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from the bug eye thing, if
you know what I'm talking about, I

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do write that kind of it's almost
like a Looney Tunes like you know that

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they're going to slam into death.
But yeah, it's it's a lot of

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implied violence and big car crashes and
in this era, car crashes were expected,

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and I'm sure there's we'll probably see
some car crashes and car chases and

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Kramer versus Kramer. Yeah, yeah, when do we talk about that eventually?

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Maybe, But it's just interesting how
that that arc kind of goes,

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and that the changes that you see
in Max over the course of the film.

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Yeah, and then implied in violence
that you're talking about, even when

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they go after that guy and her
girlfriend in the car. You don't see

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them do anything to them, you
know, you just get what happened afterwards,

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where you know, she's chained to
the guy and you know those kinds

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of things, which I think was
what Johnny the Boy, Johnny the Boy,

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I believe it was. Yeah,
yep, who they who? They

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got right there, So there really
was not showing any violence. You're just

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getting the after effect of what had
happened. So yeah, it was really

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strange that some countries really banned that. Yeah. Well, and even then

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that I'm sure we'll get that blood
pressure up. Was in that first sequence

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when we see the night rider going
through that town and there's the kid that

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kind of tuddles out in the middle
of the road. Yeah, I'm sure

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that there's a lot of Like I'm
maybe they couldn't watch it, Maybe they

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covered their eyes to right, you
know, I didn't want to see the

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kid get run over. But yeah, I really had visions of pet cemetery

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right there when the little kid came
running out there, like, oh yeah,

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yes, exactly, the guy,
I don't want to see this come

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on now. But luckily it turned
out better than we were imagining it to

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be I suppose so. Yeah,
But now let's let's let's talk a little

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bit about Mel Gibson. I mean, he is the man who really didn't

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have much going on for him at
this point. You know, he was

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a couple of TV series, I
believe episodes before he got this role.

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I think he was still in he
was still a student for drama when he

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got this role as as Max.
And I think he's paid like ten thousand

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dollars for this role. But what
a great move for Mel because this really

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shot him into stardom for the entire
world. For American audiences, we got

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to know who Mel Gibson was because
of this film, and we know the

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history of Mel Gibson with the movies
he's done after this, right, And

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I mean, obviously he's had more
than an action career, right, He's

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done a lot of dramatic work.
He's done a lot of comedy yep.

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And you know, obviously there's there's
controversy around there, but as far as

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his his main role, I would
say he's most known as an action star,

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yes, right, without a question. And at the time, you

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know, the things that I've seen
from him before it was more like,

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you know, the handsome face,
right, somebody who probably had the looks

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of a leading man but hadn't been
defined as you know, what makes him

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stand apart, And this one truly
did. And yeah, it was a

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bold move. Really. A lot
of credit goes to George Miller there,

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oh yeah, for creating this kind
of role, but you know, not

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to take away any credit from himself, who who pours that intensity into these

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roles. A lot of his action
roles get into that man who's just kind

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of you know that he's close to
the edge and then people just put him

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right over it. And he has
that when he turns into Max when he

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you know, well he's always Max, when he turns into mad Max,

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right with the leather outfit and all
this other kind of stuff. Yep,

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he goes into i think the hospital
tech and said that zombie mode right when

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it's just this dead expression and that
full intensity. We see that in a

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lot of his movies to follow,
and this is absolutely where it starts.

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Absolutely, this is a good one. Yeah. And he was only what

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twenty three years old I think when
he made this movie, so really young.

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Mel Gibson, he was an unknown
at this time. And so he

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was so unknown that he really wasn't
even in the trailer of this movie when

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it came over to America because it
was mainly like the car chases and the

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you know, the Rex and stuff
like that to get the audience because no

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one knew who Melkibson was, right, well, even the US poster,

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right, it's very iconic, very
recognizable. But aside from it, wearing

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the bronze, you know, having
a badge yeah on the lapel, and

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wearing leather, it's got nothing else
to do with Max. He never wears

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a helmet, he never wears any
of that stuff. No, it almost

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looks like a you know, Star
Wars Little Brother, yeah, kind of

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pose with the with the gun in
his hand. So it's kind of a

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shame that when it came to America
that there were decisions like that not to

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put his face, because I think
the trailer would have benefited from showing his

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intensity, right. But it's also
a shame that when it was brought over

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American audiences, they replaced the dialogue
to get rid of Australian colloquialisms and redubbed

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it to get rid of Australian accents. Now I'll admit, if I didn't

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have subtitles on, I might have
a hard time going through it. Not

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that I could understand the dialogue,
but when it's a lot of colloquialism,

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She's like, wait, what does
that mean? And I'm kind of reading

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for it, right, I think
it's it's much better and it's your original

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form. Oh absolutely. And even
even when I the version I watched you,

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I had to turn the audio up
a little bit because some of the

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dialogue is really low in this film. Yeah, and it's tough to understand

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what they're saying. But yeah,
I mean, there's no way I would

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have been happy if they had dubbed
it over today. There's no way I

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want to watch that film, No
way, exactly. Well, and interestingly,

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you know, even though as we're
talking about dialogue, it's not something

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that Miller was really focused on using
so much as a driver of the story,

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right, there's an aspect of this
it's almost like a silent movie with

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sound is something I've heard it referred
to before, like the limited dialogue purely

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a visual storytelling. I'd be curious
to know what it would be like to

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watch this with sound all the way
down to not hear that dialogue and see

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how it would run through, because
it does do a very good job of

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telling the story. You'd be able
to understand the arc of there's this force

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that can't stop this biker gang.
They eventually go after his wife and she

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ends up dead. He ends up
exacting his vengeance and moves on. Yep

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So, and that's the theme that
he Miller carries on into the Other Man

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Max. I mean, they're not
dialogue heavy either. You know, you

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get a lot of chase scenes and
you know, especially in the newer ones

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with Fury Road and stuff like that, again, you don't get a lot

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of dialogue. You just get a
lot of action sequences that you're right,

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you really don't need. You could
turn it down and just watch it that

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way and enjoy the film immensely.
And this is just like that too.

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You're absolutely correct with that. Yeah, well, let's suck a little bit

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more of some of the other cast. Joey and Samuel who plays Jesse,

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wife to Max, but obviously a
very strong mother, very caring mother.

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She is clearly mad about Max.
I really loved the sign language thing that

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she did when Max was leaving.
I love that you know, basically saying

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I am mad about you. And
then Max turns around and does that to

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her when she was going down to
the beach by herself, which was a

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very odd move in my opinion,
after what had just occurred to her.

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But you know what, whatever,
that's besides the point, I guess.

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But yeah, I thought those who
had really good chemistry together. Absolutely,

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Yeah, she's she's adorable. She
is in this role you really wanted to

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pull through. I think it's a
shame what happens to her. And she's

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clearly not a fan of pants right
point, Like, let's say it,

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but she really endears you to take
care about her and Max by extension,

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and as as much as she's you
know, a very sweet and loving they're

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very cute, she stands up for
herself. And when she stands up to

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toe Cutter and gives them the knee, I'm like, there you go,

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let's do this right. And I
think she gives great performances, you know,

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with the dialogue and the the action
sequences, specifically the chase through the

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woods. Yep, that I don't
know about you, but that gave me

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very That was very much right of
the thirteenth kind of vibes. Oh absolutely,

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yes. It's like, so this
went from a dramatic picture, from

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an action picture to a dramatic picture
to a horror movie, back to an

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action picture. There's a lot of
twists and turns. But even then she's

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like, no, I'm going to
get out of this. I'm going to

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run for my life and maybe yeah, and protect her son. So I

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think she does a great job.
Oh, absolutely so. Sheila Flawrence,

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who plays is it May? Yeah, May Swayze Yeah, May swayzey.

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She was awesome. Man. How
she swooped in there to save Jesse when

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the motorcycle gang was there and you
know, lock them in the barn.

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You shot the shotgup, but still
I was able to take all those men

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and push them back with that one
double barrel shotgun. Yeah. And then

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when they tried to escape in the
car obviously broke down. She gets to

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the back of the vehicle as the
other two are trying to escape and goes

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to shoot them as they're coming at
her. Dude, she's a bad ass.

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Yeah. I think that's one of
the things that I noticed and I

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appreciated a lot. It was so
cool to see May used in that way,

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but it also kind of sets the
tone for what we're going to see

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in subsequent installments in this franchise,
is a significant force from an unexpected place.

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Right, you would expect that she's
just kinda you know, tending to

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the house and that she's not gonna
do much to to stand up to the

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gang. But yeah, she practically
shuts the whole thing down by locking me

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in a barn with one gun,
like that's crazy. Yeah, you're getting

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more badass and that that is for
sure. And then of course we have

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toe Cutter himself, uh played Hugh
Keysburn, I believe, which is really

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unique about this guy because he comes
back in Mad Max Fiery Road and plays

249
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the Morton Joe in that movie,
but he plays a really crazy dude in

250
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this film. And what I found
very interesting when I was doing some research

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on this, he changes his accent
scene to scene to make his character seem

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even crazier. So if you're watching
this film and paying attention, pay close

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attention to every scene that he's in
because he changes that and that is really

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cool, really unique idea. Yeah, and it's you can you can tell

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the writing for toe Cutter is what
sets the tone for any apocalyptic battie in

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that follows in the other movies,
right, the rest of the gang seems

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a little eclectic, but he really
sets that bar. Like the one of

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the first scenes where we meet him, and he does kind of that almost

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like he's going to do a vulcan
mind meld on some guy. Yeah,

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and that's kind of whispery lines and
he's all over the place with his dialogue.

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But he's absolutely, absolutely captivating to
watch. He is. He's got

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a big presence. Obviously he's the
leader of the gang, but it's it's

263
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the dynamic nature of him that makes
you want to watch, not so much

264
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that he's threatening the other gang or
anything else like that. They just fall

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in line because I think they're mesmerized
by him, and that's what that's what

266
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we get in a lot of the
other movies. Absolutely, the weird thing

267
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with the ice cream come on,
come on, creeper, come on.

268
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Yeah, yeah, I mean really
he deserved that, need, Yes he

269
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did. Absolutely I did not feel
sorry for that. Yeah. Then of

270
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course we have Steve Bisley who plays
Goose, which is max partner basically and

271
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becomes a crispy critter. Unfortunately in
the movie, which is something else that

272
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Max uses to, you know,
push him over the edge. Losing his

273
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wife and his child obviously would be
the the ultimate thing that pushes him over

274
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the edge, but this didn't help
that matter much at all. Yeah,

275
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I think that's one of the notes
in the movie that seemed like it was

276
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really taking beats from George Miller's own
experience as emergent, as an emergence as

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an er doctor. M hm.
That's easy. Let's just see it that

278
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way. But when you think about
you know, he's able to orchestrate the

279
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crash scenes and the accidents on the
road based on what he had seen in

280
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his own life, but knowing what
somebody is going to look like or what

281
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they're going to kind of experience when
they're in the hospital being treated, and

282
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he's got that ominous kind of tent
over him with the single blue light.

283
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I thought it was brilliant that we
didn't see Goose's body. We didn't,

284
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at least in the version that I
watched. I didn't see anything other than

285
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Goose's hand. Yeah, That's all
I saw was the hand. But you

286
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see that expression of mel Gibson,
and I think it would have been less

287
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if we had seen his body,
but I feel like George Miller knew the

288
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kind of experience that that can be
or loved ones that see them. Yeah,

289
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it had to be absolutely horrific and
obviously haunted X further on down the

290
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road. Oh, what I was
wondering about Goose was we see the character

291
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of the pilot. I don't know
how else to describe him, but in

292
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Road Warrior in Thunderdome, I think
I'm talking about absolutely I feel like maybe

293
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that character is meant to be kind
of a reminder of Goose. I can

294
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see that. Yeah, and visually
the similarities between them. To me,

295
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it makes me want to watch the
other movies and see what kind of connections

296
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they have. I think it's usually
just like, hey, i'll help you

297
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out. I'm kind of desperate,
just don't kill me, okay, right,

298
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And it doesn't seem like Max has
any kind of attachment to that pilot,

299
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but you can tell that there's there's
something else kind of going on there.

300
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So Yeah, Jim did a great
job. Oh absolutely did. And

301
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speaking of you, you touched base
there on George Miller, who directed this

302
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film and directed you know all the
men Max, He basically raised the money

303
00:22:59.519 --> 00:23:03.720
working as emergency room doctor. As
you talked about, that's just crazy,

304
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is that not. I mean you
read a lot about directors and stuff who

305
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you know, work hard to raise
money for their films and stuff like that.

306
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I think George Miller is the first
one I've heard who was actually a

307
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doctor to save money for his film. Yeah. Yeah, And I mean

308
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you know that's kind of a source
of funding and a source for inspiration,

309
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right, Yeah. And I don't
think he was necessarily exploiting that. It

310
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was just something where he was taken
from his experiences knowing what people go through

311
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and going through the scare in seventy
three of the gasoline crisis that also inspired

312
00:23:44.039 --> 00:23:47.799
it. It was kind of like, what if it's a world where this

313
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is all that you see, this
horrific accident after a horrific accident and the

314
00:23:52.240 --> 00:23:56.039
threats of the road. Yeah.
I think it's a brilliant move to do

315
00:23:56.079 --> 00:24:00.200
that, And I think it's cool
to know that, you know, this

316
00:24:00.279 --> 00:24:04.079
is kind of funded by helping to
save people's lives. Yeah. Absolutely,

317
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So let's look through the lens of
this film, Scott. One of the

318
00:24:07.240 --> 00:24:14.559
things I found very interesting about this
was this is the perfect movie when you're

319
00:24:14.599 --> 00:24:21.319
thinking about gorilla filmmaking. This movie
took it to the extreme of that process

320
00:24:21.480 --> 00:24:26.279
because they would close down roads and
had no film permit to do that.

321
00:24:27.400 --> 00:24:33.160
The stunts that they were doing were
so dangerous they had to do them quickly

322
00:24:33.200 --> 00:24:37.240
before they got caught by the police. Is that not taking gorilla filmmaking to

323
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an extreme or what? Absolutely?
Yeah, I mean considering you know,

324
00:24:44.519 --> 00:24:51.400
the extent of the damage, like
the road is painted in parts. Yeah,

325
00:24:51.799 --> 00:24:53.680
not body parts necessarily all the time, but you know, car parts,

326
00:24:53.680 --> 00:24:59.319
shrapnel, knowing that they would have
to quickly clean that up. And

327
00:24:59.400 --> 00:25:02.400
I'm not a exactly sure how,
Like did they just drive around a dump

328
00:25:02.400 --> 00:25:07.519
truck all day and collect things?
Yeah? And crazy to think that Miller

329
00:25:07.559 --> 00:25:11.440
was out there doing the same thing. When there was time for the cleanup,

330
00:25:11.480 --> 00:25:15.559
he got right into the trenches,
was as was cleaning up himself.

331
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I know what I feel like.
Eventually they got some permits and they got

332
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some permission to do it, but
it takes the stones to get out there

333
00:25:23.400 --> 00:25:27.400
and do what they did. I
couldn't imagine being a film like myself of

334
00:25:27.440 --> 00:25:33.920
doing something of this caliber without any
permits or anything like that. Today.

335
00:25:33.960 --> 00:25:36.519
I mean, you've got a lot
of legal issues obviously, so if somebody

336
00:25:36.559 --> 00:25:40.440
was getting hurt making this film,
you're probably gonna find yourself in court in

337
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in a position you don't want to
be in. So things were obviously,

338
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you know, different back then.
But still, man, this was a

339
00:25:45.079 --> 00:25:49.400
major risk for George Miller to do. Absolutely yeah, but well worth it.

340
00:25:49.480 --> 00:25:52.519
And I mean, oh yeah,
speaking of risk, like, you

341
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know, you get caught in your
first scene, it shuts it down.

342
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Now what do you do? Or
even of course you're at the end and

343
00:26:00.160 --> 00:26:04.960
you can't film the you know,
the important sequences that would crush it.

344
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Yeah, so I'm glad they were
able to get away with it. Oh

345
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yeah, absolutely, Speaking of damage
and gorilla filmmaking, the fact that Miller

346
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gave up his own little blue van
when the crash sequences. Which one was

347
00:26:19.759 --> 00:26:27.039
that? That's dedication. So there
is a chase scene. I don't remember

348
00:26:27.079 --> 00:26:30.880
if it's with Toe Cutter or a
little bit later in the movie, but

349
00:26:32.039 --> 00:26:37.880
there's there's a little blue van that
somebody recks into and it just wipes it

350
00:26:37.920 --> 00:26:44.079
out. Like you see it.
It doesn't flip as the cars usually do

351
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when they get hit. It spins
and you could see that thing just got

352
00:26:48.279 --> 00:26:52.359
caved in. I think that was
the police chase at the beginning. I

353
00:26:52.400 --> 00:26:55.359
remember blue van is kind of like
getting hit and spinning around. Yeah,

354
00:26:55.359 --> 00:26:59.839
that's exactly it. Yeah, that
was okay. So aside from cleaning up

355
00:26:59.880 --> 00:27:03.519
the trapped on the road, risking
getting arrested and having to provide the beer,

356
00:27:03.680 --> 00:27:10.079
I assumed that they were paying the
crew with Yeah, that's that's that's

357
00:27:10.240 --> 00:27:14.839
dedication. That is Oh my goodness, that's again. As a filmmaker,

358
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I could not imagine going to that
level, you know, to create your

359
00:27:18.680 --> 00:27:23.400
film using my own vehicle to be
destroyed. No, no way. So

360
00:27:23.559 --> 00:27:26.400
this movie had a three hundred and
fifty thousand dollars budget, of course,

361
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all done by George Miller, you
know, working as a doctor. This

362
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movie ended up making I think,
like what one point five million or something.

363
00:27:37.720 --> 00:27:41.440
Ridiculous. Okay, it made It
made a lot of money. This

364
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was actually the first independent movie and
it was the biggest independent movie of making

365
00:27:47.680 --> 00:27:51.519
the most money in Hollywood until Blair
Witch came along. Yeah, it held

366
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the record. Yeah, it held
the right right, which I mean it

367
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didn't seem like it made I mean, in contrast, it made a little

368
00:28:00.039 --> 00:28:04.200
lot of money. Yeah, but
it's that small budget, like it's it's

369
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Robert Rodriguez, you know, El
Mariachi kind of start to exactly. Yes,

370
00:28:11.559 --> 00:28:15.279
yeah, same kind of thing.
And I think that approach aspired a

371
00:28:15.279 --> 00:28:21.799
lot of indie filmmakers to take these
risks and to see what kind of vision

372
00:28:21.839 --> 00:28:26.119
they could bring about without having to
seek a lot of money into it and

373
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going to desperate measures to make it
happen. Yeah, and I was incorrect,

374
00:28:30.720 --> 00:28:34.039
is that he Actually it made eight
point eight million dollars, so it

375
00:28:34.119 --> 00:28:38.160
made a lot of money, especially
in seventy nine money. Yeah, I

376
00:28:38.160 --> 00:28:44.319
mean today's I wouldn't mind that,
but yeah, I wouldn't anything else do

377
00:28:44.319 --> 00:28:51.559
you find interesting for look through the
lens? Just the last thing, you

378
00:28:51.559 --> 00:28:57.079
know, speaking of how they made
certain sequences happened the toe cutter death.

379
00:28:59.440 --> 00:29:03.759
I was interest to learn that the
the big rig that eventually crashes into him

380
00:29:04.440 --> 00:29:11.920
that optimist looking truck. The owner
of the truck I wanted to be able

381
00:29:11.920 --> 00:29:17.720
to do the scene, but didn't
want the motorcycle wreck to, you know,

382
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to damage his truck too much,
So they built a steel painted false

383
00:29:22.799 --> 00:29:26.359
front on the truck so that it's
like a false face that you see there

384
00:29:26.440 --> 00:29:30.680
that actually hits the motorcycle. If
you pause it just the right way,

385
00:29:30.720 --> 00:29:36.319
you can see a gap between that
face and the face of the actual truck.

386
00:29:36.880 --> 00:29:41.559
It doesn't take you out of the
movie, but that that takes a

387
00:29:41.599 --> 00:29:45.480
lot of effort, and it's a
genius move to make sure that they get

388
00:29:45.640 --> 00:29:51.240
just the right shot, but you
know, keeping it intact, basically doing

389
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that doing that person a favor.
Yeah, that's a smart move because it

390
00:29:53.559 --> 00:29:56.400
would have done some major damage to
that vehicle. But that was a really

391
00:29:56.440 --> 00:30:00.839
cool scene too, you know,
the bug eyes coming out. You know,

392
00:30:02.839 --> 00:30:06.039
I'm a umanitated by that. Yeah, that's one of the things I

393
00:30:06.039 --> 00:30:08.599
know. There's a documentary what is
it called The Madness of Maas Yep,

394
00:30:10.759 --> 00:30:14.640
I haven't watched it. I have
needs something I want to go see pretty

395
00:30:14.640 --> 00:30:18.799
immediately after this to see how they
did things like that, because it's so

396
00:30:19.000 --> 00:30:22.880
grotesque, that buggy thing, and
I'm just kind of like, did they

397
00:30:22.960 --> 00:30:27.599
just create a false face and then
just pushed the eyes through or did they

398
00:30:27.640 --> 00:30:30.640
find somebody that could do that trick? I hope it's the former out of

399
00:30:30.640 --> 00:30:33.920
the ladder, but it will doo
yeah, but yeah, I guess we'll

400
00:30:33.920 --> 00:30:40.160
see all right, Well, moving
on Let's score the film. The score

401
00:30:40.319 --> 00:30:47.880
was done by Brian May. Apparently
George Miller wanted a gothic sound, kind

402
00:30:47.880 --> 00:30:52.960
of like a Bernard Herman, and
apparently Brian May, who scored Patrick in

403
00:30:52.039 --> 00:30:57.720
nineteen seventy eight, George Miller loved
that work, so he actually hired Brian

404
00:30:57.799 --> 00:31:03.000
May to do this film. Some
people would Nobrien made by some of his

405
00:31:03.079 --> 00:31:07.039
other films. He did Steal Down
with Patrick Swayze, he did The Quest

406
00:31:07.480 --> 00:31:11.839
with Henry Thomas, Doctor Giggles,
and of course Cloak and Dagger, which

407
00:31:11.880 --> 00:31:17.680
I know Jeff our producer loves,
and for Nightmare and Elm Street fans,

408
00:31:17.720 --> 00:31:21.640
he did Freddy's Dead Final Nightmare.
That's right. Yeah, Yeah, So

409
00:31:21.680 --> 00:31:23.440
you're done quite a lot of work
that a lot of us would have heard

410
00:31:23.480 --> 00:31:27.240
for sure. Yeah. And when
I find interesting to the score wasn't like

411
00:31:29.000 --> 00:31:32.920
overpowering a lot. It suited the
scenes of what was going on quite well

412
00:31:32.920 --> 00:31:36.680
in my opinion, I agree,
Yeah, I think it fit right into

413
00:31:36.720 --> 00:31:40.960
it. And considering you know what
we had said before about this goes from

414
00:31:41.039 --> 00:31:45.640
being high action to a drama to
kind of a romance kind of thing to

415
00:31:45.920 --> 00:31:51.640
yeah, a horror movie, back
to an action movie. It never takes

416
00:31:51.640 --> 00:31:53.039
you out of it. No,
it keeps you right in the mood for

417
00:31:53.559 --> 00:31:57.319
what's happening on the screen. Yeah. When I for sad that it was

418
00:31:57.359 --> 00:32:00.720
Brian made that composed it, I
was like, oh my god from Queen

419
00:32:01.440 --> 00:32:08.480
Right. No, but still impressive
resume for Brian. Absolutely. Yeah,

420
00:32:08.960 --> 00:32:13.519
a good choice by Miller two to
getting for this film. All right,

421
00:32:14.039 --> 00:32:17.839
quote this, I actually found a
couple quotes, both of them from Miller

422
00:32:17.960 --> 00:32:23.599
himself. The first one I have
is about the character of Max. He

423
00:32:23.720 --> 00:32:28.640
says he is all of us amplified, each of us in our own way,

424
00:32:29.200 --> 00:32:32.640
is looking for meaning in a chaotic
world. He's got that one instinct

425
00:32:32.640 --> 00:32:37.119
to survive. And he says after
the first Mad Max seven nine, we

426
00:32:37.119 --> 00:32:39.720
went to Japan and they said,
we know this character. He's a ronin

427
00:32:40.200 --> 00:32:45.160
like a samurai. In Scandinavia they
called him alone wondering Viking. To others,

428
00:32:45.440 --> 00:32:50.720
he's a classic American Western figure.
When you think about that, it's

429
00:32:50.839 --> 00:32:53.200
really unique and it makes sense,
especially when you watch all the Mad Max

430
00:32:53.240 --> 00:32:57.240
It's like, wow, that all
of that makes sense. That's pretty neat

431
00:32:57.319 --> 00:33:00.599
all in one character. Yeah,
and I think it would be interesting,

432
00:33:00.680 --> 00:33:02.279
you know, we always talk about
why we do this kind of series.

433
00:33:04.559 --> 00:33:08.359
Knowing that Furiosa is coming out pretty
soon, I think what you just said

434
00:33:08.960 --> 00:33:14.319
is a great reason to crack this
one open again. Yeah, especially with

435
00:33:14.400 --> 00:33:21.240
that timing, because I think Furiosa
is probably going to continue the same kind

436
00:33:21.240 --> 00:33:25.039
of tone from the franchise and that
same kind of feeling that you're just describing.

437
00:33:25.599 --> 00:33:29.279
I think it's very much going to
come across in Furiosa. So to

438
00:33:29.319 --> 00:33:30.880
see where that kind of begins with
this movie, I think it's a perfect

439
00:33:30.920 --> 00:33:35.720
time. Yeah. And then the
second quote that I found with Miller on

440
00:33:35.839 --> 00:33:39.559
basically filmmaking itself. He says,
the way I think of filmmaking, it's

441
00:33:39.599 --> 00:33:45.519
such a seductive thing. It encompasses
every human discipline you can imagine, composition,

442
00:33:45.839 --> 00:33:52.160
art, technology, music, movement, and choreography. It encompasses all

443
00:33:52.200 --> 00:33:55.279
of life. We are the servants
of the Zegist and we live in a

444
00:33:55.319 --> 00:33:59.839
chaotic world. There is so much
information coming at you. We are trying

445
00:33:59.880 --> 00:34:04.119
to find residents out there to create
some kind of meaning. Stories are a

446
00:34:04.119 --> 00:34:08.039
way of distilling something out of all
that bompardment. They're a way of finding

447
00:34:08.079 --> 00:34:16.920
signal in the noise. That's very
seductive. Very George Miller's is brilliant.

448
00:34:17.119 --> 00:34:21.960
All of his films that he's done
has been really well done. I would

449
00:34:22.000 --> 00:34:27.360
go back to Babe, which is
kind of a completely different film for George

450
00:34:27.360 --> 00:34:31.320
Miller. What the Witches of Eastwick
I believe a happy feat even for crying

451
00:34:31.360 --> 00:34:37.760
out loud, some very odd things
for George Miller. But hey, they

452
00:34:37.760 --> 00:34:43.000
were all really good films. And
you know, let's talk a little bit

453
00:34:43.039 --> 00:34:45.000
about the impact of this film since
we're talking about it, and we'll go

454
00:34:45.079 --> 00:34:49.159
back to the rewind and what if, but let's talk about the impact of

455
00:34:49.159 --> 00:34:52.079
this film, Scott. We know
what's going to come down the road.

456
00:34:52.119 --> 00:34:57.960
Here we get mad Max to the
Road Warrior. We know we're going to

457
00:34:58.000 --> 00:35:01.559
get mad Max Fury Road, and
here in this year we're getting for Firosa

458
00:35:01.800 --> 00:35:09.519
a Mad Max saga. Well,
Fury Road was incredible. Yeah, that

459
00:35:09.679 --> 00:35:19.360
movie because it when when was Beyond
thunderdone? Was that eighty five? I

460
00:35:19.519 --> 00:35:28.000
believe that was eighty five? Yeah, okay, so think about that.

461
00:35:28.039 --> 00:35:30.840
The last time we saw Mad Max
was in nineteen eighty five. So basically

462
00:35:30.920 --> 00:35:35.519
what the rest of the world kind
of forgot about Mad Max, George Miller

463
00:35:35.559 --> 00:35:39.039
did not he wanted to bring them
back in such a big epic way,

464
00:35:40.039 --> 00:35:46.079
and he did that in Fury Road, the cinematography, the special effects,

465
00:35:46.360 --> 00:35:51.679
and then he gave us a new
character with Firosa, and now we're getting

466
00:35:51.760 --> 00:35:55.039
her saga coming up in this movie
this year. Just the impact of those

467
00:35:55.079 --> 00:36:01.480
films says so much about George Miller
and what his impact is on the film

468
00:36:01.480 --> 00:36:07.199
industry. Yeah, for sure.
And I mean just thinking about the the

469
00:36:07.280 --> 00:36:13.320
style of this movie, and I
know that in the movie we're talking about

470
00:36:13.320 --> 00:36:17.679
the first Mad Max, you get
hints of this, but not a lot

471
00:36:17.719 --> 00:36:27.000
of that idea of the surviving the
apocalypse by scavenging, right, a lot

472
00:36:27.000 --> 00:36:32.519
of spare parts. Yep. I
think up until this point, when we

473
00:36:32.559 --> 00:36:39.960
would see apocalyptic predictions of the future, it was more futuristics with like you

474
00:36:40.000 --> 00:36:45.079
know, laser guns and things that
were a little bit more far fetched,

475
00:36:45.119 --> 00:36:51.719
a little bit more kind of toward
the Star Wars end of the sci fi

476
00:36:51.760 --> 00:36:57.519
spectrum, right, whereas this one
is really you know, whatever's left is

477
00:36:57.559 --> 00:37:05.239
what we have. And the way
that they kept ramping that up in subsequent

478
00:37:05.280 --> 00:37:07.760
movies. We kind of get the
start of it with toe Cutter and his

479
00:37:07.800 --> 00:37:13.039
gang and you can see beats of
that start here. They ramp it up

480
00:37:13.119 --> 00:37:16.920
in Road Warrior, because then that
kind of swallows up the vehicles themselves,

481
00:37:17.559 --> 00:37:21.199
whereas now it's kind of like,
oh, I found the station, Mike,

482
00:37:21.239 --> 00:37:23.280
and I'm just going to drive it
down the road. They start kind

483
00:37:23.320 --> 00:37:28.119
of amping it up and giving them
more personality. It starts to look like

484
00:37:28.199 --> 00:37:32.400
the cars that eight Paris, right, and they keep ramping it up with

485
00:37:32.559 --> 00:37:37.400
every future installment. I think it
was a great idea to continue it with

486
00:37:37.559 --> 00:37:44.400
Fury Road, but to take a
break between Thunderdome and Fury Road so that

487
00:37:44.440 --> 00:37:49.400
you had enough time to say,
you're not going to see the same kind

488
00:37:49.440 --> 00:37:52.320
of thing, You're going to see
an evolution of that, and I think

489
00:37:52.360 --> 00:37:58.519
giving it enough time for the special
effects to be able to catch up to

490
00:37:58.719 --> 00:38:01.039
I think the vision that he had
with Fear Road, Yeah, was a

491
00:38:01.199 --> 00:38:05.519
was a brilliant idea, and I'm
glad we're getting it continued with Furiosa.

492
00:38:05.920 --> 00:38:09.440
Oh yeah, absolutely. And I
know George Miller mounted cameras on cars,

493
00:38:10.159 --> 00:38:14.039
uh for Mad Max, which basically
putting the audience, you know, in

494
00:38:14.039 --> 00:38:16.519
the middle of the action, and
it shows that in that film, And

495
00:38:16.559 --> 00:38:20.079
I know a lot of the film
industry would follow suit. I mean,

496
00:38:20.079 --> 00:38:22.920
I'm sure probably some movies had already
done that in the seventies, but George

497
00:38:22.920 --> 00:38:27.840
Miller really did to a further extent, uh with this, with you know,

498
00:38:28.159 --> 00:38:30.039
the craziness that you see with the
crashes and the chasers and stuff like

499
00:38:30.079 --> 00:38:34.239
that in this movie that you will
see a lot more later on in the

500
00:38:34.280 --> 00:38:37.719
film industry that was trying to match
what George Miller did in Man Max.

501
00:38:38.480 --> 00:38:43.400
Yeah. So I want to correct
myself one more time for our listeners.

502
00:38:43.599 --> 00:38:51.760
So the actual what this movie did
worldwide was actually one hundred million dollars Scott.

503
00:38:52.239 --> 00:38:53.719
I mean, it's just earning more
every time you say it is it

504
00:38:53.760 --> 00:38:58.880
is. So it set a new
record for the most profitable obviously independent film.

505
00:38:59.119 --> 00:39:00.840
And again, as we mentioned Blur, which would shadow that you know,

506
00:39:00.880 --> 00:39:05.880
in nineteen ninety nine. But yeah, I have to correct myself on

507
00:39:05.920 --> 00:39:07.639
that because you know, I don't
want to, you know, underestimate what

508
00:39:07.679 --> 00:39:12.880
this movie did, because this movie
took the world by storm. Yeah,

509
00:39:12.960 --> 00:39:15.679
and I mean, you know,
I'm glad you get us back to the

510
00:39:15.719 --> 00:39:21.880
budget because it shows the studios what's
possible. Yeah, And I think that

511
00:39:22.039 --> 00:39:25.760
opens up the door for Miller to
pursue more work, which is fantastic yep.

512
00:39:25.880 --> 00:39:30.800
But it also shows that these kind
of movies are worth investing in and

513
00:39:31.840 --> 00:39:37.639
not just having. You know,
obviously it did a lot for automotive focused

514
00:39:37.679 --> 00:39:43.159
action, to say the least,
but to show that you could take it

515
00:39:43.159 --> 00:39:46.400
a little bit further, that you
could use that to tell a story visually,

516
00:39:46.800 --> 00:39:52.760
Yeah, I think it did a
lot for not only in the movie

517
00:39:52.760 --> 00:39:55.599
industry, but I mean, we
see his style and his tone emulated anytime.

518
00:39:57.159 --> 00:40:00.880
You know, think about music videos
that you've seen where they emulate that.

519
00:40:00.920 --> 00:40:06.519
There's a Tupac video that used this
same kind of style, right,

520
00:40:06.960 --> 00:40:12.000
Yeah, it is. It's not
the only way that people see the apocalypse,

521
00:40:12.039 --> 00:40:19.079
but it's definitely a definitive style for
an apocalypse. Absolutely absolutely. So

522
00:40:19.159 --> 00:40:22.559
let's backtrack a little bit. Sins, We skipped a couple what ifs.

523
00:40:22.119 --> 00:40:24.599
In doing my research, I didn't
find a lot of what if actors or

524
00:40:24.639 --> 00:40:28.079
anything in that deca is. Come
on, this was an independent film film

525
00:40:28.119 --> 00:40:31.000
in Australia, so you know,
they were basically going after people that they

526
00:40:31.000 --> 00:40:35.400
could get on such a shoestring budget
that they had. But one of the

527
00:40:35.440 --> 00:40:39.480
things that I found interested about this
is Lord Humongus, who was the antagonist

528
00:40:39.559 --> 00:40:43.960
in Mad Max to the Road Warrior. Yeah, that was actually supposed to

529
00:40:44.039 --> 00:40:51.440
be Goose. He was supposedly,
supposedly has survived burning in that car wreck,

530
00:40:52.039 --> 00:40:57.119
and he was come back as the
villain in the next one, basically

531
00:40:57.480 --> 00:41:01.960
seeking his revenge on everybody. Miller
ended up being scrapping that early into production,

532
00:41:02.000 --> 00:41:06.559
which I'm glad he did because I
think that would have taken something from

533
00:41:06.559 --> 00:41:08.840
Goose's character. If they had gone
that route, I think so too.

534
00:41:09.199 --> 00:41:15.840
I think it would have taken Max
a little bit backward into the past as

535
00:41:15.840 --> 00:41:17.679
well, right, absolutely, and
there probably would have been a thread about,

536
00:41:17.760 --> 00:41:22.519
you know, trying to save him
or whatever and have that connection.

537
00:41:23.079 --> 00:41:28.800
I think it's better to see Max
continue on this road where he's becoming more

538
00:41:28.840 --> 00:41:32.679
and more isolated. Yep, he's
becoming more and more separated from the life

539
00:41:32.679 --> 00:41:37.559
that he was living and having this
personal attachments. I don't think it would

540
00:41:37.559 --> 00:41:39.760
have done anything for us. Yeah, I completely agree, Scott. So

541
00:41:39.800 --> 00:41:44.679
I'm glad they scrapped that, which
Miller obviously recognized that too. All right,

542
00:41:44.760 --> 00:41:47.000
let's rewind. Let's talk about some
of our likes and dislikes and he

543
00:41:47.079 --> 00:41:52.280
likes Scott. We've talked about a
lot. I mean, I'm fascinated by

544
00:41:52.320 --> 00:41:58.159
that bug eye effect. All right, I hope we see that explained.

545
00:41:58.239 --> 00:42:04.119
But you know, the chase scene
through the woods we've already talked about.

546
00:42:04.280 --> 00:42:07.400
I thought it was a brilliant addition
of the scene and the fact that I

547
00:42:07.440 --> 00:42:10.599
was afraid we were going to have
to see something terrible happen to the wife.

548
00:42:12.119 --> 00:42:15.039
Yeah, I think it does a
great job of continuing that tension of

549
00:42:15.079 --> 00:42:21.039
the chase. As they continue on
down the road, it seems like they've

550
00:42:21.079 --> 00:42:24.920
gotten away from the biker gang maybe
until they find a hand chained to the

551
00:42:24.920 --> 00:42:30.480
back of the car. Right,
it's pretty horrific. But that entire sequence,

552
00:42:30.679 --> 00:42:34.760
I think it was the right pace. I think it was the right

553
00:42:34.800 --> 00:42:39.400
amount of time to spend in it, and I think it's just brilliantly constructed.

554
00:42:39.679 --> 00:42:43.679
I agree. You're trying to give
your audience a little bit of catch

555
00:42:43.760 --> 00:42:46.320
their breath, right, just like
the characters are catching their breath here.

556
00:42:47.000 --> 00:42:51.400
You give a little time for that
to happen. They're relaxing with some family,

557
00:42:51.599 --> 00:42:54.039
you know, and then boom,
you know, we're back into the

558
00:42:54.079 --> 00:42:58.440
story. We're back into the chaos
and those kind of things. So,

559
00:42:58.599 --> 00:43:01.239
yeah, no, I agree with
you. I really like that scene.

560
00:43:01.760 --> 00:43:06.079
The one that really stands out to
me is what Max does to Johnny the

561
00:43:06.079 --> 00:43:09.119
Boy at the end of this film. Yeah, you know, he gives

562
00:43:09.159 --> 00:43:12.760
him the option. He doesn't just
go and kill him. You know,

563
00:43:13.800 --> 00:43:17.559
he handcuffs him to the truck which
is leaking gas, and of course Max

564
00:43:17.639 --> 00:43:22.440
sets that little trap with the lighter
and then gives him the hacksaw. So

565
00:43:22.840 --> 00:43:25.679
you know, Max is saying,
hey, okay, you know you should

566
00:43:25.719 --> 00:43:29.679
die here because of what you have
done, but I'm going to give you

567
00:43:29.719 --> 00:43:32.079
the opportunity to choose. You know, are you going to hack off your

568
00:43:32.119 --> 00:43:37.840
foot or are you just gonna blow
up with the truck? Yeah, it

569
00:43:37.880 --> 00:43:40.559
seems like there's kind of a double
meaning to that revenge, right, So

570
00:43:42.000 --> 00:43:44.440
not only am I going to cook
you the way that you did to Goose

571
00:43:44.840 --> 00:43:50.639
yep, So that's one way this
could go, but I'm also going to

572
00:43:50.679 --> 00:43:58.000
take revenge on what he did to
Max. Essentially would feel to Max like

573
00:43:58.079 --> 00:44:00.440
ripping off his own arm. Yeah. Right, It's like we see in

574
00:44:02.000 --> 00:44:06.480
First Contact, there's a scene where
somebody says, well, if you're you

575
00:44:06.480 --> 00:44:07.719
know, if you don't want that, then go ahead and just rip it

576
00:44:07.760 --> 00:44:10.920
off, right. I'm not going
to spoil things because as a future episode,

577
00:44:12.000 --> 00:44:15.880
but knowing that he's giving them him
the ultimatum like you can eat yourself

578
00:44:15.920 --> 00:44:19.960
for the way that my friend did, or you can suffer the way that

579
00:44:20.079 --> 00:44:24.920
I did by you know, going
through this slow, painful process of losing

580
00:44:24.960 --> 00:44:31.719
something that you can't give up.
It obviously has you know, beats that

581
00:44:31.760 --> 00:44:38.880
reminded me of Saw of course,
but and and really effective because then in

582
00:44:38.960 --> 00:44:45.119
terms of practicality like budget and special
effects, you never have to see new

583
00:44:45.199 --> 00:44:50.519
violence happened to the guy. But
you know, he drives off into the

584
00:44:50.559 --> 00:44:53.119
distance, and you don't know whether
he explodes with the car or saw his

585
00:44:53.199 --> 00:44:58.440
own foot off. Use your imagination, right, and you imagine that he

586
00:44:58.559 --> 00:45:01.199
might have gone through both. Maybe
he decided halfway through I'm just going to

587
00:45:01.280 --> 00:45:05.480
give it a shot, but it
was too late. That's yeah, horrific

588
00:45:06.000 --> 00:45:08.559
mm. I like. I like
when directors are able to leave something for

589
00:45:08.599 --> 00:45:15.159
your audience's imagination. I think that
makes your point even stronger as a filmmaker

590
00:45:15.159 --> 00:45:17.199
when you're able to do that stuff. So yeah, and that's why I

591
00:45:17.559 --> 00:45:22.519
appreciate the that there wasn't a lot
of gore right in this one. If

592
00:45:22.519 --> 00:45:25.519
you really really really stop and break
it down, there's not a lot of

593
00:45:25.559 --> 00:45:29.280
gore. You're not seeing parts on
the highway or anything else like that.

594
00:45:29.360 --> 00:45:34.639
The worst you see arguably is Goose's
hand, right. But it's that tone

595
00:45:34.679 --> 00:45:37.519
and it's that feeling that you get
from it that exactly really makes it the

596
00:45:37.519 --> 00:45:39.960
difference. Yep. Absolutely, well, we definitely can't, you know,

597
00:45:40.079 --> 00:45:46.480
skip a part that this film launched
Mel Gibson's career and launched George Miller's career,

598
00:45:46.719 --> 00:45:51.440
sent both of them into stardom.
So we definitely cannot go without without

599
00:45:51.480 --> 00:45:53.400
being on set. Yeah, Scott, where'd you watch? Is that?

600
00:45:54.679 --> 00:46:00.760
I found it on Amazon Prime And
what I appreciate at what I appreciate about

601
00:46:00.760 --> 00:46:04.960
seeing things there as it gives you
some of the behind the scenes tidbits if

602
00:46:04.960 --> 00:46:07.039
you can see the trivia and the
X ray that kind of gets you into

603
00:46:07.039 --> 00:46:14.079
it. But it was it was
interesting to watch it on a streaming service

604
00:46:14.159 --> 00:46:21.000
this time because you get that kind
of that new word, that crisper definition.

605
00:46:21.280 --> 00:46:23.320
I would think, yep, and
I would get that with DVD,

606
00:46:23.400 --> 00:46:25.639
I would get that with Blu Ray. So it'll get me wrong, but

607
00:46:28.239 --> 00:46:30.559
I enjoyed watching it on Prime and
it was it was good to know that

608
00:46:32.039 --> 00:46:36.320
if I want to see the madness
of Max, that I could just switch

609
00:46:36.360 --> 00:46:39.199
right over and do so. Right, what about you, I own a

610
00:46:39.239 --> 00:46:44.639
copy of Mad Max. Seeing this
again, it's got me the mood to

611
00:46:44.639 --> 00:46:46.480
go on and watch Mad Max two, and I mean, you know,

612
00:46:46.679 --> 00:46:50.360
just go on and on with watching
the rest of them because I'm in such

613
00:46:50.360 --> 00:46:52.960
a mood mood for it now.
So yeah, definitely something I have in

614
00:46:53.000 --> 00:46:55.880
the library for sure. Well,
and eventually you get to Tina Turner with

615
00:46:55.920 --> 00:47:00.800
the big Things. Yeah, you
know it, you know it all right.

616
00:47:00.840 --> 00:47:04.760
As always, I want to thank
our listeners and hope you're excited as

617
00:47:04.800 --> 00:47:08.320
we continue our journey through the year
nineteen seventy nine. Let us know how

618
00:47:08.400 --> 00:47:12.840
you saw the Mad Max films.
Were you a normal person and watch them

619
00:47:12.840 --> 00:47:15.840
in order as you should have,
or were you like Scott and I and

620
00:47:15.199 --> 00:47:17.920
kind of mix it up a little
bit and watch them out of order?

621
00:47:19.239 --> 00:47:22.159
Either way, let us know how
what you think about Mad Max. If

622
00:47:22.199 --> 00:47:24.760
you want to leave a comment,
discuss what's next, or even has suggestions,

623
00:47:24.800 --> 00:47:29.000
you can find us at a film
by podcast dot com, a film

624
00:47:29.079 --> 00:47:31.400
by podcast at gmail dot com.
You can find us on a film by

625
00:47:31.440 --> 00:47:37.320
podcast at Facebook, Instagram, and
Twitter. Until our film reels start rolling

626
00:47:37.360 --> 00:47:39.760
again, go out, watch something
new, watch something different, and who

627
00:47:39.760 --> 00:47:43.119
knows what you will discover next.
Thanks everyone,