The film deals with Middle Eastern culture and ancient cultures. So, yes, it’s really interesting to be trying to make a film which is about the telling of stories as much as anything else. And I found that issue really resonated with me. Byatt herself, she’s a literary figure, but she’s also a scholar who really is interested in why we tell stories and how stories evolve all the time. Why are we hard-wired to tell each other stories?Īnd here is someone, I’m talking about A.S. And most of all you get a story about stories, someone telling stories within stories but also really trying to understand what’s the function of stories. You get the notion of love, desire, all those things. You get the notion of a character who is mortal, like the rest of us, and someone who is ostensibly immortal, to live indefinitely. It’s about story and how story creates meaning for us and how those meanings are often about the really big questions or issues of our existence: what is real what is not real that dichotomy between a character who’s a creature of reason, Alithea, Tilda’s character, and a creature driven by emotion and desires and passion. Is that what appealed to you in the original short story? “Three Thousand Years of Longing” is very much a story about storytelling. And so we were much more rigorous in that regard. is the first one which had to allude to a previous film, to ”Fury Road” in its design, in its characters, in its world, because it was a prequel. If we were just to go back and I’m doing a remake of that film, we’d be fools.” So it had to be different. Cinema has changed, the way we read cinema has changed, the way we make cinema’s changed. Not only have I changed personally, the world’s changed. People were saying, “Oh, can you make it like ‘Road Warrior’? ‘Road Warrior’ was really the best of those films.” And I thought, “Well, wait a minute, that was 30 years ago. And then I remember on “Fury Road,” that had to be different again. Otherwise we were just repeating ourselves. The third film, the same, and that was “Thunderdome.” They had to be different. The only thing really in common was that it was Mel Gibson. So it was a different film in tone, in style and everything. So the second film had to be different from the first. And for me, personally, it was on the condition that I was able to overcome all the mistakes that I thought I learned from the first film. It’s got to be its own thing.Īfter I made the first “Mad Max” all those years ago, I didn’t want to make another “Mad Max” film. You’re definitely looking to not repeat what you’ve just done and you are looking to make it, if you like, uniquely familiar. You’re not looking for more, you’re looking for it to be as good as it can be. You’re striving to make each film better but not necessarily more. It’s not a question I’ve really asked myself. Given the success of “Fury Road,” do you feel pressure to somehow top yourself with “Furiosa,” to make something even bigger and wilder? Making one movie while promoting another leads to the occasional confusion, such as when Miller accidentally referred to the main character of one movie by the name of the other. She is reluctant to use his power to grant her wishes, further complicating their dynamic.įor a recent interview, Miller was on a video call from his home in Sydney, Australia, where he was deep into production on the anticipated “Fury Road” prequel “Furiosa,” in which Anya Taylor-Joy takes over the role originated by Charlize Theron. There she encounters a Djinn ( Idris Elba), a magical being who tells her of his encounters across millennia. Byatt’s 1994 short story “The Djinn in the Nightingale’s Eye.” Tilda Swinton plays Alithea Binnie, a narratologist (she studies storytelling) who has traveled from her home in London to a conference in Istanbul. The film, which opens nationwide Friday, is adapted by Miller and his daughter Augusta Gore from A.S. As the follow-up to his groundbreaking “Mad Max: Fury Road,” the high-energy desert chase action movie that won six Oscars, Australian filmmaker George Miller is set to surprise audiences again with “Three Thousand Years of Longing.”
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