“SHAPIRO: Can you give us an example of one of those scenes – how you kept the emotional content and…”
“SHAPIRO: Can you give us an example of one of those scenes – how you kept the emotional content and the characters in there instead of just going for the big detonation?
SIXEL: You know, I’d often think, OK, I’m going to look at the film and only look at the Furiosa character.
SHAPIRO: This is Charlize Theron’s character.
SIXEL: Yeah – and see where she’s missing, where do I think she should be, what is she feeling at this particular point?
(SOUNDBITE OF FILM, “MAD MAX: FURY ROAD”)
CHARLIZE THERON: (As Imperator Furiosa) I’m going to need you to drive.
SIXEL: Because you know, when you got a whole lot of stunts, you can just get caught up in the action of that stunt and forget about where all your main characters are. So I would deliberately go through the film and try and keep them alive.
SHAPIRO: Alive, not meaning free from harm…
SIXEL: (Laughter) Yes.
SHAPIRO: …But alive meaning incorporated into the scene.
SIXEL: But you know, then I’d find a shot of the Vuvalini, who the older women – when one of the women died in the end chase, they would make this particular sign.
SHAPIRO: A hand gesture.
SIXEL: It was very beautiful, and in the midst of all the chaos, there was just this moment where they respected the dead Vuvalini. And it was those moments that actually brought you back to the human story. And we just paused the action there.
(SOUNDBITE OF FILM, “MAD MAX: FURY ROAD”)
SIXEL: And we just let that moment hang there, which was kind of an unusual thing to do with a big action sequence. So all those moments added up and I think gave the film an extra quality.”
– interview with margaret sixel
(via mswyrr)
Reposted from http://ift.tt/1QjvkQV.
Tags: fury road, def. pulling for her to win the editing oscar.
