CANNES, France – Australian director George Miller has had a good deal of time and desire to make “Three Thousand Years of Longing”, his long awaited follow-up to “Mad Max: Fury Road”.
But it was only when the conflict over profits from “Fury Road” – Miller’s Operative Action Opus – opened a window that the time for “three thousand years of aspiration” came.
“After we wrote it, it was really a question of when it would be done,” Miller said shortly before the film’s premiere in Cannes with his stars, Idris Elba and Tilda Swinton. “It simply came to our notice then.
Most of the spectators at the Cannes festival were on the edge of their seats at the unveiling of the “Three Thousand Years of Aspiration.” Miller needs to do magic this time? Does the 77-year-old filmmaker match the thrill of “Mad Max: Fury Road”?
The film, which is set to re-emerge with Miller’s prequel “Furiosa”, had its glittering premiere seven years ago on its way to an Oscar in Cannes, a $ 374 million box office receipt and a place on the list of best centuries. .
The answer, it turns out, is a singular blend of fantasy epic and chamber-piece drama that goes to the heart of Miller’s own feelings about storytelling. MGM will release the screenplay for the film on August 31. Miller and his daughter, first-time screenwriter Augusta Gore. In it, Swinton plays a narrator named Alithia Binny, who is touring Turkey for a conference on how science has replaced myth.
After buying an old bottle at the Alicia Grande market and scrubbing her hotel sink, a wish-giving gin (Elba) appears, filling the room. A long and intimate conversation ensued, where he told her about her previous masters over the past 3,000 years. Using computer-generated imagery, Miller blends mythology and the modern world with a thoughtful, history-wide myth that strongly believes in magic.
“There are some people who are great storytellers who can do it as a performance,” Miller said. “I know I’m fighting this. I can’t get up and tell a spontaneous story well. But I can do it at a very slow pace of telling a movie, where I think about every subtlety, every rhythm. “
Miller has teamed up with many of his “Fury Road” collaborators, including cinematographer John Seal, editor Margaret Sixel and composer Tom Holkenberg. But the director realized that in some ways “Three Thousand Years of Longing” was “anti-mad max” – the conversation where “Fury Road” was wordless, spread from age to age more than real time.
Responses to “three thousand years of aspiration” have been mixed, but very few people have questioned its ambition or its uniqueness.
And for all eras it is wide open, the movie has reached to this day. The late epidemic is seen in the film with the background actors wearing masks. The making of the film was also dramatically shaped by the epidemic. Miller relies on CGI and his native Australia for most of the film, from shooting a series at an international location.
“When we started talking about this film, it seemed very accurate,” Swinton said. “But now, this year, it’s more. And I imagine it will be even more so next. Your instinct for the wind is to run and run. It’s like a seed that one sows. “
To Miller, the “three-thousand-year-old aspiration” doesn’t just go away – it transcends it.
“It’s a very relevant story,” Miller said. “It’s like a metal detector or a giga counter, when something really activates it. You go: ‘Oh, there’s a rich seam somewhere here.’
“Time will tell if there are enough things in it that other people will respond to. You hope the story becomes someone else’s and for everyone,” he said.
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Tilda: When we started talking about this film, it seemed very accurate. But now, this year, it’s more and I imagine it will be more later. Your instinct for the wind is to run and run. It is like a seed that one sows.