This week, we’re going to be looking at one of the most critically acclaimed action movies in recent history: Mad Max: Fury Road.
Now, forget for a minute whether you love action movies or you hate action movies. 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.
So, the first thing that you should notice when you’re watching Mad Max: Fury Road is that it ain’t about the plot. 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. Literally. The only thing that really happens in this movie is that Mad Max and Furiosa head in one direction and then head back home.
Over his years in the entertainment industry, Jacob Krueger has worked with thousands of writers, actors, and other artists in pursuit of their artistic goals. Jacob is an award winning screenwriter, playwright, producer and director. Jacob’s screenplay, The Matthew Shepard Story (2002) won him the Writers Guild of America Paul Selvin Award and a Gemini Nomination for Best Screenplay. The NBC film, directed by Roger Spottiswoode (And the Band Played On), and produced by Goldie Hawn, was based on life of gay hate-crime victim Matthew Shepard. The film won Stockard Channing a SAG Award and her first Emmy Award for Best Supporting Actress and Sam Waterston a Gemini Award for Best Supporting Actor. He has collaborated on original film musicals with Tony Award winning composers Alain Boublil and Claude-Michel Schönberg (Les Miserables, Miss Saigon) and with four-time Academy Award Composer Michel Legrand (Yentl, The Thomas Crown Affair).