60 Mad Facts About the Original 'Mad Max' Films 60 Mad Facts About the Original 'Mad Max' Films Yahoo Movies• Share Mel Gibson in ‘The Road Warrior’ (Everett) As far as unlikely film trilogies go, there’s nothing quite like the Mad Max series. The original 1979 movie didn’t exactly have the hallmarks a global phenomenon — it was a post-apocalyptic Australian action flick made on a tiny budget with unknown actors. But that’s just what it became, thanks to brutal, daredevil stunt sequences and a baby-faced lead named Mel Gibson. Six years after the film’s release, director George Miller had made two sequels — 1981’s Mad Max 2: The Road Warrior and 1985’s Mad Max Beyond Thunderdome — and Gibson was on the verge of superstardom. The story of Mad Max was written. Or so it seemed. This Friday the fourth installment hits theaters. To get geared up for Mad Max: Fury Road , we revisited the first three films and dug through director’s commentary and old interviews to compile this list of little known facts. Read it before you hit that Road one more time.

Mad Max (1979) 1. Director George Miller was a medical doctor who began taking film classes in his down time. Much of the physical violence in the movie was informed by what he learned treating car-crash victims. 2. Miller has said when he set out to make Mad Max, his goal was to make a modern silent film with sound. “The kind of movie that Hitchcock would say, ‘They didn’t have to read the subtitles in Japan,’” he says . 3. Gibson’s story about how he landing the role of Max starts with him showing up at the audition bruised from a bar fight. The filmmakers, he says, invited him back a few weeks later because they were “looking for freaks.” When he returned, healed and handsome, he won the leading role. According to TCM , that story has been refuted by everyone else at the audition, who say Gibson was immediately seen as leading-man material. 4. As Miller remembers it, he first tried to cast Max with an American star, but quickly found out he couldn’t afford one. So he began auditioning Aussie actors. After running through dozens of young men, Gibson arrived.

“I remember watching through the video camera lens as he’s running this scene, and I suddenly started to believe it. And I thought, 'Oh my God, there’s something going on here,’” Miller says . 5. Rosie Bailey, the actress originally slated to play Jessie, was injured in a motorcycle accident four days before the start of shooting. Joanne Samuel was a last-minute replacement. Stunt coordinator Grant Page was also hurt in a pre-production motorcycle crash. He reported for duty anyway. 6. Production was pushed back a month because Gibson’s professors at Australia’s National Institute of Dramatic Art wouldn’t let him out of classes early. 7. Writer James McCausland, an economist whose ideas were influenced by the 1973 oil crisis and looming fears of peak oil , makes a cameo as the bearded cook outside of Fat Nancy’s Cafe. 8. The red, yellow and blue Main Force Patrol cars were V8-equipped Ford Falcon sedans that had all been police cars. There were only three used for the film and Miller often had them strategically moved around so it would look like there were more of them. 9.

The supercharger poking through the hood of Max’s black Police Interceptor, a Ford Falcon XB Coupe, was just for show. It didn’t actually work. Hugh Keays Bryne as the Toecutter in ‘Mad Max’ (Everett) Read More 10. The motorcycles driven by the Toecutter (Hugh Keays Bryne) and his gang were donated by Kawasaki, which sent them to the actors a month before production so they could practice riding. 11. Because Miller couldn’t afford to fly the Toecutter and his gang from Sydney to location in Melbourne (the budget was only $350,000), they rode their motorcycles and “rehearsed being a bikie gang on the way down,” Miller says. 12. Members of the Hells Angels and Vigilantes bike gangs played extras in the Toecutter’s gang. 13. Of all the outfits in Mad Max, only Mel Gibson’s was made from actual leather. The rest were vinyl, which was more affordable, but also required constant sewing because it ripped easily. Mel Gibson in ‘Mad Max’ (Everett) 14.

Much of the film was shot using old lenses that Sam Peckinpah used to shoot The Getaway with Steve McQueen in the early '70s. Miller says t he busted-up lenses were dumped in Australia, and they were his only option for shooting in wide angle. 15. Miller was forced to shoot in a guerrilla style, without permits, because, “there was no one to go to really get a permit.” The production actually got help from police though: Miller says they took an interest in the movie and would often block traffic for the production. 16. The fire that comes shooting out of the Nightrider’s car — a former Melbourne taxi — came from a Naval booster rocket. The rocket produced 6,500 pounds of thrust over 1.8 seconds and sent the car 400 meters off course, leading everyone to believe that the shot was ruined. After watching it back though, the production team discovered it was clearly a keeper. 17. The blue van sent spinning through the street near the end of the Nightrider’s joyride belonged to Miller’s father. The engine was taken out so it would bounce around better. 18.

The scene in which the Toecutter’s gang chases down an innocent couple and ravages them and their car was edited out in some countries because it was too graphic. 19. When Max visits Goose in the hospital after his crash and subsequent immolation, the charred hand that appears from under the hospital sheets belonged to Sheila Florence, the actress who played May Swaisey. Mel Gibson and Steve Bisley in ‘Mad Max’ (Everett) 20. Cundalini’s hand, which Jessie finds hanging from the back of the family station wagon, was a five-dollar prop bought from a novelty shop with a piece of pork attached to attract the dog. 21. To outfit the ice cream shop where Jessie and Sprog grab a snack before meeting the Toecutter’s gang, art director Jon Dowding stole signage and milk crates from a store near his house. He returned it all the next day when shooting was complete. 22. Max’s son is named Sprog, which is an Australian slang term for child. 23.

Max Fairchild, who played Benno, the mentally-challenged adult in overalls, is the only actor other than Gibson to appear in the sequel The Road Warrior, where he’s credited as “Broken Victim.” 24. The scene in which the Toecutter’s gang siphons gas from a moving tanker was shot without harnesses or anything else to protect the actors. 25. The close-up of Max’s knee getting shot is not Gibson’s knee. It belonged to special effects guru Chris Murray. And the close-up of Max’s arm getting run over by a motorcycle was actually stunt coordinator Grant Page’s arm. He cut a hole in the asphalt to make sure he wasn’t hurt. 26. Though persistent rumors say otherwise , the biker hit in the head with a flying motorcycle during the climactic chase did not die. In fact, he got up and walked away right after the sequence. Watch the ‘Mad Max’ trailer: 27. The semi-truck that killed the Toecutter had its front end covered with a giant metal plate on which lights and a grill were painted, because the trucker didn’t want to let a motorcycle destroy his ride for the measly $50 he was getting paid.

28. A latex rig stood in for the Toecutter’s face for the shot of his eyes bulging out of his head just before hitting the truck. The eyes on the rig, which was shot in a studio after principal photography, were spring-loaded. 29. The Toecutter’s epaulets were made of possum fur. 30. When it was originally released in the U.S., Mad Max was dubbed with American accents, possibly because Australian accents were then considered too hard for American audiences to understand. 31. Beer was currency on the set: An ambulance driver and tractor driver were among those paid by the case. 32. After the film was finished, Miller said he was so dissatisfied with it that he couldn’t bring himself to watch. Mad Max 2: The Road Warrior (1981) 33. In fleshing out the Mad Max character for The Road Warrior, Miller consulted with the works of Joseph Campbell, a mythology scholar. Max became more of an archetypal hero. 34. Mad Max 2 was known as The Road Warrior in the U.S. because Warner Bros. assumed no one would watch a sequel to a film they had never seen in the first place.

Emil Minty and Mel Gibson in ‘The Road Warrior’ (Everett) 35. A good rule of thumb for determining whether a car was moving during production is to look at the road. If you can see the asphalt speeding by in the shot, the car is moving. If you can’t, it’s not. 36. Max’s dog was chosen from a local pound, which was set to kill him the next day. (The role was originally written for a three-legged dog, but producers couldn’t find one.) On the dog’s first day on set, he “ disgraced himself ” in Max’s car after being frightened by the loud noises. From then on, he wore makeshift earplugs fashioned from cotton balls. 37. Miller used an already-dead kangaroo for a scene that called for carcass and built a fur harness for a scene in which a rabbit was shot with an arrow. The rabbit solution was devised partially because actor David Slingsby (Quiet Man) said he wouldn’t do the film if they planned to actually kill a rabbit. 38. Bruce Spence’s character, the Gyro Captain, was written specifically for the actor. Watch the ‘Road Warrior’ trailer: 39.

Kjell Nilsson, who played the Humungus, was a former Mr. Sweden. The character was imagined as a former military man who suffered severe burns, which is why he wore the hockey mask. The bald-head prosthetic, complete with throbbing vein, broke during production. That’s why it’s seen throbbing only once. 40. While getting his hair cut for the film, Gibson insisted on helping out, indiscriminately hacking off large chunks and pieces of his eyebrows to make Max look weirder. 41. Costumes were made from old football pads, interesting pieces found at S&M stores, and other “bits of junk,” according to Miller. 42. Costume designer Norma Moriceau had previously lived next to Malcolm McLaren. She was an early photographer of his and Vivienne Westwood’s punk-rock clothing designs. Her work caught the eye of musicians Billy Idol and Duran Duran, who wanted her to dress them. She declined. 43. Miller was given to forcibly shaking the camera during action sequences to make the movement look more frenetic. 44. Director of photography Dean Semler followed the tanker in the first chase.

It was such an intense ride, and he was being pelted by so many rocks, that he had to take his eye away from the camera’s viewfinder and just point it at the action. That footage found its way into the final cut. 45. During the climatic tanker chase, Miller was in costume, driving a dune buggy. After he proved himself incapable of operating the on-board camera, he was taken off. 46. Also during that chase, two people strapped to the front of a car slam into the back of the tanker and their heads explode. Those heads were actually watermelons with wigs. 47. All told, Mel Gibson has only 16 lines of dialogue in the whole movie. 48. Years later, Gibson would say The Road Warrior was his favorite of the three films. “It still holds up because it’s so basic,” he told Playboy . “It’s about energy — it didn’t spare anyone: people flying under wheels, a girl gets it, a dog gets it, everybody gets it. It was the first Mad Max, but done better.

The third one didn’t work at all.” Mel Gibson in ‘Mad Max: Beyond Thunderdome’ (Everett) Mad Max Beyond Thunderdome (1985) 49. After concocting the idea for a third Mad Max, producer Byron Kennedy was killed in a helicopter crash in 1983. Miller says he was reluctant to continue after that, but ultimately decided to press on as a way to cope. He also decided to split directing duties with George Ogilvie, a theater veteran who handled the dramatic scenes, while Miller directed the action. 50. The movie’s working title was Desert World. 51. Spence plays a different character in Beyond Thunderdome than The Road Warrior. Here, he’s credited as Jedediah the Pilot. 52. After considering Jane Fonda and Lindsay Wagner for the role of Aunty Entity, Miller saw Tina Turner on TV talking about her desire to act. The character was then written with her mind. Tina Turner in ‘Mad Max: Beyond Thunderdome’ (Everett) 53.

Aunty’s iconic costume was a “70-pound soldered amalgam of dog muzzles, coat hangers and chicken wire, the whole overlaid with gleaming chain-mail butcher aprons,” according to Rolling Stone . 54. Turner had to shave her head for the Aunty wig to fit. 55. At least three camels died on set and crew members regularly suffered from heat stroke during the hot summer shoot in Australia. 56. A former brickworks in Sydney served as the location of Bartertown, while Underworld was built in a facility typically used for bull sales. 57. Underworld was home to 600 pigs, which the production crew rented from a pig farmer. 58. In order to learn to hunt, climb and work with primitive tools, the children of the Crack in the Earth spent two months in training. 59. Borrowing a technique from Mary Poppins, special effects supervisor Mike Wood shot Max and Blaster around the Thunderdome with hand-controlled compressed air cannons. 60. The film’s final shot of Sydney was a scale model that covered some 3,000 square feet.

Watch our interview with ‘Mad Max’ director George Miller below: Mad Max Beyond Thunderdome (1985) - Connections - IMDb Mad Max Beyond Thunderdome (1985) Connections Showing all 145 items Jump to: Follows (2) | Followed by (3) | References (9) | Referenced in (115) | Featured in (7) | Spoofed in (9) Follows A Fistful of Dollars (1964) When introducing Max to the Thunderdome crowd, Dr. Dealgood calls him "The Man with No Name". This is a reference to Clint Eastwood's character in Sergio Leone's "spaghetti westerns", particularly A Fistful of Dollars, where his character also enters a town as a drifter and plays the two ruling factions against each other for profit. Tommy (1975) The character of "Captain Walker", the absent father-figure/savior/pilot, is clearly a reference to "Captain Walker" from the film Tommy. Also, the presence of Tina Turner (who protrayed the "Acid Queen" in "Tommy") strengthens the connections between the two movies.

Mad Max Beyond Thunderdome (1985) Starring: Mel Gibson, Tina Turner, Frank Thring - Three Movie Buffs Review Mad Max Beyond Thunderdome Reviewed on: March 31st, 2012 Mel Gibson in Mad Max Beyond Thunderdome. Mad Max Beyond Thunderdome is the third and, so far, final installment in the Mad Max series. Where the first movie was made on the cheap with Australian money and featured a cast of unknowns, Beyond Thunderdome was produced by American Studio Warner Bros. and featured not only returning and now bona fide star Mel Gibson, but also American songstress Tina Turner, who co-starred and sang the opening and closing songs. This infusion of money and production by a major studio gives the film a slightly more polished look, but is inferior to the previous two films in every other way. Although the timeline is again never made clear, general opinion, based on the novelization and interviews with the writers, have made it clear that the story begins some 13 years after The Road Warrior, which was set roughly 5 years after the original. Max is still wandering the wasteland on his own.

After his belongings are stolen, he ends up in Bartertown, a city powered by pig shit where a battle for control is taking place between Master Blaster (a technologically savvy midget named Master carried on the shoulders of a strong, but dumb giant named Blaster) and Aunt Entity (Tina Turner in a chain mail dress slit as far up as a PG-13 rating will allow). Max gets caught up in their power struggle before finding himself in the desert where he meets up with the cast of Lord of the Flies in the more silly last half of the story. In order, I assume, to appeal to a broader audience and to suck in the teen audience, the filmmaker's opted to make this installment rated PG-13 instead of the R rating of the first two movies. Because of this, the violence is toned way down and some campy, cartoonish humor is injected. This is particularly noticeable in the final, and only, car chase. When Aunty's main henchman drives in front of the train/truck hybrid that Max is driving, Max crashes into the back of the henchman's car, causing it to explode.

Instead of dying however, he simply lands on the front of the train covered in soot. It's almost as if he's doing a Coyote impression from an old Road Runner cartoon. Later, when the same henchman dies, the camera focuses on his clenched fist. His arm tightens and flops before rising just long enough to flip its middle finger, before falling limp. I wonder how much of the weakening of the film was caused by the death of producer Byron Kennedy, who died while location scouting for the film. He co-created the franchise with George Miller and reportedly Miller lost interest in making Thunderdome after the death of his friend, which is why George Ogilvie was brought on as director, where Miller had directed the first two. Miller gets a co-director credit because he staged the action sequences. Although this is the worst of the three films, it does still have some entertaining moments. It starts strong and right up until the battle in the Thunderdome arena it's fairly entertaining. Once Max is tied to that horse and sent out into the desert however, it starts to lose its way. The kids are fairly annoying and from the story of their experiences seem to have been living out there for longer than the timeline would allow.

The city of Bartertown also feels as though its been around longer than the thirteen years would account for. Gibson does another fine job as Max, although the character feels a little flat this time, but more due to the writing than his performance. Turner wasn't actually as bad as I remember, but her mere presence does add a certain camp value to the proceedings. An odd bit of casting is the return of Bruce Spence, who also appeared in The Road Warrior. It's odd because he's playing a completely different character and no attempt is made to disguise his appearance. The backstory for this installment includes stories of a nuclear holocaust, which contradicts both the previous two movies and interviews that George Miller had given before its release. Always before this movie the end of the world was described as a general decaying of society because of the scarcity of fuel. The prologue to Mad Max 2 describes it happening in exactly that manner and makes no mention of nuclear war. This doesn't really hurt the story, but is indicative of the general sloppiness in the way the movie was put together. While the second Mad Max film felt like a natural extension of the first and actually surpassed it in quality, Beyond Thunderdome is worse in every way.

It feels like a big studio trying to cash in on the success of a small franchise. If the promised fourth film ever does get made (with Tom Hardy signed on to take over the part of Max), I only hope it's a return to its R-rated roots rather than a reprise of the quality of this one. Did you enjoy Scott's review? +14 Reviewed on: April 12th, 2012 Tina Turner and Angry Anderson in Mad Max Beyond Thunderdome. Scott, you call the second half of this movie sillier than the first half but really it's all a campy hoot. And gloriously lacking in Political Correctness. In 1980s jargon Master Blaster is a midget riding on the shoulders of an overgrown retard. The outfits the residents of Bartertown are decked out in look like rejects from an MTV hairband video circa 1985. The inclusion of Tina Turner, as well as Angry Anderson the real life lead vocalist for the Australian hard rock group Rose Tattoo, only adds to this impression. Beyond Thunderdome is entertaining in a cheesy, spandex kind of way.

There is no real tension or danger to speak of and the characters are all caricatures. In his review for Mad Max 2 Scott said this movie is where the franchise jumped the shark and I have to agree with him. This is one of those movies that if you loved it as a child and haven't seen it in years, you will probably be disappointed watching it now. The ripped-off Lord of the Flies second half is actually the better half in my opinion because it at least introduces some sympathetic characters. I do agree that these kids seem to have been living out there for quite a long time even though the youngest children shown can't be older than 3 or 4. But this is a nitpicking detail in a silly over-the-top decrepit future movie featuring a kick-ass hero. Gibson is once again perfect as Max, a man of very few words but lots of action. Tina Turner shows off those incredible legs and puts her vaguely-European faux accent to good use as the gleefully imperious Aunty Entity. Like many singer/movie stars before and after her she provides the theme song that's played over the end credits.

“We Don't Need Another Hero (Thunderdome)” peaked at number two on the Billboard Hot 100 in July of 1985. On a personal note that was the year I graduated from high school and this song was one of my favorites that summer. The sight of those crazy dune buggies chasing that plane at the climax provides some stimulating visual excitement (see photo). Mel Gibson and Tina Turner provide some star power. The plot is silly and the costumes are ridiculously outrageous. Mad Max Beyond Thunderdome may have been taken seriously by some in 1985 (although only by the very young) but today it is unquestionably a minor camp classic. Did you enjoy Patrick's review? +14 Reviewed on: October 19th, 2012 Tina Turner and Mel Gibson in Mad Max Beyond Thunderdome I agree with Patrick. This is an unintentional camp classic. There is little actual tension to be found. Whether Max is fighting in Thunderdome or trying to out run Aunty Entity and her minions, you never fear for Max's safety. As Scott wrote, the climactic chase scene is played more for laughs than excitement.

My favorite joke is still when Max tells the man with the arrow in his leg that he will pull it out on three. He then starts to count "One.." and then yanks it out. The man who had the arrow in him asks pathetically, "What happened to two?" Mad Max Beyond Thunderdome has more humor than its predecessors but it does not all work. The middle finger in the car wreckage is juvenile. At one point, Gibson says to Turner, "I don't know anything about methane." and Turner responds, "You can shovel shit can't you?" Turner's movie career never took off, and no doubt this role did not help. She has the film's most over-the-top lines such as, "Remember where you are - this is Thunderdome, and death is listening, and will take the first man that screams." and my favorite that Turner says to Max after he tells her he used to be a cop. " But how the world turns. One day, cock of the walk.

Next, a feather duster." Patrick wrote that this is one of those movies that you may be disappointed with if you have not watched it in a long time and I agree, I used to love this film, but now it is far too uneven. The original script was not even a Mad Max film. The screenplay was about some orphans living in the wild. Later, they decided to add the character of Max finding them and this story grew from that. Mad Max Rockatansky deserved better. Did you enjoy Eric's review? +5 Mad Max - Album Album Story Soundtrack album for the action movie Mad Max (Beyond Thunderdome) from 1985, starring Mel Gibson as „Mad Max“ and Tina as the „Aunty Entity“ of Bartertown. The first single „We Don't Need Another Hero“ was a worldwide success and her first number one in Germany. The follow-up One Of The Living won a Grammy Award in the category „Best Rock Vocal Performance Female“ the following year. All other songs are instrumentals from Maurice Jarre. The record was released with a gatefold cover, containing many pictures from the movie.

After the release of this album, Tina changed the setlist of her Private Dancer Tour and performed the new songs live. A1. WE DON’T NEED ANOTHER HERO (Extended) 6:07 Written by Terry Britten, Graham Lyle ● Produced by Terry Britten ● Performed by Tina Turner ★ Single release in 1985 A2. ONE OF THE LIVING (Soundtrack Version) 5:59 Written by Holly Knight ● Produced by Mike Chapman ● Co-Produced by Umberto Gatica ● Performed by Tina Turner ★ Single release in 1985 A3. WE DON’T NEED ANOTHER HERO (Extended Instrumental) 6:30 Written by Terry Britten, Graham Lyle ● Produced by Terry Britten B1. BARTERTOWN 8:27 B2. THE CHILDREN 2:12 B3.

COMING HOME 15:12 Composed by Maurice Jarre ● Produced and Conducted by Maurice Jarre ● Performed by The Royal Philharmonic Orchestra ● Concertmaster: Barry Griffith ● Didgeridoo: Charles MacMahon ● Ondes Martenot: Jeanne Loriod, Cynthia Mlllar, Dominique Kim / Assistant to Maurice Jarre: Christopher Palmer ● Score Music Produced by Maurice Jarre ● Music recorded digitally at CTS Studios LTD, London by Dick Lewzey ● Assistant: Tim Pennington Rock 'n' roll's legendary female sole survivor has done it again, this time by concentrating her efforts on her anxiously-awaited first starring dramatic role in "Mad Max Beyond Thunderdome." Never to be outdone, Tina packs her electrifying energy into her role as Aunt Entity, the lethal ruler of a post apocalyptic city called Bartertown. Accompanying Tina's engaging screen performance is a tempting soundtrack album featuring two exceptional tunes, "We Don't Need Another Hero" and "One Of The Living." The premiere single from the soundtrack album, "We Don't Need Another Hero," was penned by Terry Britten who wrote Tina's No.

One single, "What's Love Got To Do With It?" The other four tracks are instrumentals performed by the Royal Philharmonic Orchestra, which is sure to make the LP an extraordinary musical accomplishment. Private Dancer, Tina's first LP for Capitol in 1984, went quadruple-platinum and resulted in five hit singles including "Let's Stay Together," "Better Be Good To Me," "Private Dancer," "What's Love Got To Do With lt?" and "Show Some Respect." For her extraordinary talent, Tina received two American Music Awards and was also honored with three Grammy Awards for Record of the Year ("What's Love Got To Do With lt?"), Best Female Pop Vocal ("What's Love Got To Do With lt?") and Best Female Rock Vocal ("Better Be Good To Me"). Premiering on HBO was a one-hour "Private Dancer" special - recorded during Tina's sold-out 70-concert European tour - which included rare appearances by David Bowie and Canadian star Bryan Adams. Tina's starring role (with Mel Gibson) in the Warner Bros.

film, “Mad Max Beyond Thunderdome," is the third in the highly successful series of adventures which began with "Mad Max" and continued with "The Road Warrior." The film, which was directed by George Miller and George Ogilvie, credits Tina's "Aunt Entity" as the founder of the city where disputes are settled by deadly duels combining hand-to-hand combat with aerial acrobatics. Not even James Bond could endure what Mad Max is in store for with Aunt Entity as his injurious opponent. These recent efforts by the sizzling temptress are destined to cap one of the most remarkable comebacks in rock 'n' roll history. 6/85 Mad Max: The Heroes of 'Thunderdome' - Rolling Stone Mad Max: The Heroes of 'Thunderdome' Mad Max: The Heroes of 'Thunderdome' On the road with Mel Gibson Mel Gibson in a scene from the film 'Mad Max Beyond Thunderdome' in 1985. Credit: Warner Brothers/Getty All Stories Mel Gibson wants a beer. Maybe several beers. He is sitting at a table in the canopy-shaded area adjacent to a small catering van, and he is sweltering.

A thermometer in the van's cramped kitchen reads 118 degrees, but that is only because it goes no higher. According to a sweat-dappled cook, who is deftly cropping string beans for a salad, the actual temperature – out there, that is, under the brain-sizzling sun of South Australia – has got to be a good 125. Gibson, unseasonably attired in dusty road leathers and mismatched biker boots, sips glumly from a cup of tepid apple juice. He bums a smoke. He runs a hand through his brown hair, now streaked with blond along the sides. A trickle of blood is painted down his left temple, and a similarly fake abrasion adorns his right cheek. He checks the time: almost an hour till his next camera call. In the distance the desert horizon dances madly in the midday heat. God, a beer would be good. More News All Stories But George Miller, the director of Mad Max Beyond Thunderdome, has decreed this a dry set – nothing stronger than fruit juice. It is a cruel but probably necessary deprivation.

Alcohol dehydrates the body, an unwise thing in such a sun-baked locus as this. It is late November – summer in Australia – and the heat out here, 400 miles north of Adelaide and the nearest balmy coastline, is homicidal. So far today eight crew members have dropped from sunstroke and dehydration, and last night another camel died, joining two previously deceased beasts. Nine of the surreal, custom-sculpted hot rods that populate the picture have blown out under the broiling sun, and it's a struggle just keeping the others gassed up (the fuel tends to vaporize before it can reach the tanks). Staffers with spray bottles circulate among the cast of discreetly gasping, black-leather-clad actors, spritzing their reddened extremities with a cooling mixture of cold water and cologne. A unit nurse, ministering to new arrivals at the remote site, dispenses vitamins for the depleted and lozenges for parched and swollen throats. "Don't worry," she says brightly, "everyone gets it.

You'll start spitting blood soon." Gibson smiles – a dewy, blue-eyed grin that's been known to induce lewd musings among the soberest of female moviegoers. He stubs out his cigarette and sighs. Thunderdome is the fourth movie Mel has made in the last year, and frankly, he's a bit frazzled. He needs a break – some time back at the beach house in Sydney with his wife, Robyn, and their four kids. And yet, here he is, roasting once more in the lunar scrublands, playing again the part to which he'd previously determined never to return. The role of Max, warrior of the wasteland, has confirmed Gibson as the most charismatic slam-bang action hero to emerge since Clint Eastwood snarled into view 20 years ago in the Sergio Leone spaghetti westerns. But after making two hugely successful Max movies with Miller, Gibson felt there was nowhere left to go with the material. He had subsequently won a more elevated sort of critical approval for his performance in Peter Weir's film The Year of Living Dangerously (1983), and after starring with Sissy Spacek in The River and Diane Keaton in Mrs.

Soffel, he could take his pick of more dignified projects (at a reported per-picture fee of more than $1 million). Miller and Terry Hayes, who wrote Thunderdome together, won Gibson back with a more humanized approach to the Max character and his apocalyptic world. "There would have been no point in doing it again if it was gonna be the same thing," Mel allows. "However, it isn't. I think George and Terry are getting better as they go along. They've actually taken the whole Max concept a step further. They're traveling, making more of a journey with it. I thought the first film was quite relentless in its violence. The second one was much more stylized, more clownish. Oh, it had that hard feeling – so will this one. But now it's going from that toward... well, something perhaps a bit more hopeful." Like many Max fans, Gibson sees the Miller movies as "a sort of cinematic equivalent to rock music. It's something to do with the nihilistic sentiments of the music of the Eighties – which can't continue. I say, let's get back to romanticism. And this film is actually doing that.

It's using that nihilism as a vehicle, I think, to get back to romance." Over the last six years the saga of Max Rockatansky, a decent highway-patrol cop driven berserk by the bike-gang murder of his wife and child and fated to roam a squalid post-holocaust landscape in search of Redemption (and the precious gasoline required to keep seeking it), has become a cult epic of imposing international proportions. The mutant look of the movies – with elements lifted gleefully from punk rock, professional wrestling and S&M pornography – reverberates in everything from Amoco commercials and Billy Idol videos to a slew of inferior wasteland wheelers. And Miller's headlong editing style and affinity for the mythic have become touchstones of the action genre. You could feel some of the influence of Miller's furious autokineticism in the truck-chase sequence of Steven Spielberg's 1981 action hit Raiders of the Lost Ark.

(Spielberg later hired Miller – they are mutual admirers – to direct a segment of his thriller anthology Twilight Zone: The Movie.) James Cameron's brilliant 1984 film The Terminator, with its motivating messiah myth and its sense of embattled humanity amid postnuclear desolation, likewise struck a Millerian tone. The kernel of the story was presented in Mad Max, released (over the grave doubts of its first-time director) in 1979. Filmed around Melbourne in nine weeks, Mad Max cost $400,000 to make. In two years it grossed more than $100 million. The Japanese saw it as a samurai movie. To Scandinavians it was a Viking bike flick. In stripping the action tradition down to archetypes and setting them amid flat, unsignifying Australian expanses, Mad Max unwittingly tapped into a near-universal crash-and-burn consciousness. At the time Miller was a hippie M.D. whose only formal cinematic training had been a summer university film course of one month's duration.

("I learned the best way there is," he says, "by going to the movies.") His film-course pal and production partner, Byron Kennedy, was a self-educated entrepreneur, a car nut, film buff, airplane pilot and the builder of his own rockets, robots and cameras. This unlikely pair suddenly found themselves handsomely established as independent filmmakers – a toy store for the taking! Miller had met Terry Hayes, a gregarious Australian journalist, while the movie was still being edited and had hired Hayes to write a quickie novelization. Hayes remembers Miller then as "this funny Greek doctor. I thought he had to have talent – who'd give up medicine to go into movies unless they did? He showed me a very rough black-and-white video of the work print. Whole chunks of it were missing. He tried to explain what was happening in the story – I didn't understand any of it. But I wrote the book – very, very quickly – and George liked some of the things in it. He asked how I'd like to write a script with him. I said I didn't know anything about script writing. He said that was okay.

Later I realized he didn't know anything about it, either – he didn't have the first idea!" Miller had spent so much time poring over Mad Max in the editing process that he'd come to hate the film. It was not at all what he'd seen in his head while making it. For his next project he decided to do a rock & roll movie, to be called Roxanne. He and Hayes would write the script in Los Angeles, affording themselves an opportunity to observe how real movies were made. This proved an unenlightening experience. "Hollywood," says Hayes, "is an institutionalized form of conflict. The writer fights to defend his work against the director; the director fights the producer; and the producer fights the studio." By contrast, the younger Australian film industry seemed open and wholeheartedly collaborative. "In Australia," Hayes says, "you get a chance not just to be a writer or a director. You get a chance to be a filmmaker." Work on the Roxanne script proceeded fitfully before being shelved indefinitely. Miller was still puzzling over the widespread success of Mad Max, and still frustrated by its failure to depict his vision.

Reading Carl Jung and a book by Joseph Campbell called The Hero with a Thousand Faces, he became intrigued by the deep and resonant commonality underlying the world's mythologies. He went back to the films of favorite directors, to John Ford and Alfred Hitchcock, and he became fascinated with the work of such Japanese masters as Akira Kurosawa. They, too, he realized, had had to surmount the sort of creative stymies he had encountered in making Mad Max. Reassured, and convinced he was onto something with this mythological tack, Miller returned his attention to the Max material. Kennedy-Miller (as George and his partner had incorporated themselves) took nine weeks and $4 million to shoot 1981's Mad Max II – released in the United States and some other markets the following year as The Road Warrior. The film far outstripped its predecessor. Whereas Mad Max had been a dark and sometimes unpleasant picture to watch – a straight revenge fantasy with interludes of unusual emotional brutality – The Road Warrior took wing. Norma Moriceau, a London-based Australian designer, contributed punk-conscious costumes and a bent satirical approach to the macho posturings of the action genre.

And Miller, working with Hayes, lightened up on the sadism. At the end, as the settlers Max has reluctantly saved drive off across the wasteland to reinvent civilization anew, the receding image of Max, standing in the wreckage-strewn roadway, suggests semi-Redemption. Half barbarian himself, Max has nonetheless assisted the survival of humanistic values with which he long ago lost touch. No one really wanted to make a third Mad Max movie. Kennedy-Miller had purchased an old art-deco theater on Orwell Street in King's Cross, the red-light district of Sydney, and had begun producing a series of highly successful TV miniseries there. The peripatetic Hayes had been away in Europe. In early 1983 he and Miller rendezvoused in Los Angeles. "George was sitting and talking to me about... quantum mechanics, I think," Hayes recalls. "The theory of the oscillating universe. You could say he's got a broad range of interests. And I said something about "Well, if there was ever a Mad Max III...' And he said, 'Well, if there was...'" In 90 minutes the two men came up with a concept: a tribe of wild children.

They live at the bottom of an idyllic tropical crevice called the Crack in the Earth and revere tribal memories of a Captain Walker – the pilot of the crashed 747 that had left their like stranded in the desert many years before. Walker had set off in search of help and never returned, but his memory was venerated in the churchlike hulk of the now long-dune-bogged aircraft. As the kids grew beyond, say, Peter Pan age, they would propagate, then eventually set out across the surrounding wasteland on their own quest for the skyscraping cities of which Walker had once spoken – cities long since reduced to rubble, along with everything else, by the oil-sparked superpower conflagration that is prologue to the action of the Max movies. When Max himself is discovered perishing in the desert – a victim of the harsh justice of Aunty Entity, the ruler of far-off Bartertown – the kids decide he must be Captain Walker returned to rescue them. They implore him to take them back to the nonexistent cities. Max, however, weary from his years on the road, would prefer that they all remain at the Crack in the Earth, which appears to him a paradise.

The kids prevail, and soon they are all entangled with the formidable Entity. Thunderdome was to be a tale of human renewal amid the gaping realities of death and decay. It would be codirected by Miller and George Ogilvie, a well-known Australian stage director who'd worked in the past with both Miller and Gibson. (Byron Kennedy died in a helicopter crash in July 1983.) Gibson liked the new Max story enough to agree to star in it. Angry Anderson, leader of the Sydney-based hard-rock band Rose Tattoo, was recruited to play Ironbar Bassey, Entity's pugnacious major-domo. And Angelo Rossitto, a dwarf actor who appeared in the 1932 cult film Freaks, would portray the Master, the scientific brain behind (or, actually, beneath) Entity's Bartertown: a primitive economic community powered by methane gas extracted from the subterranean excretions of 400 pigs. An elaborate, neomedieval set for this settlement would be built in the Sydney brick pits: There Entity would rule, consigning the luckless to Thunderdome, an arena for hand-to-hand murder conceived as part hard-rock show and part pro-wrestling match.

But who would play Entity? Miller is said to have casually considered such actresses as Jane Fonda and Lindsay Wagner. While in London, Miller had seen Tina Turner on TV discussing her desire to act. In developing the Thunderdome script with Hayes, he began to refer to Entity as "the Tina Turner character." Finally, with production nearing, he flew to Los Angeles to test Tina Turner herself. A real Miller moment this afternoon: burning piles of tires, noxious fumes and billowing black smoke, a truck-mounted wind machine whipping up a hot sirocco of blinding dust. Tina Turner, in a chain-mail minidress and a flaring blond wig, is sitting at the wheel of one of the film's fantastic wasteland vehicles – in this case, a two-ton truck that has been stripped to its chassis and rebuilt with two Ford V-8 motors, a serpentine array of pipes and hoses and an actual jet engine attached at the back.

As the dust and smoke swirl around Entity's bizarre automobile, a crewman in the rear, out of camera range, manipulates a long pole wedged under the bumper, causing the mighty machine to buck and rumble as though it were actually clattering across the flatlands on some unmerciful mission. "Simulated travel," George Miller calls it. It's one of his favorite old-time techniques. Miller sits off to one side of the action, peering into a laughably low-tech black-and-white monitor housed in a crude pine box. In his voluminous desert whites, blue-tinted wind goggles and safari helmet with a little solar-powered face fan built into the brim, he looks like some silent-screen eccentric beamed in off a Biograph back lot. This is appropriate: Miller edits his images without sound and feels that "silent movies are the pure film language." He re-cues the wind machine, and his shoulder-length hair begins flapping in the squall. When a break is called, Tina climbs down from her car to talk to Norma Moriceau, the costume designer.

A Sydney native, Moriceau moved to England in 1964, working as a photographer and teen-mag fashion editor amid the heady pop clamor of Swinging London. A decade later she was in on the birth of punk. In 1975, while living around the corner from Malcolm McLaren, she began shooting ad photos of the strange new clothes he and his partner, Vivienne Westwood, were selling in their protopunk boutique, Sex. When McLaren concocted the Sex Pistols, Moriceau was on hand at their earliest rehearsals, shooting crude Super-8 footage that later turned up in the Pistols movie, The Great Rock and Roll Swindle. Moriceau subsequently met Miller during a brief return to Australia and saw his then-current hit film, Mad Max. "I thought it was great," she says, "the essence of moviemaking." She and Miller kept in touch, and he later invited her to work on The Road Warrior. She characterizes the slyly unsavory style of her wasteland costumes as "male trouble." "It's all to do with male sports and the medals men give each other in clubs and things," she says.

A pack of passing Mohawked warriors illustrates her approach: shoulders bulked out with black-sprayed football pads; leathers accessorized with bike reflectors, rearview mirrors and metal automotive logos; butts a-swish with horsehair tails. "Big Butch Business," Norma chuckles. Moriceau has had wardrobing offers from Billy Idol, Duran Duran and other rockers aspiring to her fashionable wasteland look, but has turned them down. ("Too much trouble," she says dismissively.) Now Tina wants her, too. The dress Moriceau concocted for Entity is an expressionist classic: a 70-pound soldered amalgam of dog muzzles, coat hangers and chicken wire, the whole overlaid with gleaming chain-mail butcher aprons and accessorized with pendulant auto-spring earrings. The accompanying wig, styled to echo the movie's male plumage, required Tina to shave her head for proper fitting. She offered no protest. "This is the best possible movie I could've done," she says, popping a catered strawberry into her mouth. "It follows up on my stage image, and it'll show the world that I can act.

I'm not terrific, but I'm good enough for this part. And the training I'm getting from George is opening me up. I know that this is the brink – this is what I want to do." Tina thought she had blown the initial audition. "I speak very fast," she says. "I've been a singer all my life, not an actress. And I knew I was speaking fast, so I wasn't pleased with the reading." But Miller was willing to take a chance. "Ostensibly," the director says, "Entity is the bad guy of the movie. If she were dark and one-dimensional, she would be a very clichéd character. But Entity is a survivor; she isn't one-dimensional. And that's what struck me about Tina, that her persona is very strong, very good. Very positive. And that was the main thing. We recognized that it was going to be difficult for her – as difficult as an actor singing a rock concert. So we insisted that she come over for some workshops. And one of the most exciting things for us was to see her intense learning. She just sucked it all up." Now Tina's talking about doing her own stunts, too, but Miller's not buying that yet.

So when Entity is required to lead a charge of Bartertown war wagons down a plunging desert slope, Tina must watch from the sidelines as a stunt double climbs into her imperial machine. But Tina is herself a major Road Warrior fan, and as the growling sand buggies go barreling over the lip of the incline and screaming down the hill, she can't suppress an excited whoop. "Was that great?" she says. "Shit!" Each evening at dusk, a caravan of Thunderdome workers rattles back into Coober Pedy, the isolated opal-mining town where the company bunks. Coober Pedy is a strange place – a sort of Dodge City down under. Its attractions are quickly enumerated: two Greek restaurants – one "full of hookers," according to Tina – and, of all things, a disco: Porky's. A sign on the wall at Porky's sets the tone for the town: 'Patrons, check guns and explosives at the bar.' The crowd is mostly opal miners, a curious breed. According to George Mannix, Miller's location manager, the distribution of opals in the earth is too scattered to be of interest to large mining concerns.

The business attracts loners and outlanders – Yugoslavs, Greeks, Italians – who, to avoid the vicious summer heat, must make their homes in windowless underground burrows into which sunlight never reaches. After a while they may start acting rather strangely. About a year ago, says Mannix, a miner decided to blow up his girlfriend. He came running up to her residence with six sticks of gelignite, and then, being seriously drunk, he tripped. The local cop who related this story had been laughing when he recalled how they found the man's backbone a block away. "Coober Pedy," says Mannix, "is the perfect place for a Mad Max movie." The heat and the boredom conspire to lure restless Thunderdome-ers to Porky's, Mel Gibson among them. Rather late one night he is still stretched out in a dark booth, knocking back beers and contemplating the future. Eight months hence, when Thunderdome is released, he will again be importuned to embark upon a promotional press slog, and the thought does not flood his heart with warm feelings. "Gene ...

Shalit," he says, savoring the name of the Today show's movie maven as if it were some sort of turnip-flavored breath mint. "What is that guy on?" He dislikes the avidity of the American media for celebrity revelation. "You can't live up to what people expect," he says. "Nobody can. But I guess that's my problem, not theirs." When Porky's closes, Mel heads somewhat unsteadily up the street toward his motel room, stopping en route at the more high-toned of the two Greek restaurants to pick up a box of gyros – greasy chunks of spit-roasted lamb – and a container of black olives and feta cheese. It's so hot on location during the days that he finds it impossible to eat. Back in his room he goes straight to the refrigerator and extracts its sole contents: two bottles of beer. One is open and half-empty, the other fresh. With an ambiguous snicker he offers the flat one to a visitor. "Reclusive?" he says, in response to an inquiry. "I'm not reclusive. I'm a guy that dances on tables, puts lampshades on his head, sticks his dick out in crowds.

But I'm married now, got kids. I figure, stay healthy, live longer." Certainly there's little time for dissolution in Gibson's heavily booked film schedule. In the years since his Mad Max breakthrough, he has striven assiduously to enhance his born-hunk physical equipment – 160 pounds appealingly arranged on a five-foot-10-inch frame, topped with the sort of guileless good looks that can make women whimper in appreciation while at the same time striking men as matey and unaffected – with an acting style so subtly naturalistic as to sometimes seem transparent. Off the set, Gibson, who'll be 30 next January, exhibits little interest in his abiding, poster-boy perfection. "The camera likes some people," he says simply. "Some people it doesn't. The most beautiful woman in the world can look like dog shit on camera. Fortunately for me, it also works the other way round." One of Gibson's most intriguing qualities as an actor is his ambiguous accent, a product of his divided nationality, which adds an understated tension to many of his performances.

Born in Peekskill, New York, the son of a railroad brakeman, he's lived in Australia since 1968, when his parents decided to emigrate there rather than lose any of their 11 children to the Vietnam War. He has maintained U.S. citizenship, but also a decided cultural ambivalence. "There's an element of the hybrid nature in me," he says, swigging some beer. "I'm aware of it, but I don't really have any burning desire to identify myself one way or the other. If you're a hybrid, you're a hybrid, you know? You're pieces of this and that. I like it because you can really be a lot more objective, more of an observer. To be uprooted from one place and put into another, you really have to watch stuff. You observe, and then you begin to adapt – and that sounds like an actor to me." Acting, Mel suggests, is the art of "lying convincingly." He kills the beer and stuffs several chunks of lamb into his mouth. The talk turns to Miller and the raw vitality of his style, particularly compared with Spielberg's more polished Hollywood approach.

"Yeah," says Mel, "and Spielberg knows that." Obviously, says his visitor – meaning, just look at the Indiana Jones movies. But Gibson's red-rimmed eyes swell paranoically. "Whatta you mean, obviously?" he rasps. "Has Spielberg got money in this? I heard he had! It's hard to find out with George. But I don't care anyway – as long as I've got my cut!" He cackles maniacally, then slumps back in his chair. "I didn't realize I was so intoxicated," he says, suddenly looking very tired. He cups his face in his hands. "I've been out here for 10 fucking weeks." Will Thunderdome be the last of the Max movies? Don't bet on it. Commercial pressures to extend the saga will certainly be strong; while Miller would love to do a comedy, the Max chronicle, he admits, seems to have a life of its own. As for Gibson's continued participation, the actor – in a less wired moment – is also unsure. "If they could come up with an even better story than this one," he says, "I might be in on it.

But I think they should leave it alone; they've done their dash." And so has he. "It can be pretty tough saving the world sometimes," Gibson says, smiling again. "It's a special branch of work, isn't it?" Mad Max: Beyond Thunderdome (1985) - Movie Trailer - YouTube Mad Max: Beyond Thunderdome (1985) - Movie Trailer Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. The interactive transcript could not be loaded. Loading... Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Oct 7, 2010 Mad Max (Mel Gibson) becomes a pawn in a decadent oasis of technological society, and when exiled, becomes the deliverer of a colony of children. Directed by: George Miller & George Ogilvie. Cast: Mel Gibson, Tina Turner, Bruce Spence, Helen Buday, Angry Anderson, Angelo Rossitto, Robert Grubb, Frank Thring, Paul Larsson, Andrew Oh. Release Date: July 10, 1985.

Category Mad Max: Beyond Thunderdome (Film) - TV Tropes Master delivers one on behalf of his Giant Mook bodyguard. Aunty: You know the law. Two men enter, one man leaves. Master: With Blaster, twenty men enter, only Blaster leave! Max vs the Tribe (fires warning shot, everyone cowers) Now listen good. I'm not Walker, I'm the guy who keeps Mr Dead in his pocket. Barbarian Longhair : Max sports this at the beginning of the film. Battle Chant : "Two men enter, one man leaves!" Bedouin Rescue Service : It looks like Max has had it when he collapses in the desert, but then Savannah appears and brings him to the oasis. The Before Times : The children, born shortly before or after societal collapse, speak of it as "The Beforetimes, in the Long Long Ago..." Big Bad : Aunty Entity, ruler of Bartertown Big "NO!" : Savannah screams and sobs "Oh, no! NO!" when her friend is consumed by the sinkhole.

Blind Musician : When Max enters Aunty Entity's place, a tattooed blind man dressed in a loincloth is playing the Sexophone . Chainsaw Good : Subverted during the Thunderdome scene. Max manages to grab a chainsaw from the Wall of Weapons and proceeds to use it against Blaster. Unfortunately, it runs out of fuel pretty quickly , given that they live in a fuel-starved society and all. Later on Max and Suzannah Nix slam a heavy wooden door only to flitch back as a chainsaw blade bursts through it. Chekhov's Gun : Blaster is rendered helpless by Max's Bosun's Call, since he has a Weaksauce Weakness against high-pitched noises. The Chosen One : Max as "Walker", of course, but for some reason, Savannah was chosen to give "The Tell" to Walker, not Slake, the leader of the tribe. Collapsing Lair : The destruction of methane-factory beneath Bartertown causes various explosions to happen.

"Two men enter, one man leaves." "Bust a deal, face the wheel." Conveniently Timed Attack from Behind : Aunty's guards interfere to stop Blaster breaking Max's neck, presenting it as a "spontaneous" quarrel that can only be settled in Thunderdome. Counting to Three : Max has to start a fight with Masterblaster, as a pretext to getting him into Thunderdome, the arena where he can be legally killed. Things don't start well when Giant Mook Blaster grabs him in a Neck Lift . Master: Blaster, in three seconds, break neck. One...two...th— Aunty Entity: Do you know who I was? Nobody. Except on the day after, I was still alive. This nobody had a chance to be somebody. She inverts it as well, basically calling Max From Nightmare To Nobody. Aunty Entity: Once cock of the walk, now a feather duster. Frying Pan of Doom : Scrooloose wields a metal frying pan during the final chase scene. Future Slang : The children talk like this. Genre Shift : The film does this between its own first and second acts.

It goes from a typical post-apocalyptic Desert Punk movie to a much Lighter and Softer adventure film with You Meddling Kids and some religious undertones about a third of the way through. Gilligan Cut : Max sees one of the children scampering after them in the desert and states, "He holds his own." Cut to Max carrying him on his back in the blazing sun. God Guise : Subverted. Though the kids treat him like their messiah, Max keeps telling them that they got the wrong guy. He still ends up helping some of them . Grim Reaper : The kids have a concept of him as "Mr. Dead." Groin Attack : The Collector tries to attack Max with an axe during his "audition" to Aunty. It gets stuck in the floor when he misses and Max kicks under the axe-handle, forcing the end upwards to his groin. Handcar Pursuit : Max and the tribe of desert children are racing away from Bartertown on a stolen train. One of them looks back to see a horde of Desert Punk vehicles led by Aunty Entity chasing them as well as her chief of guards Ironbar frantically working a handcar and keeping up with everyone.

Having been knocked into pool of pig shit last time we saw him, he's so pissed he clearly doesn't need a methane-powered vehicle. Heroic Sacrifice : Max buys time for the kids in the plane by hopping into a car and driving right into their pursuers, causing a huge crash. Subverted; Max jumps clear and survives the crash, but is left behind to face Auntie's wrath. However, she lets him live. Humiliation Conga : Implied that Master did this on a regular basis with Auntie Entity. The Master: Who run Bartertown? Auntie Entity: Dammit, I told you, no more embargos. The Master: More, Blaster. (power shut off) Who run Bartertown? Who... run... Bartertown ? Auntie Entity: ...You know who. I Gave My Word : Subverted: Aunty hires Max to kill Blaster, but Max refuses to Finish Him! when a Dramatic Unmask shows the Giant Mook to be a simpleton. Because a contract is Serious Business in Bartertown, Aunty is able to use the law to punish Max for his failure to follow through .

To be fair, she was probably punishing him for not finishing the job, rather than hoping he wouldn't. I Own This Town : Aunty initially appears to be the uncontested ruler of Bartertown, but MasterBlaster declares a short embargo on supplying methane to the town to drive home the point that they are the true force to be reckoned with. Incessant Music Madness : Some of the kids have run off. The other kids are showing Max which direction they went, and are chanting a lament in the background. Eventually, Max yells, "Stop the noise, STOP THE NOISE!" It Has Only Just Begun : Master is furious when he realises Max has been hired by Aunty Entity to kill Blaster, thus removing his muscle . Master: No more methane! This place, finished! Ironbar: No little man. We've only just begun. (shoots Blaster) Large Ham : Tina Turner as Auntie Entity and Edward Hodgeman as Dr. Dealgood, the MC of the Thunderdome. Jedediah's son could be considered a little Large Ham .

Last Grasp at Life : There's a Flipping the Bird version when Ironbar is killed in a car crash at the end of the movie. Let Them Die Happy : In a Deleted Scene , Max carries the dying Gekko to the top of a sand dune and shows him the lights of Bartertown, saying that they've found Tomorrow-Morrow-Land. Max's name isn't known to Bartertown's public, forcing Dr. Dealgood to announce him at the Thunderdome as "The Man With No Name" in a Shout-Out to Dollars Trilogy . Many of the character names aren't spoken in the film, and are only listed in the credts . Not What I Signed On For : Max says this after seeing Blaster's true face and refuses to kill him. Notable Original Music : "We Don't Need Another Hero (Thunderdome)" from the soundtrack, performed by Tina Turner, made #2 in the U.S. Max has a moment when he nearly kills an unmasked Blaster. Later... Jed Jr.: This is a stick up! Put your hands up or you're dead meat!

(Max and company stare in disbelief, then look behind at the oncoming horde of Aunty's men.) Jed Jr.: (wide-eyed) Oh... I think we're ALL dead meat! On Three : Max has to yank an arrow out of Pigkiller's leg, says they'll do it on the count of three, and of course does it on one. Pigkiller: ...what happened to two? Psychopathic Manchild : Blaster. Quicksand Sucks : The Wasteland is filled with this. It eats Max's dead horse, and later one of the kids. Reactor Boss : As soon as Max makes a getaway in the locomotive that fed methane into Bartertown, the whole place starts exploding . Rhymes on a Dime : Auntie's laws ("Bust a deal, face the wheel"), but there's a Fridge Brilliance to it: they're easy to remember in a post-apocalyptic society. Ring Ring Crunch : A kid smashes a ringing clock he found with a hammer, because everyone is living in After the End , and he has no idea what the ringing sound means.

Rousing Speech : A rather rare villanous example in Auntie who pulls it off twice: First she turns the Thunderdome crowd against Max: Auntie: What's this? What's this?!! Do you think I don't know the law? Wasn't it me who wrote it? And I say this man has broken the law. Right or wrong, we had a deal. And the law says, "Bust a deal, face the wheel." Crowd: (chanting) Bust a deal, face the wheel... Bust a deal, face the wheel... Bust a deal, face the wheel... Then she prevents the complete collapse of Bartertown and sets the people after the escaping party: Auntie: Bartertown! Listen to me! Where are you gonna run? Where are you gonna hide? Listen to me! Bartertown will live! Find the little man. Bring him back to me. . .alive! We will rebuild! For those who took him... no mercy! (Crowd cheers) Sacred Scripture : Not a paper book, but the tribe of children paid comparable homage to a collection of photos they could examine with an old Viewmaster slide-viewer.

When someone showed them how to work an old phonograph — with a language instruction record that began "Listen and repeat" — they repeated the record's words as if they, too, were sacred. Second Coming : Max is mistaken for the second coming of Captain Walker, a pilot who left children of a plane crash behind with the promise that one day he will return to take them to "Tomorrow-morrow Land," or back to civilization as it once was. Shout-Out : Max stumbles across a tribe of children who call him "the Walker" . Legend goes the film originated as a straight-up adaptation until someone wondered what would happen if Mad Max stumbled across the society from the book, at which point the Bartertown sequences — AKA the part of the film everyone remembers — were plotted out as a framing device. Pigkiller says " No matter where you go, there you are " when Ironbar has him at gunpoint, much to his confusion. Shovel Strike : Ironbar attacks Max with a shovel. Scrooloose then takes a swing on a rope, and kicks him into a vat of pigshit . Snake Oil Salesman : Max encounters a water merchant upon arriving in Bartertown, who tries to sell him water.

Max runs a Geiger counter over his wares, only to discover that it's quite heavily contaminated. Solid Gold Poop : Bartertown is fueled by methane, a byproduct of fecal decomposition. This choice of fuels was clearly made just for the arguments that could result. Sword over Head : Inverted at the end, with Max surrounded by Auntie Entity and her armed goons. She lets him go. Take My Hand : A chain of children are trying to save one of their own from being swallowed up by the same quicksand that earlier claimed Max's dead horse. The human chain is about to break when Max arrives, and he saves them all except for the handicapped teen the others were trying to rescue. Teenage Wasteland : Max discovers a fertile valley where the children of plane crash survivors have been left alone while the adults went to find help. It being After the End , there was no help to be had, and the kids wound up having to raise themselves. They're actually doing fairly well, all things considered, although their limited information about the outside world has led to a rather bizarre belief system.

Those Two Bad Guys : MasterBlaster, the duo who run Underworld ("They are a unit; they even share the same name "). Master is a mental giant with a body like a small child's; for Blaster, the reverse is true. Too Important to Walk : Master goes everywhere on the back of Blaster. Tragic Villain : An odd example in MasterBlaster. The two have been forged by their circumstances into a single, ruthlessly efficient, Genius Bruiser in order to climb to the top of the heap. Alone each would be an easy target for exploitation in a Crapsack World , but together they can intimidate and manipulate any threat into submission. It becomes clear over the course of the film that there is genuine affection between the two, and that everything they do is to protect one another. Even the helmet seemingly made to dehumanize Blaster is revealed to be hiding the child-like features of a man with Downs Syndrome. Vetinari Job Security : Master has this. Justified in that he is likely one of only a handful of remaining people on Earth with a working knowledge of civil engineering, industrial machinery, large-scale power generation, and chemistry.

Bartertown likely explodes in part because he wasn't there to stop it- and may have rigged it to do so as they left. Villainous Breakdown : The Collector seems to have lost the will to live as Bartertown blows up around him. Also the Master between the moments when Max defeats Blaster and the deal with Auntie is revealed. Villainous Valor : Ironbar, especially hanging off the side of the train. Walking Armory : Max is ordered to disarm upon entering a secure area and it takes a full minute for him to drop all his weapons . It turns out the one thing he brought in with him, a flyswatter, was itself a concealed weapon (an iron rod inside the handle). Wasteland Elder : The epilogue shows that Savannah became one. Weapon for Intimidation : Max's shotgun. The only time it's ever used is to fire off a warning shot. Weapon Twirling : Max sticks a pistol in the face of The Collector, then shotguns off the fancy headdress of a mook who comes at him twirling twin knives.

The mook slinks off with a pensive look and The Dragon moves in instead; Collector wisely signals everyone to back off until they can come to a more civilized arrangement. Wheel of Decisions : "Bust a deal, face the wheel." One that is filled with all sorts of punishments - and one chance at complete acquittal. Why Don't You Just Shoot Him? : Max asks Auntie Entity why she doesn't just have one of her guards kill Masterblaster. But having reestablished the Rule of Law, Auntie can't afford to break it herself, otherwise it just becomes Screw the Rules, I Make Them! . In addition, she states that Masterblaster is "family". Wire Fu : The combatants in Thunderdome are attached to elastic ropes. At one point Max gains a temporary advantage by cutting Blaster's ropes with his Blade on a Stick . Would Hit a Girl : Max delivers a knockout punch to a teenage girl. He hesitates beforehand, but goes ahead and decks her.

Question: Which Rock star joined Mel Gibson in the film 'Mad Max Beyond Thunderdome'?
Answer: Tina Turner