Cinematographer Simon Duggan discusses the challenges in ensuring visual continuity for the prequel to the operatic road warrior saga Mad Max: Fury Road.
Director George Miller had been plotting a prequel to Mad Max: Fury Road for some time and even approached original cinematographer John Seale to shoot it. Seale had been nominated for work on the 2015 film but, approaching 80 when Miller finally got around to making it, Seale decided to pass.
The baton went to fellow Antipodean DP Simon Duggan, a New Zealander who has shot Alex Proyas’ I, Robot, Duncan Jones’ Warcraft and Mel Gibson’s Hacksaw Ridge.
“I knew that George had been developing both Fury Road and a prequel story for many years and had originally planned to shoot both films back to back,” Duggan tells IBC365...
You are not signed in
Only registered users can read the rest of this article.
Behind the scenes: Spider-Noir
The Marvel universe series is designed to work both as a gritty monochrome detective story and as a stylised, visually saturated comic book world.
Behind the scenes: FIFA World Cup 2026
Time-zone differences, travel demands, and the geographic spread of host cities are forcing FIFA’s host broadcast and rights holders to rethink traditional production approaches.
Behind the scenes: Eurovision Song Contest 2026
What began as a technical experiment in 1956 is now a global cultural institution reaching approximately 170 million viewers on TV across three live shows and generating billions of views on digital platforms. IBC365 gets a tour backstage in Vienna.
Behind the scenes: Rooster
When Cinematographer Blake McClure signed on to shoot HBO’s new comedy Rooster, he wasn’t looking to reinvent the sitcom; he was looking for a way to stretch the visual language of comedy to integrate the intimacy of large format.
Building Bedlam: “Can I shoot an entire feature film on 65mm?”
Given the chance to shoot the 18th century action-drama Bedlam, Cinematographer James Butler crafted a daring project that merged medium-format photography with cutting-edge digital cinema on a customised Blackmagic URSA Cine 17K 65.
