MovieChat Forums > Mad Max 2 (1982) Discussion > The Cinematography

The Cinematography

posted 9 years ago by Ufomammutter
6 replies | jump to latest

Anyone else here love Dean Semler's cinematography in TRW? The shot composition and camera movements are some real feats considering what he and George Miller had to work with.

The opening with the aerial shot pushing down into the road, fading to black, then pulling out of the blower to reveal Max I think is one of the best intros ever. The camera work, music, sound effects, and editing all come together perfectly.

The shot of the gang chasing the rig is equally amazing. Again an overhead shot, when it races past all the pursuers to push in on the rear of the tanker and it's defenders works so well creating tension for the final conflict.

Old school innovative camera work like this is so impressive. The camera operators were almost stunt men themselves to hang from helicopters and cars to get shots like that.

[–] black_derby_80 9 years ago

one of my favorite shots is the collision in the opening chase between the 'bad cop''s car ant dune buggy, when the car is rolling over and the camera is looking back at it, moving with it... but the car stops rolling, stops moving, and the camera keeps moving away. it's almost as if to say that the film won't dwell on the past, the only objective is to keep moving forward.
the cinematography in general is amazing, though. there's never any confusion about what's happening, but it's never static or boring.

"Cinema was made for fantasy, rather than normal types of stories." - Ray Harryhausen

[–] Ufomammutter 9 years ago

You know what? I've noticed the shot you're talking about, with the camera still moving forward as the car flips out of control, but I gotta admit I've never thought of it the way you said. Very interesting observation!

It fits perfectly within the context of the forward momentum of the film, especially concerning Max himself. His whole mindset is to go forward as fast as possible to try and escape the tragedy of his past, yet he will stop, look, and move backwards to retrieve the precious juice, which in turn will keep him moving. By doing this, he can continue on, ignoring the human connection he claims he does not need, but in reality is exactly what he needs.

Even simple shots just work so well. The low angle used in the same scene as he backs up, showing only the lower half of the Interceptor and his boots as he exits the car is very well thought out.

The shot of him peeling out afterwards is simply beautiful. The tires squealing as he hits pavement, the emptiness of the outback he's heading into, and that stunning Australian sky...pure brilliance.

[–] rindercella 9 years ago

It's so great you can taste that dirt in your mouth. lol

Best film in 100 different ways!

"Guys like you don't die on toilets." Mel Gibson-Riggs, Lethal Weapon

[–] Ufomammutter 9 years ago

And smell the guzzoline!!!

[–] Kruleworld 9 years ago

the car stops rolling, stops moving, and the camera keeps moving away.

Kind of like the final shot, of the camera moving away from Max, leaving him behind.

"He's dusted, busted and disgusted, but he's ok"

[–] Blueghost 8 years ago

It's a very well shot film.