Latest news with #Furiosa:AMadMaxSaga
AU Financial Review
02-06-2025
- Entertainment
- AU Financial Review
Aussie AI tool used on Furiosa, Sinners is taking Hollywood by storm
When Anya Taylor-Joy was promoting her starring role last year in the film Furiosa: A Mad Max Saga, the last thing one would expect her to talk about was artificial intelligence. And yet, that's what she did on one US talk show. Taylor-Joy, an actor with a unique face and striking eyes, plays the protagonist Furiosa in the George Miller prequel that explores her backstory. It shows her as an adult, and as a child, played by Australian actor Alyla Browne.
NDTV
29-05-2025
- Entertainment
- NDTV
Yash Collaborates With Mad Max Stunt Legend For Action Sequences In Ramayana
Mumbai: Yash has teamed up with Mad Max stunt maestro Guy Norris for the action sequences in the upcoming epic Ramayana. The actor has begun principal photography on Ramayana. The project has brought in Guy Norris, the stunt director behind Furiosa: A Mad Max Saga, Mad Max: Fury Road, and The Suicide Squad, to choreograph elaborate action sequences tailored specifically for the massive scale of this mythological adaptation, reported Variety. Norris is currently in India working closely with Yash to craft set pieces that could redefine Indian cinema's approach to large-scale spectacle. The epic narrative follows Prince Rama's 14-year exile, during which the demon king Ravana abducts his wife Sita, leading to a climactic battle. What A massive addition to the crew of Nitesh Tiwari's Ramayana, as Mad Max stunt expert Guy Norris will be choreographing action sequences in the film. Guy Norris is the man behind the stellar action acts in Furiosa: A Mad Max Saga, Mad Max: Fury Road, and The Suicide Squad. Norris is currently busy working with Yash to build set pieces that would be a massive step ahead for Indian cinema. Yash will play the role of Ravana in the epic, he has begun with the principal photography for the film. About Ramayana The two-part film is being directed by Nitesh Tiwari, whose Danga l is the highest Indian grosser of all time. Yash's Monster Mind Creations and producer Namit Malhotra's Prime Focus Studios have partnered on the adaptation of the Indian epic. The actor is best known for the K.G.F. action film franchise, the second part of which is also the fifth-highest grossing Indian film of all time. Malhotra is the global CEO of visual effects company DNEG, which has worked on seven VFX Oscar winners in recent years, including Dune: Part One and Tenet. The first images from the production reveal Yash preparing to embody Ravana. Yash is committed to a substantial 60-70 day shooting schedule for Ramayana Part 1. The epic has been adapted numerous times for screen, notably in Ramanand Sagar's iconic 1987 television series Ramayan, the 1993 anime Ramayana: The Legend of Prince Rama, and more recently in 2023's Adipurush starring Prabhas. Ramayana's Release Schedule Ramayana Part 1 is slated for release during the 2026 Diwali holiday frame, with the second instalment following on Diwali 2027. The film will be led by Ranbir Kapoor as Lord Ram and Sai Pallavi as Sita. In A Nutshell Yash gets excitement soaring as he joins hands with Mad Max stunt hero Guy Norris. Yash who will be essaying the role of Ravana in Nitesh Tiwari's upcoming epic is currently working closely with Norris to build incredible set pieces for the film, that would be revolutionary for Indian cinema.
Yahoo
04-05-2025
- Entertainment
- Yahoo
Why Anya Taylor-Joy's Mad Max prequel lost $120m – and why it doesn't matter
Hollywood box office reports can be a disconcerting read for anyone who thinks they understand basic maths. This week, the film industry website Deadline offered up a belter. Furiosa: A Mad Max Saga, which cost $168 million to produce and which made $211m across cinemas, DVD and streaming, somehow still managed to lose $119.6m. The unfortunate (and, on the face of it, inexplicable) figures were revealed in Deadline's annual Most Valuable Blockbuster tournament, which ranks the profitability of the highest-profile theatrical releases in the last calendar year. The biggest winner of 2023 was Disney Pixar's Inside Out 2, which took $650m after all bills were paid, followed by Disney Animation's Moana 2 with $415m and Disney Marvel's Deadpool & Wolverine with $400m. In this era of perpetual industry-wide crisis, one particular studio clearly isn't going to have the bailiffs at the door for a bit. But the Furiosa numbers are especially depressing: by Deadline's calculations, only Joker: Folie à Deux, with its vast production costs and negligible US takings, fared worse. Per the data, Furiosa sunk into the red because Warner Bros' outlay on the project – one blockbuster budget, plus a $108m ad campaign to support it – assumed another Fury Road-sized success would result. But both in the US and internationally, turnout was barely half of what it had been for that now-canonised 2015 predecessor – despite comparably strong reviews and an identical B+ CinemaScore, a stat that reveals the extent to which films meet their opening-night crowd's expectations. So why did the revving legions of Fury Road heads steer clear? The answer – or rather answers – lie in the wider circumstances around the film's release, as well as key creative choices which may have benefitted the film itself (which, to be clear, was one of last year's very best) but only served to dissuade potential viewers from riding eternal, shiny and chrome, or just taking the bus, to their local multiplex. May 2024 was, it transpired, a dreadful time to launch a new movie. America's Memorial Day holiday, the long weekend ending on the last Monday in May, has long been considered a prime site to pitch early summer blockbusters: this year's line-up includes the latest Mission: Impossible and Lilo & Stitch, while Fury Road itself took the slot in 2015. But last year's Memorial Day takings were the feeblest in 26 years, thanks to a thinner release schedule due to the 2023 strikes and a growing awareness that studios were bundling their output onto streaming faster than ever. (Action-comedy The Fall Guy appeared on premium VOD services that very weekend, less than three weeks after opening in cinemas.) Additionally, the majority of premium large format screens – Imax, 4K, Dolby Atmos and the like – had been block-booked by Sony for the early June release of Bad Boys: Ride or Die, which gave George Miller's film less than two weeks to be seen in the best possible light. Against that backdrop, Furiosa had to work far harder than its predecessor to quickly pull a crowd. But its stars, Anya Taylor-Joy and Chris Hemsworth, weren't the tried-and-true draws that Fury Road's Tom Hardy and Charlize Theron had been nine years earlier, while the film's prequel status meant it had no Max to offer audiences – nor the version of Furiosa they'd come to know last time around. Perhaps most damaging of all, the series' signature we-shot-this-for-real sales pitch had been fatally undermined by an early trailer, whose gaudy palette and unfinished visual effects suggested the whole thing would be an airless CG-drenched trifle, rather than the dust-blown action folk-epic Miller had actually made. Does its commercial failure matter? It certainly seems to have done for the 80-year-old Miller, whose proposed final Mad Max film, another prequel subtitled The Wasteland, hasn't been talked about much since Furiosa's release. And at a tough time for ambitious directors with strong pop sensibilities who aren't called Christopher Nolan, it may make studios even more reluctant to back projects that sit outside the ever-tightening circle of approved IPs. But as far as the film itself goes, Furiosa remains as electrifying as it always obviously was. Far from a money-grubbing trundle back down Fury Road, it's one of the current decade's greatest and most unique blockbusters; an adrenalised collection of legends and lays with their roots coiled deep round silent cinema and ancient myth. Its centrepiece chase, with Tom Burke's dusky Praetorian Jack at the wheel of a war rig and Taylor-Joy's Furiosa clinging to its undercarriage, is the equal of any of Fury Road's mobile battles – the truck is besieged from all sides, including above, by paragliding bandits propelled by industrial fans and lobbing dynamite tipped spears. The plot surrounding it isn't nearly as streamlined as its predecessor's, but comes out in a whispery, Eddaic tumble. It's like listening to campfire stories hauled back through time from beyond the apocalypse, as Chris Hemsworth's Dementus leads multiple raids against the Immortan and his clan, while watching the girl he once made an orphan grow into the only warrior capable of facing him down. Miller's command of early cinema technique makes the whole thing an effortless watch. Yes, it's frenzied in places, but Buster Keaton comedies were too – and like those silent classics, Miller's mayhem has a grace that's missing from almost every other film made today on this scale. Its streaming availability shifts from month to month and place to place, but in the UK it's currently available to watch on NOW and Sky. If you missed it, have a look this weekend, then apply a vigorous kick to your former self's behind for not catching it on the big screen. Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more.
Telegraph
02-05-2025
- Entertainment
- Telegraph
Why Anya Taylor Joy's Mad Max prequel lost $120m – and why it doesn't matter
Hollywood box office reports can be a disconcerting read for anyone who thinks they understand basic maths. This week, the film industry website Deadline offered up a belter. Furiosa: A Mad Max Saga, which cost $168 million to produce and which made $211m across cinemas, DVD and streaming, somehow still managed to lose $119.6m. The unfortunate (and, on the face of it, inexplicable) figures were revealed in Deadline's annual Most Valuable Blockbuster tournament, which ranks the profitability of the highest profile theatrical releases in the last calendar year. The biggest winner of 2023 was Disney Pixar's Inside Out 2, which took $650m after all bills were paid, followed by Disney Animation's Moana 2 with $415m and Disney Marvel's Deadpool & Wolverine with $400m. In this era of perpetual industry-wide crisis, one particular studio clearly isn't going to have the bailiffs at the door for a bit. But the Furiosa numbers are especially depressing: by Deadline's calculations, only Joker: Folie Deux, with its vast production costs and negligible US takings, fared worse. Per the data, Furiosa sunk into the red because Warner Bros' outlay on the project – one blockbuster budget, plus a $108m ad campaign to support it – assumed another Fury Road-sized success would result. But both in the US and internationally, turnout was barely half of what it had been for that now-canonised 2015 predecessor – despite comparably strong reviews and an identical B+ CinemaScore, a stat that reveals the extent to which films meet their opening-night crowd's expectations. So why did the revving legions of Fury Road heads steer clear? The answer – or rather answers – lie in the wider circumstances around the film's release, as well as key creative choices which may have benefitted the film itself (which, to be clear, was one of last year's very best) but only served to dissuade potential viewers from riding eternal, shiny and chrome, or just taking the bus, to their local multiplex. May 2024 was, it transpired, a dreadful time to launch a new movie. America's Memorial Day holiday, the long weekend ending on the last Monday in May, has long been considered a prime site to pitch early summer blockbusters: this year's line-up includes the latest Mission: Impossible and Lilo & Stitch, while Fury Road itself took the slot in 2015. But last year's Memorial Day takings were the feeblest in 26 years, thanks to a thinner release schedule due to the 2023 strikes and a growing awareness that studios were bundling their output onto streaming faster than ever. (Action-comedy The Fall Guy appeared on premium VOD services that very weekend, less than three weeks after opening in cinemas.) Additionally, the majority of premium large format screens – Imax, 4K, Dolby Atmos and the like – had been block-booked by Sony for the early June release of Bad Boys: Ride or Die, which gave George Miller 's film less than two weeks to be seen in the best possible light. Against that backdrop, Furiosa had to work far harder than its predecessor to quickly pull a crowd. But its stars, Anya Taylor-Joy and Chris Hemsworth, weren't the tried-and-true draws that Fury Road's Tom Hardy and Charlize Theron had been nine years earlier, while the film's prequel status meant it had no Max to offer audiences – nor the version of Furiosa they'd come to know last time around. Perhaps most damaging of all, the series' signature we-shot-this-for-real sales pitch had been fatally undermined by an early trailer, whose gaudy palette and unfinished visual effects suggested the whole thing would be an airless CG-drenched trifle, rather than the dustblown action folk-epic Miller had actually made. Does its commercial failure matter? It certainly seems to have done for the 80-year-old Miller, whose proposed final Mad Max film, another prequel subtitled The Wasteland, hasn't been talked about much since Furiosa's release. And at a tough time for ambitious directors with strong pop sensibilities who aren't called Christopher Nolan, it may make studios even more reluctant to back projects that sit outside the ever-tightening circle of approved IPs. But as far as the film itself goes, Furiosa remains as electrifying as it always obviously was: far from a money-grubbing trundle back down Fury Road, it's one of the current decade's great blockbusters; an adrenalised collection of apocalyptic legends and lays with their roots coiled deep round silent cinema and ancient myth. Its streaming availability shifts from month to month and place to place, but in the UK it's currently available to watch on NOW and Sky. If you missed it, have a look this weekend, then apply a vigorous kick to your former self's behind for not catching it on the big screen.
Daily Mail
26-04-2025
- Entertainment
- Daily Mail
Anya Taylor-Joy puts on a loved-up display with husband Malcolm McRae as they attend Tiffany & Co event
Anya Taylor-Joy put on a cosy display with her husband Malcolm McRae as they attended a Tiffany & Co event in NYC on Friday. The actress, 28, looked happier than ever as she cuddled up to the musician, 31, while celebrating the launch of Tiffany's new high jewellery collection, Blue Book. For the occasion, Anya stunned in a glamorous black slip dress adorned with black bead detailing around the neckline and skirt. She draped a leather jacket over her ensemble as she added her signature style stamp and accessorised with statement jewellery. The beauty styled her platinum blonde locks into an elegant up-do and completed the look with a swipe of pink lip gloss. Meanwhile, Malcolm looked dapper in a black pinstripe suit, which he paired with a white and purple striped shirt and a burgundy tie. Also in attendance at the glitzy event were the likes of Adriana Lima, Alicia Keys, Mikey Madison, Gabrielle Union and Dwyane Wade. Adriana, 43, turned heads in a off-the-shoulder black dress, while Alicia, 44, sizzled in a plunging grey textured suit before taking to the stage to perform. Anora star Mikey, 26, was the epitome of class in a strapless yellow dress with tulle detailing. Gabrielle, 52, look as glamorous as ever in a white lace dress as she joined her husband Dwyane, 43, who opted for a grey suit. Rosie Huntington-Whitely, Chace Crawford, Zoey Deutch, and Taylor Russell were also in attendance. The stars appeared in high spirits as they posed for snaps on the red carpet before partying the night away at the star-studded event. Anya and musician Malcolm secretly tied the knot in New Orleans in April 2022 in a low-key ceremony. The actress gushed over her spouse during a recent appearance on The Drew Barrymore Show. Chace Crawford (left), Rosie Huntington-Whitely, Zoey Deutch (right), and Taylor Russell were all in attendance 'I love him so much,' she told host Drew when she asked about her partner. 'Oh yeah, he's, I'm very, I'm so lucky. I'm so lucky.' The Queen's Gambit star also revealed where they crossed paths and the very first thing he said to her. 'We met in a music studio and he's like, I do. I love him. We're born on the same day. So that was the first thing he ever said to me,' she recalled. 'He was like, "When's your birthday?" And I was like, "April 16th." He's like, "I knew it." I was like, "Oh no, this is, yeah." He's the absolute greatest.' Then, the Furiosa: A Mad Max Saga star spoke about how Malcolm is her other 'whole'. 'My dad once told me when I was a kid that you're not looking for another half to make you whole, that you are whole,' she said. 'And if you're lucky enough, you meet another whole,' she continued. 'And then you become, like, a greater sum of your parts.' She added: 'I just feel like I am encouraged to grow in the most unexpected and beautiful ways because he provides a soil that's, like, really nutritious and safe.
