That leaves four films with an actual chance to win: The Big Short, Spotlight, Mad Max, and The Revenant. No, a friend told me a long time ago, “We don’t do panic, we do sense of urgency.”įirst thing’s first: cross off all the titles that weren’t also nominated for best director and best editor. Everyone had to wear goggles in the end because of the sand and you know racing through the desert churning up the sand was dangerous.ĭid you have a moment of feeling overwhelmed? Not only did it have to look amazing, they had to be able to work in it, they had to have safety built into it. What specifically was different about working on Mad Max to other projects? It’s disgusting, it’s raw leather, really, but it made marvelous masks. We found materials, like vellum, which I’ve never worked with before. Old goggles, old bits of ammunition, just stuff, and we set up a workroom. So, I got from Australia something like 200 boxes of junk. This, we made everything, and in fact we had all the stuff they’d made previously, but even more importantly, we had all the junk they’d collected. On The King’s Speech, I had five weeks from getting the job to the first day shooting. Absolutely each project is its own thing. Yes, I was absolutely thrilled and went sort of weak at the knees. Jenny Beavan: This was particularly special because as you may know it’s obviously quite different to my normal work, not that I ever wanted to be typecast, but one just tends to be a little bit, and so when I got this opportunity that was fantastic. VF.com: You’ve been nominated, what, nine times now? Do you still get that goosebump feeling? Does it still feel the same as it did that first time? So what’s it like to move from period to post- apocalyptic? We got on the phone to find out. The heavy corsetry and thick, wide linens of British costume dramas have been her area of expertise, including her Oscar-winning work for 1986’s A Room with a View, starring a young Maggie Smith, Helena Bonham Carter, and Simon Callow, and her other nominated films including The King’s Speech and Gosford Park. If this really is the same Max, he’s been worn to tatters, ragged as the clothes he wears.English costume designer Jenny Beavan has been nominated for nine Academy Awards, but this year’s, for Mad Max: Fury Road, is unlike any other.
The jacket that found its way to the screen looks much like the garment Pound salvaged must have, battered and rough, Gibson’s tough guy cool long since scoured away.
Peter Pound, Fury Road’s storyboard artist, found the original abandoned in the basement of a studio building, “with green mold growing on it.” His discovery influenced the new film’s styling, marking one of the clearest links between the new film’s Max and his predecessor. It’s modeled on the black leather one that Mel Gibson wore in the franchise’s earlier installments. Taciturn as all three are, their clothes speak for them, suggesting stories that they cannot bear to tell. The camera approaches Imperator Furiosa, Immortan Joe, and Max himself from behind, showing us what they’re wearing before we glimpse their faces. It’s no accident, then, that Mad Max often introduces its protagonists’ clothing before it introduces the characters themselves.
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