With the outbreak of the Iraq War, Mad Max 4 was abandoned as it was considered a potentially politically sensitive film. Although the project was given the green light for a US$100 million budget to begin filming in Australia in May 2003, Mad Max 4 entered hiatus because of security concerns related to trying to film in Namibia because the United States and many other countries had tightened travel and shipping restrictions. Miller announced in 2003 that a script had been written for a fourth film, and that pre-production was in the early stages. Miller ended up re-casting the role because of controversies surrounding Gibson and because he wanted Max to remain at a younger age, as the "same contemporary warrior". Mel Gibson, who starred in the original three previous films, would not return to his role as the lead character. "The American dollar collapsed against the Australian dollar, and our budget ballooned", Miller said, adding that he "had to move on to Happy Feet because there was a small window when that was ready". Miller conceived a story where "violent marauders were fighting, not for oil or for material goods, but for human beings." The film was set to shoot in 2001 through 20th Century Fox, but was postponed because of the September 11 attacks that same year. About a year later, while travelling from Los Angeles to Australia, the idea coalesced. The idea for a fourth instalment occurred to Miller in August 1998 when he was walking in an intersection in Los Angeles. In 1995, George Miller re-acquired the rights to future Mad Max films from Warner Bros. ![]() Plans for a fourth film in the Mad Max series hit financial difficulties and the project spent several years in " development hell". It also carries the theme of female empowerment. The Biblical theme of redemption has been described by critics, especially Nux's constant aspiration to be taken to Valhalla. The unity of these characters also harnesses a concern for family, a common theme within Miller's filmography. Scott wrote: "The themes of vengeance and solidarity, the wide-open spaces and the kinetic, ground-level movement mark Fury Road as a western, and the filmmakers pay tribute to such masters of the genre as John Ford, Budd Boetticher and, not least, Chuck Jones, whose Road Runner cartoons are models of ingenuity and rigor." Similar to the previous Mad Max films, home has been regarded as a central theme in Mad Max: Fury Road as it dominates the motivations of Max, Furiosa, and the Five Wives: his home was destroyed, she was taken from her home, and the wives are in search of a new home to raise their children. In his review of Mad Max: Fury Road, film critic A. ![]() Production designer Collin Gibson fought this idea for a while, but he realized that they could've come from a bus full of brass instruments that was ran over.Further themes pointed out by critics have included vengeance, solidarity, home, and redemption.
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