Gibson is a skillfull director and a mad max movie directed by him would be really interested, for sure ! But I was just saying that in my opinion, he really doesn't give a shit about doing such a thing.
For Tom Hardy, what i was been told it's he was upset because he didn't have a clue about what to do with the character and Miller wasn't able to help him at all...
Finally, he said was impressed by the movie and kind of apologize...
But this is just a piece of a big tricky jigsaw we don't really want to dig !
Tom and Charlize fought a lot on set too. One of Tom's biggest complaints was there was no real script and mostly just George telling him what to do before the cameras would roll(which you can see many example of on the making of footage). Before he saw the end result it sounded like he wouldn't have come back again.
Yeah and add to it the nature of filming itself. They literally would film tiny bits of the movie, single cuts lasting a few seconds each day in day out. I mean after all there are no long and drawn out single shot scenes in Fury Road, the editing is rapid and it was like that in the script/storyboards too.
I don't think there was actual animosity between Hardy and Theron. From what I understand the filming itself didn't lend itself to any time to dick around. An hour to get to the set, make up, rough conditions, quick cuts, 1st and 2nd unit juggling directorial duties... I could understand that after filming this way for so long in a place like that the only thing they would want to do is go back to their trailers and rest. At least that's the impression I got.
This is where the value of a good, well understood script is paramount. Actors need those blueprints to study in depth. Most scenes tend to have a lot going on under the surface and that's where good acting shines. Hardy and Theron really seem to gel during the Rockriders scene. There's a lot going on there with trust but mainly with Max starting to empathise with Furiousa. I can't think of another scene anywhere near close to that in terms of dynamic drama. What interesting, in complete contrast to that, is how minor characters seem to be much better developed, or at least make more impact. Rictus Erectus seems very well rounded and The Dag shows lots of dimensions (eg; criticising the Vuvalini's bloodlust).
