George Miller Has a Story to Tell in Three Thousand Years of Longing

So you think it will be an hour after the show?

Miller: [Laughs.]I do not know. No, I think it takes a little longer. I’m rambling again, but it’s actually pretty cool when you realize that people have read your movie with all the stuff you try to put in it, but more, and they interpret it. In different ways, it’s always interesting. It’s the most engaging, in a way, the most rewarding thing, if you’re a storyteller. I’m still trying to figure out what that process is, not only how stories are told, but why we tell stories.

Tilda and Idris, what is your earliest memory of participating in this story?

Tilda Swinton: I know exactly when we met because it was exactly 5 years ago because it was Cannes birthday lunch and its 70th birthday. And I sat across from George, not knowing anyone at the table, and felt very shy and started talking to him. And just 15 minutes later, I realized it was George Miller. And then the evening we went out too, we sat down to have dinner together with Bong Joon-Ho. We basically just hang out together. And then about a year later, you send me a script.

And what did you think about it?

Swinton: I have just seen it. I just saw, oh wow. This is, is George Miller doing this? That’s his kind of leap, he’s always jumping in different directions, but it’s a leap, a beautiful leap, like a portal. And then when we talked on the phone, I was actually upstate New York, I was shooting with Jim Jarmusch, and I remember exactly where I was when we talked, and Idris’ name popped up. very fast.

And, Idris, what do you remember about how this scenario came to you?

Idris Elba: It comes in the traditional way. It’s my agent, Roger, who’s been my agent for a long time, so we’re friends, and I got this call and he said, “George Miller wants to talk to you. ” And the way he spoke and I said it, we knew it was like being told-

Swinton: That’s what you want to hear.

Elba: It’s like, right. Put on your best clothes, you are walking up the stairs in the clouds. And I have to read this. I had to read it a few times, because I like, huh. I’m like you, this is a giant leap. This is an amazing leap for George Miller.

Miller: Both of you, I know your work and I’ve seen you, but I don’t know what kind of person you are. And it was BAFTAS and we ran into Idris here, and the moment I mean Idris, you’re warm, but I didn’t think about Djin until [Tilda was] cast. And then we were on the phone and Idris said, “I want to make the movie, but can we shoot all the stories of the flashback before we work on Tilda?” And I said, to be honest, I hadn’t even thought of that. But they’re filmmakers and actors, which means they’re there to do, not just do their jobs – they see the whole thing. They see their work as a whole, it’s the people who work collaboratively and collectively that really understand that, it’s evident in everything the two of you do. Everyone knows that Fury Road going wrong – not necessarily an individual fault, but there are enough resources in most of what we’re doing to fix the dysfunction, and all and the problems between Tom [Hardy] and Charlize [Theron]. Well here, it’s completely different. George Miller Has a Story to Tell in Three Thousand Years of Longing

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