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John Seale has confirmed he is making his blockbuster return and teaming up with George Miller for the hotly-anticipated follow-up to the 2015 dystopian thriller.
Speaking about the project, the Oscar winner admitted that George was the only person he was going to come back for.
He told the New York Times: "I've had wonderful opportunities to work after Fury Road, as you can imagine, and I've passed on all of them.
"But on Fury Road, I told George, 'If anybody else rings, I'm retired. If you ring, we'll have lunch'. And seven years later, he rang."
Not much is known by way of plot for the new movie, other than it will focus on a young Furiosa, and Miller has confirmed that Charlize Theron will not return.
A script for the film, however, was written before filming had even begun on Fury Road back in 2012. Rosie Huntington-Whiteley, who played Splendid in the movie, revealed she even got to have a look at it.
He said: "I got to read it when I was cast. It's genius. I've always wondered if that movie's going to get made."
Speaking about the reason behind having the script prepared in advance, George said: "[This second script] was purely a way of helping Charlize and explaining it to ourselves."
George revealed he had thought about using state-of-the-art de-aging technology on Charlize, but ultimately decided against it.
George said: "For the longest time, I thought we could just use CG de-aging on Charlize, but I don't think we're nearly there yet.
"Despite the valiant attempts on The Irishman, I think there's still an uncanny valley. Everyone is on the verge of solving it, particularly Japanese video-game designers, but there's still a pretty wide valley, I believe."
News that work was underway on a second instalment was confirmed last year.
Speaking to Deadline, George said: "I'm not done with the Mad Max story and I think you have to be a multi-tasker and there's certainly another Mad Max coming down the pike after this.
"We're in preparation on that as well. It's an interesting question, the idea of multi-tasking. I discuss this with other filmmakers and I think what happens to me is that when you're working on one thing, and you get so distracted and focused on that one thing, it's like a creative holiday to focus on the other one for a bit.
"It helps you achieve that objectivity, to look at the thing afresh each time and say, 'I thought I was doing this, but it doesn't seem to be the case now.'"
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