Mad Max: Fury Road

Mad Max: Fury Road

"I live, I die. I live again!"

Women Film Editors #58: Margaret Sixel

The best Tom Hardy is a Tom Hardy who doesn't ruin it all by talking too much.

I think sometimes about the friend who took me to a screening of Mad Max: Fury Road at the Museum of the Moving Image in May 2016. It meant a lot for her to introduce me to a film she loved dearly; so influential in her life, actually, that she'd shaved her head down to a Furiosa buzz cut at some point during the previous year. We cackled with glee at all kinds of things, like the Towering Inferno-style staggered billing for Tom & Charlize, every time Nux appeared onscreen (obviously we just adored Nicholas Hoult and wanted his career to flourish like it should), and pretty much everything else about the world that was depicted and the battle for survival. Did it matter that I had never seen (still, to this day) the earlier Mad Max trilogy? Seemingly not, for I was hooked all the same. I'm an advocate for spectacle - give me more, not less; mark Udo Kier in Flesh for Frankenstein down as one of the ultimate acting templates - and I can't even begin to fathom how much energy Margaret Sixel put into arranging all those split-second cuts in the editing room. (Do we think it was an easier experience because she's married to George Miller? Were they always on the same page?) And, of course, there was our nonstop chatter afterward about that great shot of Charlize on the red carpet at Cannes to promote the film, a star pose if ever there was one.

There was more I wanted to write about Sixel's work as a modern textbook for budding editors, how this is one of the most hyperkinetic thrill rides that I have ever had the pleasure to witness in a theater, that I listen to Junxie XL's epic score whenever I crave a jolt of adrenaline. But mostly I'm thinking of that friend who I haven't seen for years.

Who knows where the time goes?

Women Film Editors: A Journey

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