"I really don’t understand why so many people worship Steven Spielberg, even using words like ’great’ to describe this diocre director. Schindler’s List is clearly an overrated example, made entirely to win awards. Playing on the the is one of the major reasons the film won accolades. Later, Spielberg seed to enjoy this approach, continuously shooting various political-thed films to fool the Academy judges. Films like Munich are all such diocre works..."
"The Terminal and The Adventures of Tintin both prove that he’s past his pri or rather, that he’s been revealed for what he truly is. The Adventures of Tintin reflects his real level. I’ve always been puzzled why he’s compared with Kubrick. From that one film alone, it’s evident Spielberg only scratches the surface of being a true master..."
Of course, these weren’t Duke’s words to a reporter, but rather an online critique of Spielberg that he read on the plane.
In the minds of a small group of people, Spielberg is certainly inferior to Stanley Kubrick. But in the eyes of most audiences and even the Academy, Kubrick isn’t even in the sa league as Spielberg.
Especially in Hollywood’s film industry, that’s even more the case.
People who reach the level of Duke, Jas Caron, and Steven Spielberg won’t casually attack others. Particularly Duke and Spielberg what they represent is far more complex than Caron. If they wanted to confront each other, it wouldn’t be through trash talk.
In fact, trash talk is of no use whatsoever.
Anyone who gets to this point is no fool. Even if they weren’t originally sharp, they’d have been honed into elite minds over the long journey.
When faced with a reporter’s question about Spielberg, Duke naturally offered full praise.
"Steven is a true genius and master. Jaws, which pioneered and established Hollywood’s sumr blockbuster season. E.T., which created a new style of science fiction. Both fully prove his greatness and his importance to the developnt of the Hollywood film industry!"
While these words may not be entirely heartfelt, they’re not complete nonsense either. In terms of overall significance to the Hollywood industry, Spielberg utterly eclipses Kubrick. Just like Titanic, within the Hollywood circle, few dare to disparage Spielberg’s Jaws, because both brought pioneering developnts to the industry.
Titanic opened global markets for Hollywood, pushing its globalization forward. Jaws created the sumr blockbuster model, laying the foundation for Hollywood’s global dominance.
Critics might look down on these two films and mock them, but those in the industry will not.
Duke is one of those people.
As they arrived in Phoenix, the promotional campaign for Fury Road launched a global bombardnt—not only through online chatter but also by dominating pri TV slots with comntary and reports.
NBC’s weekend evening program At the Movies focused heavily on this film. It noted that every technique in visual and audio storytelling axis lines, direction, dynamic editing, rhythm shifts, shot composition, cara movent could be found in Fury Road. Despite the countless cars, characters, and intense chases, everything was clearly visible and comprehensible; it all flowed seamlessly.
The popular morning show Good Morning Arica interviewed ordinary moviegoers to offer non-professional takes on what made the film appealing.
"No cringeworthy bedroom scenes before a big battle. Not even a love story."
One fan after another appeared on screen, sharing what they liked about Fury Road.
"No forced monologues or emotional manipulation before the climax."
"No useless teammates making things harder to highlight the protagonist’s godlike abilities."
"No scientifically absurd action where people walk unhard through gunfire."
"No exaggerated, physics-defying stunts—enough with cars crashing into planes!"
"No deliberately cool or pretentious shots."
"No dawdling flashbacks or wasted dialogue. The won never freeze up or scream during danger. Everyone does their utmost to survive..."
"All there is, is pure, raw action! Action! Action! Nonstop thrills from start to finish!"
Ultimately, Fury Road still fits within a certain genre, and its audience is limited. Those who dislike the style won’t force themselves to enjoy it. But the film’s promotion aims to stir interest among potential viewers to attract as many as possible to spend their money.
Online promotion beca even more diverse. After years of developnt, Duke’s online marketing team could now employ more creative thods.
For example, a few s crafted around Fury Road went viral on Instant Share.
"After silently watching Fury Road, several directors including Michael Bay, Robert Zeckis, and Zack Snyder, all of whom thought themselves masters of visual filmmaking—went ho, tore up their storyboards, ordered extra chicken legs, and decided to start over from scratch... Only hall-of-fars like Jas Caron calmly whispered to themselves, ’Stay the course, stay the course...’"
"After the Fury Road screening, Alessandra Ambrosio received a call from Michael Bay, her old director on The Island: ’How was the film? Heard you had lots of chase scenes—like my style, right?’ With tear-streaked cheeks, the supermodel choked out, ’The number you have dialed is not in service...’"
All this was designed to hook people’s interest.
To hype up a film, many things get twisted along the way this is a common tactic in Hollywood. For example, Duke had registered the script as early as 2004, yet talk of the film being "five years in the making" was a routine exaggeration.
To further distinguish itself from the CG-heavy action films of today, Fury Road constantly promoted its use of practical effects as a selling point.
In reality, Duke never rejected CG technology. Neither did the original director. Just like George Miller, Duke used nearly 2,000 CG composite shots in the final version of Fury Road.
But just as Warner Bros. once advertised, this was a practical effects film and that hook attracted quite a few viewers.
In movie promotion, saying sothing fake with utter conviction is a tactic used all over the world.
The entire crew of Fury Road was already in on this unspoken agreent.
During interviews, when Duke was asked about Charlize Theron’s look, he didn’t ntion that it was his idea but attributed it to Charlize, whose involvent would attract more attention.
"I rember when Sally first got the script, she studied the role repeatedly and felt that sothing was off. Finally, she had an epiphany and told she wanted to appear with short hair, stripping away external gender cues. Of course, I agreed, and that’s how we got the epic Furiosa we see today!"
When talking about this, Duke didn’t even need a draft. "Charlize Theron brought a fierce heroic spirit to this sumr. When those bright, glowing eyes of hers look directly at you through the cara, you can’t help but be captivated. Even more enchanting than this visual appeal is the power of intelligence, courage, and love that she radiates through the character!"
This is a role that could very likely make waves during award season, and Duke didn’t mind praising Charlize Theron a bit more.
For every film that gets praise, there will always be criticism.
The Washington Post, which has always had a rocky relationship with Duke, ran a related comntary in a prominent spot in its Sunday edition.
"Fury Road — An Overrated Work Amid the Hype!"
The article employed a backhanded complint approach, first praising the film’s action scene design, saying the continuous motion of all action scenes enhanced the tension of the viewing experience, but deed all other techniques in the film unworthy.
"Showing a large number of deford people and disfigured faces is a common tactic used in many similar B-grade movies, and we saw the sa in this film such as the dwarf lookout and the all-white villain soldiers. At best, Fury Road is just a big-budget B-grade movie!"
The Washington Post also refuted the view held by many dia outlets that Fury Road is a milestone in action cinema.
"Beyond its thrill factor, Fury Road hasn’t done much to innovate the action film genre. The overly bright color palette and heavy use of undercranking (slow motion) all aim to diminish the film’s seriousness. Especially when the fast-forward-style shots keep bombarding the audience’s eyes, it’s like the film is shouting at you: ’This is just a pure B-grade flick don’t overthink it, just enjoy the ride!’"
However, this article was powerless to stop Fury Road’s reputation from spreading like wildfire. Two days after its release, its IMDb rating had skyrocketed to 9.8, surpassing The Dark Knight and temporarily sitting in first place.
Even if it wouldn’t hold that position for long, it was enough to prove that a large group of people loved this film.
According to CinemaScore statistics, 92% of theater audiences rated it positively, with an average score of ’A ’. taCritic’s 55 dia critics gave it a whopping 97 out of 100.
These are all strong guarantees of box office success. Even as an R-rated film, after a series of frenzied promotional campaigns, Fury Road still managed to pull in an impressive $26.37 million in its second day of release in North Arica.
In contrast to Fury Road’s surge, The Adventures of Tintin, which was released in the sa period, suffered a decline due to poor word-of-mouth, pulling in only $3.89 million on Saturday.
While Fury Road was generating a hot market response, the dia and film buffs kept comparing it to other car-related films, which touched a nerve in so people.
..
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