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But some members of the team weren’t privy to such details. But about a month into his three-month stint, production designer Colin Gibson came to him with what would be his defining role on the project.Ĭoncept art for the Fury Road guitar, as well as the Doof Wagon and the Doof Warrior, was drawn up by Australian storyboard artist Peter Pound as early as the late 1990s, with Miller having come up with the idea for the film about 10 years before then. Ulman had been brought onboard because of the speed shit, to add his intricate touch to Fury Road’s many custom vehicles. “We were making weapons hand over fist,” says Ulman. Once he was down under, Ulman and Belgian artist Olivier Pauwels – whose signature baby faces are hidden all over Fury Road – spent weeks in Sydney working on weapons, car parts, and Mad Max miscellany, turning Australia’s trash into fit-for-Hollywood treasure. Michael Ulman with director George Miller (Photo: Michael Ulman) They got all that in three days and then first-classed my ass to Australia. Miller eventually reached Ulman in 2009 before offering him the opportunity of a lifetime: come to Australia, bathe in the best of the country’s junkyard scrap, and generally make a mess for three months. Miller was rounding up makers who could imprint their own signature style on the then-nascent Fury Road. George Miller had been reaching out to found-object artists around the globe, dab hands and foragers whose passions lay in transforming discarded doodahs, doohickeys and detritus into show-stopping art. Sometime later, the hot rod parked up in California found-object gallery Device, where it would eventually attract the attention of Sydney-based production company Kennedy Miller Mitchell. The piece took off, wheeling around art blogs in an age before Instagram made viral art so easy to see.
In 2007, Ulman turned a standard US mailbox into a miniature 1930s Ford hot rod. “That first motorcycle might have had maybe 10 pieces,” he says. A low, blue, badass two-wheeler that Ulman describes as his dream bike, it crystallised the approach that his career artworks would take, with his pieces growing in complexity alongside his growing confidence. One of the Boston-based artist’s most important early pieces was Lo Rida, built in 2001. A graduate of Boston’s Northeastern University, Ulman is a scavenger of sorts, a found-object sculptor who repurposes trashed radios, chainsaws, kitchen appliances – basically whatever he can get his hands on – into detailed models of cars, planes, speedboats and especially motorcycles. “I’m into the hot rods and the speed shit,” says Michael Ulman over Zoom.
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His weapon of choice? A high-speed collision of garbage, legitimate art and movie magic: the fire-spitting, double-neck Fury Road guitar.
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Wearing a red onesie and the dead skin mask of his murdered mother (metal enough for you?), the Doof Warrior is an eyeless field musician whose job is to marshal Joe’s army and relay his orders through sound. But of all the movie’s madcap characters, one made more noise than most: Coma, the Doof Warrior. With the Namibian desert standing in for post-apocalyptic Oz, Fury Road sees Max Rockatansky, Imperator Furiosa and the five wives that she liberates from the film’s big bad, Immortan Joe, fleeing across the desert, with Joe and his army of very loyal, very loud War Boys in pursuit.
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When Miller’s modern update screeched onto screens in 2015 following years of production battles, the acclaim was explosive. Regularly referred to as one of the greatest action films of all time, this turbo-charged chase movie raced from the mind of Australian auteur George Miller, the man behind the original Mad Max (1979) and its follow-ups. Tune in, tune up and turn it up to 11! From arthouse gems and cult classics to teen blockbusters and beyond, Guitar On Film explores the stories of onscreen guitars and the people who play them
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