Do you find those titles to be ‘Splendid’? And what is the great thing about being all of the above in the scheme of the show? He’s so conniving that the Farscape Encyclopedia Project define him as “a businessman, consultant, travel agent, liar, sneak, back stabber thief”. In sci-fi, you play the bad boy: Grunchlk in TV’s Farscape, for example.
Do you have to psych yourself up to play a particular character in a series or film? The negative press is fake news.”įair enough. “Grunchlk has his own planet where his main biz is located, universal body parts. What is it about playing bad guys that you enjoy most?
The character of ‘Toecutter’ was a key player in the first ‘Mad Max’ movie… and Immortan Joe the main antagonist in 2015’s ‘Mad Max: Fury Road’. Do you think the word ‘character’ ought to be there, and do you sometimes find it limiting if, say, you want to go for a role that’s just Joe-next-door? You’re often referred to as a ‘character actor’ rather than simply an actor. Now Hugh is heading to Sydney and Perth to greet fans at Supanova Comic Con & Gaming 2019 this weekend and next.Ĭream asks the actor why we’re loving the anti-hero in films these days, and why TV has moved into more noiresque territory. You’ve seen him as the Toecutter in the original Mad Max, Immortan Joe in Mad Max: Fury Road, and Grunchlk in TV’s Farscape. These shifts include concerns with social, economic and political disintegration under late capitalism, projections of survival after nuclear war, and the impact of anthropogenic climate change.ĭrawing on screen production processes, textual analysis and reception studies this book interrogates the role of these representations of disability, trauma, gender and myth to offer an in-depth cultural analysis of the social critiques evident within the fantasies of Mad Max.Interview with Hugh Keays-Byrne, aka: Immortan Joe of ‘Mad Max’ fameĪ man of few words, Hugh Keays-Byrne has nonetheless played big parts on the big screen. Many of the images of disability and trauma central to Max’s post-apocalyptic wasteland can be seen to represent these societal shifts, incorporating both decline and rejuvenation. Over the franchise’s four-decade span significant social and cultural change has occurred globally. The Mad Max movies foreground representations of the body – in devastating injury and its lasting effects – and in the broader social and historical contexts of trauma, disability, gender and myth. George Miller’s long-running series is replete with narratives and imagery of trauma, both physical and emotional, along with major and minor characters who are prominently disabled. This book explores the inter-relationship of disability and trauma in the Mad Max films (1979-2015).
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