George Miller has a story to tell in Three Thousand Years of Longing

So do you think it will be an hour after the screening?

Miller: [Laughs.]I don’t know. No, I think a little more is needed. I digress again, but it’s really amazing when you realize that people have read your movie with all the things you’re trying to include, but more, and interpret it in different ways, that’s always exciting. That’s the most fascinating, in a way, the most rewarding thing, then if you’re a storyteller. I’m still trying to figure out what that process is, not just how to tell stories, but why we tell stories.

Tilda and Idris, what are your earliest memories of being involved in this story?

Tilda Swinton: I know exactly when we met because it was exactly five years ago because it was at a birthday lunch for Cannes and on his 70th birthday. And I sat across from George, not knowing anybody at the table, and feeling very shy, and started talking to him. And just 15 minutes later, I realized that he was George Miller. And then the night we hung out too, we sat down together for dinner with Bong Joon-Ho. We just hang out basically. And then about a year later, you sent me a script.

And what did you think?

Swinton: I just saw it. I just saw, oh wow. This is, is George Miller doing this? It was the kind of jump of him, he always jumps in different directions, but it was a jump, a beautiful jump, like a portal. And then when we spoke on the phone, I was actually in upstate New York, I was shooting with Jim Jarmusch, and I remember exactly where I was while we were talking, and Idris’s name came up very quickly.

And, Idris, what do you remember about how this script came to you?

Idris Elbe |: It came in the traditional way. It was my agent Roger, who’s been my agent for a long time, so we’re friends, and I get this call and he’s like, “George Miller wants to talk to you.” And the way he said it and I said it, we knew it was like we were being told that…

Swinton: That’s the phrase you want to hear.

Elba: It’s like, right. Put on your best suit, you’re climbing those stairs in the clouds. And I have to read this. I had to read it a couple of times, because I was like, uh. I was like you, this is a jump. This is an amazing jump from George Miller.

Miller:Both, I knew their work and had seen them, but had no idea who they were as people. And it was the BAFTAs and we coincidentally met Idris here, and at the time I’m referring to Idris, you were very warm, but I didn’t think of the Djin until [Tilda was] to emit. And then we were on the phone and Idris was like, “I want to do the movie, but can we shoot all the flashback stories before we work with Tilda?” And I said, honestly, I hadn’t even thought about that. But they are filmmakers-actors, which means they are there to get, not just to do their job: they see everything. You see your work in the context of the whole, which is people working collaboratively and together you really understand that, it’s evident in everything the two of you do. everyone knows that fury road didn’t go that well, not necessarily because of one individual, but there were enough resources in most of what we were doing to overcome the dysfunction, and all the issues between Tom [Hardy] and charlize [Theron]. Well, here, it was completely different.

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