The credits for the movie "Mad Max: Fury Road" roll on seemingly forever. It makes you realize how many people it takes to make a movie as visually stunning as this one. All those cars, trucks and dirt bikes had to be imagined, drawn, built and driven. The amount of work involved is staggering.

Bryan Abrams of www.TheCredits.org interviewed "Mad Max" art director Jacinta Leong to find out what goes into making these wild war rigs.

Over 150 real cars were used in George Miller's latest "Max" incarnation, creating a literally moving spectacle of vehicular mutation and mayhem. How'd they pull this off? Abrams spoke to art director Jacinta Leong about her role in turning Miller's fever dream into a reality.

How would you explain your job to a layman? You can use the work you did on "Mad Max" as an example.

On a film, the production designer is the head of the art department. She is responsible for the look of the film's sets, environments, vehicles, props, graphics. My job as art director is to “make things happen,” so the production designer’s vision is realized -- from concept to construction. I organize drawings and modeling to communicate design work; research and collate information; ask questions and liaise with other departments so we all know how we fit in with each others' work and timeframes. When a set is ready to be filmed, then I'm almost home free.

Tell us how these incredible vehicles were built.

The production designer on "Mad Max: Fury Road" -- Colin Gibson -- instructed me on specific vehicle and set requirements, by providing me with his sketches and ideas. Supervising art director Charlie Revai also supplied me with information and his thoughts, such as logistics and creative decisions that he had developed.

The vehicles were built in a workshop next to the art department and set decoration, so we could prowl around them any time. I was in charge of the art department's drawings, illustrations and documentation, ensuring they contained relevant information. The drawings allowed us to discuss how everyone's work combined -- set decoration, mechanics, steel and SFX.

If I wasn't at the computer drawing, I was in the workshop seeing the vehicles take shape, being test-driven, and completed with scenic finishes and decals.

What were some of the specific challenges you faced with the film? How would you compare them to the work you’ve done in the past?

A specific challenge designing the vehicles was achieving esthetic qualities as well as functionality. Our vehicles had to look amazing, but beyond that, they also had to drive safely at speed!

I'll use the Gigahorse for example. The Gigahorse was a stacked pair of Cadillac bodies, powered by a pair of Chevy 502 engines. So it obviously looked intimidating, but how did it actually drive? Engineer Antony Natoli and mechanic Mark McKinley designed a system so the two engines sat in a side-by-side arrangement and were connected to the transmission. I modeled the system in AutoCAD, and from this file, the plates and components were waterjet cut.

Jacinta Leong

The Gigahorse's suspension was also a challenge. The chassis was built from scratch and all the components had to accurately function. The technical drawings I produced showed how the two engines connected to the bell housing transmission, then to the tail shaft and rear diff. The other parts included gear housing plates, control arms with rose joints, radius arms, shocks and bump stops.

I used 3DSMax to calculate and animate the extent of arm rotation...making sure the tires didn't interfere with the chassis. How would I compare these challenges to work I've done in the past? There is no comparison. I have never worked on a film with so many hardcore vehicles, with such a raw, gritty original look, screaming through such unforgiving and harsh environments. I may never have that opportunity again to work on a "vehicles" film of this scale and story...but I hope I do!

The Gigahorse design Jactina Leong

The completed Gigahorse Warner Bros. Pictures

"Mad Max" has the sand-blasted, post-apocalyptic, leather-and-gearhead thing going for it in a major way. How did you go into your design work with this in mind?

Director George Miller has been directing, writing, living and breathing the "Mad Max" story for decades. His team had already produced storyboards and concepts of "Fury Road." So he knew what film esthetics he wanted to tell this story.

Colin Gibson's ideas flow at a blistering speed, whether he's designing sets and dressing, or sketching props or graphics.

He is always in tune with the story; "Fury Road" takes place in a deteriorated social condition. His selection of materials for creating this world was "what would be left?" For example -- how are the people governed? Are there commodities? How much water is left for people to drink, and when it is given to them, what containers are they using? What are the characters' belongings, according to their personalities? What do they eat? They are desperate people; how do they survive?

The vehicles had their functions too, which led to their forms. For example, the pole cat vehicles were used to pluck prey from moving vehicles. How do they work? They looked like analog metronomes. This world looks believable, because all those questions were asked. Concept illustrator Peter Pound had also been working on this project since the late '90s, so he had many ideas on the vehicles. Reference books, too, were an inspiration. Through the collective creativity of art, props, set dec and vehicles, the design work culminated in finished vehicles, ready to film.

These poles were constructed like metronomes that carried people. Warner Bros. Pictures

You are credited along with Shira Hockman as the art director. What was it like working with her? Who else on the crew did you collaborate closely with?

I didn’t meet Shira, but I would like to; we corresponded by email while I was in Australia, and she was in Namibia. I did not travel to Namibia for the shoot, so I sent files to her to continue. Andrew Chan was assistant art director. He generated construction drawings and diagrams for vehicles and Citadel sets. I worked with Katie Sharrock, our set decorator, who found and made an incredible collection of materials, textures and dressing for the vehicles. Mark McKinley was our mechanic. He's brilliant...he can make anything work! Mark Natoli did very fine panel beating work, including innovative methods of making embossed tail pipes. SFX Supervisor Dan Oliver and his SFX department problem-solved the vehicles' engineering and rigs. I was privileged to work with the VFX department and concept illustrators at George Miller's "Metro" office, as we prepared to "pitch" all the ideas in an animatic that conveyed the Citadel run sequence.

Nathan Jones as Rictus Erectus in Warner Bros. Pictures Warner Bros. Pictures

Walk us through the creation of a specific environment or moment -- what you did and how you did it.

The Citadel had interiors including the blood bank, branding room, vehicle room and altar. These Interiors were linked by warren-like tunnels through which Max runs on a descent ...like to hell. We had the sets in 3-D, and I animated Max running through, so we had a sense of timing and spatial experience. For example, the blood bank was where Max is caged and tattooed. I modeled this set in 3DSMax, animating how Max fell out of the cage.

For these sets, I used cameras with different lenses, and different heights and tilts for Colin to review. He would give me feedback with each revision. In these views, we could also look at positions and intensities of lighting and fire to add to the atmosphere. I'm not sure how much of these sets end up on the cutting room floor, so I'll find out at the cinemas!

Do you have a favorite vehicle?

I loved the process of developing the War Rig - Imperator Furiosa's (Charlize Theron) vehicle. Its truck tows a trailer with a tank, which tows a fuel pod. We used a Tatra T 815 Truck as a prime mover; we pushed the cabin back so the engine was pronounced, with a bonnet. Peter Pound had drawn concept illustrations years before, so I used the illustrations, and the existing Tatra to draw our design.

The War Rig design Jacinta Leong

Drawing and modeling is a "level" or stage of design, and it's here that we see proportions, choose colors, and check moving parts. On the War Rig, as we added elements -- such as spikes and skulls -- we continually checked that they wouldn't be crushed when the vehicle turned or jack-knifed. The Tatra has swinging half axles, so we took that into account to make sure our fenders were clear of the swing.

We positioned weapons and studied how the actors would fit in the cabin, and on the exterior in turrets and swinging on davits as they defended the vehicle.

I used 3DSMax to show George Miller and Colin various designs, where they could "walk" around it on the computer screen, ask for different views, and see how various parts moved and turned. The software adjusted elements interactively, such as the curves of the tank's toothed blades. I used modifiers to vary the bend of the curves, spinning through the minimum and maximum extents of "bend."

I generated 41 drawings of the War Rig to get it built, and enjoyed working with Mark Gatt, our steel department supervisor. The steelwork required fabricating, rolling, welding, cutting and R&D to modify and build. There were spikes, vents, the grille, dressing, lighting panels, and it was a great chance to be inventive.

Charlize Theron and the War Rig. Jasin Boland, Warner Bros. Pictures

The War Rig went through a lot of damage through the story, so Charlie Revai and I produced a document to show how damaged it should appear in different scenes. The War Rig was an all-singing, all-dancing vehicle that satisfied design, engineering, mechanical, and story requirements. It was a challenging exercise that I truly enjoyed. Working on "Mad Max: Fury Road" was an awesome experience. I learned a lot, and I hope I contributed something, too.

This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. You may be able to find more information about this and similar content at piano.io