In 2012, Sixel began editing Mad Max: Fury Road under the direction of George Miller. When asked why he chose his wife to edit his film, Miller observed that she had never cut an action movie before, and that if it were to be edited by "the usual kind of guys, it would look like every other action movie we see."
Because the majority of the film revolves around an intense road battle, featuring dozens of vehicular stunts and hundreds of individual extras, the location team would shoot with upwards of 20 cameras on any given set up.
As a result, the editorial team on location processed between 10 to 20 hours of footage on a daily basis, which had to be flown back to Sydney, Australia, where Sixel and her editorial team would work on shaping the footage in conjunction with production.
By the time principal photography had wrapped, Sixel was given over 470 hours of footage to edit, which took three months to merely view in its entirety. For two years, Sixel worked for roughly 10 hours a day, 6 days a week, for a total of over 6,000 collective hours of editing to create the film's eventual 120 minute running length.
The final edit of the film consisted of over 2,700 individual cuts, over twice as many as Miller's previous Mad Max instalment, The Road Warrior (1981), which featured only 1,200 cuts in its 90-minute running time. In 2016, Sixel won an Academy Award for her work on editing Mad Max. She also won the Best Editing award at the 21st Critics' Choice Awards, the 2016 ACE Eddie Award for Best Edited Feature Film – Dramatic, and the BAFTA Award for Best Editing.
As a result, the editorial team on location processed between 10 to 20 hours of footage on a daily basis, which had to be flown back to Sydney, Australia, where Sixel and her editorial team would work on shaping the footage in conjunction with production.
By the time principal photography had wrapped, Sixel was given over 470 hours of footage to edit, which took three months to merely view in its entirety. For two years, Sixel worked for roughly 10 hours a day, 6 days a week, for a total of over 6,000 collective hours of editing to create the film's eventual 120 minute running length.
The final edit of the film consisted of over 2,700 individual cuts, over twice as many as Miller's previous Mad Max instalment, The Road Warrior (1981), which featured only 1,200 cuts in its 90-minute running time. In 2016, Sixel won an Academy Award for her work on editing Mad Max. She also won the Best Editing award at the 21st Critics' Choice Awards, the 2016 ACE Eddie Award for Best Edited Feature Film – Dramatic, and the BAFTA Award for Best Editing.
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