![]() ![]() Now, in The Raid, Iko’s character uses a silat style while Pierre Bruno has more of a street-fighting style. One of the things that stands about about the violence in the Raid films is that there’s something culturally specific about the character of the violence in these movies, like the way Tony Jaa and his Thai collaborators show the brutality of Muay Thai fighting. If it has something to say about your characters, then it can be as important as a scene of dialogue. It’s how you present violence that is the key component of this differentiation. Again, the primary focus is on Rama’s anguished face as he battles within himself, as he starts to slip deeper into the world of violence he now resides in. Or Rama burning the corrupt policeman on the hot plate - you only really see the aftermath in any detail. The focus of the scene is about the psychology of Bejo and Uco, who are capable of committing and witnessing such brutality, yet still conducting a business meeting at the same time. The restaurant scene in The Raid 2, with the lineup of men having their throats slit, barely shows any actual detail of violence. ![]() But violence is pointless if you don’t also use it to say something about the characters. When we hold on the shotgun blast - you have a wide frame to look at, you choose where your gaze falls. There are moments in The Raid 2 where I wanted to use the camera to question screen violence. Almost all the extreme violence in The Raid 2 either cuts away on impact, moves onto another opponent, or happens at a distance in a wide shot. There’s a subtle difference about how long a camera lingers on violence, and how much detail is shown. What kind of movies were you thinking about here? And how do their depictions of violence differ from how you conceive of violence in the Raid films? The Raid is much more subtle about not showing blood or gore but there’s a fair amount in The Raid 2, wouldn’t you say? You said that you’re not really attracted to movies that dwell on torture or violence. You say something very interesting in the audio commentary track for The Raid during the crawl-space sequence. By stripping away the cuts and cheats, everyone thinks they are seeing something unfold in real time, when in actual fact we would often be using semi-locked off cameras and multiple takes/layers of action that would allow us to minimize the threat and danger to the stunt performer. Our remit was always to find ways to show - usually in what appears to be an unbroken take - a stunt that would make the audience feel they were witnessing something dangerous. What kind of conversations did you have with the Piranha guys? What kind of language and concerns did they typically bring to the table? Your script for these films included bullet points for the fight and stunt scenes. In honor of a new Blu-ray box set containing the two Raid films, Vulture talked with Evans over email about the craft behind his films’ action scenes.Īpart from your actors, it seems like two of your closest collaborators on the two Raid films’ choreography was the Piranha stunt team and Andi, your computer graphics guy who added touch-ups, including blood. Even the most ostentatious action scene is even harder to set up than you imagine, making The Raid and its sequel’s many jaw-dropping set pieces that much more impressive. When Evans directs an action scene, he has to choreograph a scene with his stuntmen, cinematographer, camera crew, set decorators, production managers, and art designers in mind. If anything, Evans, the director of martial-arts smash The Raid: Redemption and its spectacular sequel, The Raid: Berandal, gets more ambitious with each film. Welsh filmmaker Gareth Evans knows exactly how many levels of preparation and planning it takes to make a great action scene. ![]()
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