![]() ![]() 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. ![]() It does not store any personal data.Welsh filmmaker Gareth Evans knows exactly how many levels of preparation and planning it takes to make a great action scene. The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. It works only in coordination with the primary cookie. Records the default button state of the corresponding category & the status of CCPA. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". ![]() Set by the GDPR Cookie Consent plugin, this cookie is used to record the user consent for the cookies in the "Advertisement" category. These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly. ![]()
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