![]() ![]() ![]() So they would go off and fill in the blanks, but then they would present it to me as a series of moves. ![]() I’ll sit in with them and give them a sense of the location, the props, the opponents, like the situation and the psychology of the choreography and then we’ll work out the fight together. THR: How much of the fight sequences do you come up with yourself, and how much do you leave to the choreographers?Įvans: I tend to work quite closely with my guys. So it was a way to give it the forward momentum, but at the same time these cool little sort of tension-building moments in between the set pieces that really feel like you naturally progress from one fight scene to the next. I didn’t want people to kind of do that with The Raid –I wanted enough meat on the bones of it so that whenever they watch it, that they actually want to rewatch the entire film and not just skip to the fights. I’ve watched so many martial arts films since I was a kid and what tends to happen is I’ll watch it once from beginning to end entirely, and then I’m hitting the fast forward button, skipping chapters to get to the fight scenes. Gareth Evans: We wanted the film to work more than as just an action movie. The Hollywood Reporter: What was your original idea for the film, and how tough was it to balance actual storytelling with the intensity of the action? After the film screened at the 2012 South by Southwest Film Festival, Evans spoke to The Hollywood Reporter about the experience of making the film, and then the process of giving it a make-over as it arrives in theaters around the globe. Nevertheless, the film underwent several changes since those early screenings: its title became The Raid: Redemption, after a rights dispute prevented them from preserving the simplicity of The Raid, and its score was re-composed by Linkin Park musician Mike Shinoda and TRON: Legacy orchestrator Joe Trapanese in order to reflect distributor Sony Classics’ larger commercial ambitions. ![]()
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