‘Havoc’ Director Gareth Evans on Action Filmmaking After ‘The Raid’ and Playing Four Gessafelstein Songs in a Row for a Fight Scene

In the realm of contemporary action films, Gareth Evans’ “The Raid” and “The Raid 2” are groundbreaking masterpieces. These movies significantly boosted the global recognition of Indonesian martial art Pencak Silat and solidified Evans as a remarkably innovative filmmaker, not just in fight sequences but also in cinematography. Following his work on the 2018 horror folk film “Apostle” and co-creating the 2020 British crime series “Gangs of London”, his newest production, “Havoc,” collaborates with Tom Hardy (a Jiu-Jitsu practitioner) for a gritty crime drama that takes inspiration from ’70s American cinema as well as the stylized “heroic bloodshed” genre originating from Hong Kong.

Evans discussed “Havoc” with EbMaster, focusing on his return to action filmmaking in theaters after over a decade. He elaborated on the interwoven themes and character developments that link his raw storytelling style with stunning, intricate action sequences. Furthermore, he reminisced about his career trajectory following “Raid” and shared his current admiration for martial arts films and filmmakers who are influencing him.

The action scenes in your films seem like they are as carefully plotted as the dialogue scenes. How much are they the priority for you when you start constructing the story that you want to tell?

To be completely honest, my approach isn’t about creating a specific type of scene, such as a fight in a nightclub. Instead, I always focus on identifying the primary catalyst for the story. For instance, when I began writing “Havoc”, an initial thought popped into my mind: a cop arrives at a crime scene with drugs on the table, a deceased individual, and a triad boss present. The cop then seems to be collecting cocaine in a coffee cup. From there, I enter detective mode, asking myself questions like, “Who is the body? What’s the connection between the drugs and the crime scene? Who placed the drugs there?” And from these character and plot elements, as well as themes, I develop the story, rather than thinking, “We should add an action scene here because it’s been a while.

When considering the detailed aspects of our large action scenes, every detail is examined closely. Collaborating with Jude Poyer, our stunt coordinator, we delve into the characters and their roles, examining their mental states, their inclination towards violence, and other relevant factors to construct comprehensive character profiles. This information helps us determine their combat styles and reactions in various situations. Additionally, we deliberate over the choice of weapons or the design of a set, such as making the nightclub two-tiered for dynamic action sequences. The process evolves naturally, mirroring how I would develop a screenplay.

Is Pencak Silat the foundation of all the fight choreography in your films?

As I departed Indonesia and began working on projects in the UK, such as “Apostle,” “Gangs of London,” and now “Havoc,” the Silat aspect took a bit of a back seat. For a production like “Havok,” where we knew Tom Hardy would be joining the cast, I was aware that he practices Brazilian Jiu-Jitsu. However, his character Walker doesn’t. So, we chose to focus more on gunplay and rough handling, like grabbing someone by the scruff of the neck and slamming their head into a hard surface. This seemed to fit Walker’s style better. “Havoc” was essentially me aiming to create something that had the gritty feel of a ’70s American crime film, but within the context of a tribute to the Hong Kong “heroic bloodshed” genre from the ’80s and ’90s.

The film has a real ‘80s John Woo feel — you could play this next to “The Killer” and they would fit together well. But this is also a movie about parents who are fighting to hold on to the children who are for one reason or another, estranged. How readily did that theme emerge.

It’s crucial to incorporate a common, relatable theme into our stories. Our extraordinary characters might be larger than life, but it’s essential to find an emotional connection for the audience. Although I may not share the same experiences as a mayoral candidate, a crime boss, or a corrupt police officer, I can empathize with the concerns of a parent raising two children. Thus, I used these over-the-top characters as a means to delve into my own parental anxieties about preparing my children for life. The story needed to have a grand spectacle, but also an underlying current of emotions simmering below the surface.

Why is the film set at Christmas? Does that have some meaning to you, or is it just an homage to Shane Black?

I’ve got a strong affinity for Shane Black’s work, having watched many of his films before penning this piece. The Christmas theme was integral to the story because it symbolizes family gatherings, and the three main characters are as estranged from their families as can be. Therefore, it played a crucial role in shaping the narrative.

How readily did Tom adapt to the choreography you designed?

It was fantastic. Previously, Tom and I have nearly intersected on various ventures, and we’ve always aimed to collaborate. So when this chance arose, we eagerly seized it. During the filming of those thrilling action scenes, he had clearly been gearing up for the role, as he was physically fit. Upon arriving at the set, it was astonishing — he was remarkably muscular.

Additionally, his extensive history working in various action movies, notably “Mad Max Fury Road,” where scenes are filmed piecemeal rather than as a continuous flow, has given him significant experience. In my approach, I never film coverage during an action scene; instead, it’s always fragmented pieces that I work with. This is because I am deeply engaged in the action design, and when I’m behind the camera, my eyes serve as the lens through which I want the audience to comprehend the choreography, grasp the layout of the scene, and follow the sequence’s progression.

As soon as I heard the first notes of Gesaffelstein’s “Opr” in the club fight, I immediately thought, ‘What a great song for a fight scene.’ How much listening do you do to find the right song? Not all filmmakers are that intuitive when it comes to music, especially for action sequences.

Constantly, when I compose, I assemble a collection of tunes to play, primarily for creating an atmosphere and evoking emotions. For instance, during the writing of “Havoc,” I would listen to Sigur Rós if I desired a more emotional ambiance, or M.I.A if I needed something with high energy, like for the truck chase scene perhaps, even “Born Free.” Music tends to spark visualizations and images in my mind as I play it, and when a song changes key, it feels like I can pinpoint the exact cut point in the script. In fact, I noted “Pursuit” by Gesaffelstein as an important song for that particular sequence in the script. However, I didn’t anticipate using four tracks consecutively. Yet, each one of those tracks seemed to capture the perfect moments. Kudos to our music supervisors and editors for selecting the right instances and editing the tracks appropriately. There’s something about “Hate or Glory” that stirs me deeply every time it plays, especially when Luis Guzmán fires his gun and the song kicks in.

Since “The Raid” movies, how much have your subsequent projects allowed you to grow in your career in the ways that you hoped when you started directing? Is this the path that you had envisioned for yourself?

I’ve often grappled with feelings of being an imposter in my profession. The series of events that culminated in me traveling to Indonesia, meeting [star Iko Uwais], making “The Raid,” and launching my career was quite serendipitous. Since then, each project I’ve taken on has been a captivating journey, as I’m guided by what instinctively feels right for the next step. Working on projects like “Gangs of London,” “Apostle,” and “Havoc” has been incredibly beneficial because I’ve had the opportunity to collaborate with performers of various skill levels and backgrounds, which has helped me learn to adapt my approach. Additionally, these experiences have pushed me to significantly elevate my directing abilities, as I strive to keep pace with my talented colleagues.

I’ve found this journey quite steep, but I always stay alert and attentive. As for whether I’ll take on another martial arts project someday, I’m definitely game for it. This time around, there’s been more action with firearms, which I’ve truly enjoyed since I’ve been a fan of John Woo and Sam Peckinpah from my youth. In fact, you can see their impact on me in this role. Absolutely, I’d welcome the opportunity to direct another martial arts film in the future.

Your “DeathStroke” film, which was eventually canceled, was conceived during the era of a bygone DC regime. Does that larger canvas, or maybe a story that you didn’t develop yourself, still appeal to you?

I’m receptive to new opportunities, whether they involve working on an established script for a remake or not. If I believe that I can add value to the project and it resonates with me, then it’s definitely something I would consider. Lately, I’ve been collaborating on scripts with Chris Webb, who is part of our stunt team for “Havoc” but also a talented writer in his own right. As a result, I have several potential projects lined up. Ideally, I would like to work on something more low-key – the ideal scenario being following the Soderbergh method, which involves creating smaller, intimate productions followed by larger, more spectacular ones, and expressing myself through both.

How do you gauge action cinema now? Is great martial arts cinema being made now as much as it used to be?

Without a doubt, it’s still around. Back in my days, the go-to spot for exceptional martial arts cinema was Hong Kong, hands down. But now, you can find top-notch martial arts movies originating from various regions such as the US, Europe, the UK, Thailand, Southeast Asian countries, and Japan. I often felt fortunate because I was able to learn from pioneers like Sammo Hung, Jackie Chan, and Panna Rittikrai in Thailand. By absorbing their work, I managed to incorporate these influences into my own creations.

Currently, I’m enjoying watching the Rurouni Kenshin movies. I find Kenji Tanigaki, known for “Snake Eyes: G.I. Joe Origins,” to be one of the most skilled choreographers at the moment. I admire the work of Chad Stahelski and David Leitch immensely. Larnell Stovall, a close friend of mine, is also incredibly talented and I eagerly await his films’ production. In this action genre, The Continental series promises to be exciting. And lastly, the “Baby Assassin” films from Japan are wild, innovative, and a blast to watch. This genre feels vibrant and in excellent hands.

2025-04-25 21:48