Gareth Evans erklärt in diesem Interview/Video-Essay die Wurzeln seiner Martial Arts-Choreographien, die Schnittmenge aus Action-Kino und Horror und ein paar schöne Anekdoten von den Dreharbeiten zu seinem neuesten Action-Epos Havoc.
Ich halte Gareth Evans für einen der besten Genrefilm-Innovatoren jüngerer Zeit, der nicht zuletzt dank der unfassbar kinetischen Kameraarbeit von Matt Flannery das Action-Kino aufmischen konnte. Unten noch sein 2016er Kurzfilm Pre Vis Action, den ich bislang noch nicht gesehen hatte.
The Martial Arts [in my movies] obviously don’t come from nowhere. A large part came from just study and study and study and watching great work done by Panna in Thailand, the great work done by Salman Hyung and Jackie Chan and Yuen Woo-Ping. I studied the hell out of them.
I remember watching Armor Of God in the background while I was writing Moranto, typing away at the script. It was the fight with Jackie versus the monks. I remember just sitting there typing away and just hearing the the punches and the blocks. I started to realize the timing and the rhythms of it. It’s like percussion: Block Block Block –Punch– Block Block Block –Punch–.
That is sort of almost like a musical feel to it. When I went into the choreography room with Eko and the guys, I would always strive for that. So we designed the fights with rhythm in mind and that helped shape the work we’ve done since.
In a time of civil war, a young warrior is given the task of delivering a treaty between two rival lords. During her journey through the woods however, she finds herself hunted by two assassins intent on intercepting her message of peace in a bid to maintain the fear, instability and violent rule of their leader.
The following is a test action sequence designed by Yayan Ruhian, Cecep Arif Rahman and Gareth Evans. It was designed in a bid to create choreography that maintains the style and rhythm set out in their prior work (The Raid 1&2) while staying within the parameters of a PG-13/12A audience friendly certification.
Designed in under a week, it was shot over the course of 3 days on location in Hirwaun, WALES. The short sequence was shot using a Sony NEX-7 with only the Director and Cast on location. No other crew and cast worked on this project during the shoot.