Dive deep into the adrenaline-packed world of *Havoc* as Tom Hardy and Gareth Evans break down a jaw-dropping fight scene—shot by shot! 🎬 Witness the intense action unfold through their insightful commentary that reveals the artistry behind these brutal moments.
In this exclusive video, we explore the making of the *Havoc* movie trailer 2025 and discuss fan reactions to the *Havoc* full trailer. Are you ready to uncover the secrets behind that epic choreography? 🍿✨ Join the conversation about #officialtrailer and don’t forget to check out the #havoc trailer reactions as we debut clips from the #havoc trailer Netflix! #lar tom hardy #movie trailer #havoc movie trailer.
00:00But it's so much in his throat, it's a little...
00:02Which is kind of the worst of all of it.
00:04Exactly, yeah.
00:05Hi, I'm Tom.
00:06And I'm Gareth, and this is a scene from Havoc, shot by shot.
00:15Walker obviously has been given his mission to find Charlie,
00:18to get him out of harm's way.
00:20And clearly he hasn't.
00:22He's still working on that.
00:24Yeah, a work in progress there.
00:26It's almost kind of like a zombie movie swarm of attackers,
00:30but the zombies are all carrying heavy artillery.
00:42Not much feeling is going on that I'm aware of with Walker.
00:45I imagine he feels a lot of fear.
00:48And then he turns that fear into practical application
00:51of problem solving at a high speed,
00:54which makes him who he is.
01:01I love all the hook stuff.
01:02Yeah, the hook stuff is good, yeah.
01:04It's fun.
01:05It's just the idea of the thing of it being like,
01:06it's not enough that you do that.
01:07But then you're like,
01:08now you're going to come all the way back down the corridor with me.
01:10I'm going to kick you back down into the hole.
01:12And the nail.
01:13The nail, yeah.
01:17A lot of the action I do tends to play
01:19and sort of lean in on the horror genre at times.
01:22There was a guy that was bedded into the floorboards
01:25that Walker shot here with a shotgun.
01:27And as they're running down the corridor
01:29and then Mia turns over to look back,
01:31it's the hands coming up to pull that guy out
01:33because that's an escape route for them to get in and attack.
01:37But that's like something out of Night of the Living Dead
01:40or Dawn of the Dead, you know?
01:41It's like playing with those horror elements then as well,
01:43within an action sequence.
01:45It was horrible.
01:46Yeah.
01:47But it was the right amount of horrible.
01:52Not to remember about shooting this bit.
01:54I was in the bathroom waiting to throw the bloke out.
01:56Yeah.
01:57There he is.
01:58There he is, yes.
01:59I remember physical, and I do with acting as well.
02:04I remember what I'm saying by where I'm stood
02:06or what I'm going towards.
02:08So physical work, for me,
02:11is easier than dialogue in some aspects
02:15because you know where you are in space
02:17and what the story is
02:18and where the dialogue is with your body.
02:21This took a while.
02:29This one took the best part of about,
02:32maybe like from a previous perspective,
02:34the best part of about three weeks to design
02:36and put together.
02:37It was a reference to the farmhouse in Ep 5 of Gangs
02:40but then also a mini condensed version of the raid
02:42where we started off with guns that went down to a hand,
02:45like sharp weapons that went to hand to hand.
02:47And so it was like almost a condensed version of that
02:49all within one sequence.
02:50so it was quite the undertaking
02:53getting this one set up.
02:54She was good at this, Michelle.
02:56Really good.
02:57She was really good.
03:02It's a throat punch.
03:03This bit always tickles me for some reason.
03:05It's like the little staccato beats.
03:07It just makes me laugh.
03:08I don't know why.
03:09It just makes me chuckle every time.
03:10Three really nasty, sharp strikes.
03:13But it's the one because it throws it in.
03:15Which is kind of the worst of all of them.
03:17Exactly, yeah.
03:20Bigaboo.
03:21I remember one of the things when we were designing the sequence
03:27was the idea of tracking what all the weapons might be.
03:30So that although we do obviously exaggerate the amount you could fit inside a Mac,
03:35you know, we were careful to scrutinise who fell from where, what window, what doorway, where did they come in from, where would their weapon have dropped so that we could keep recycling weapons throughout.
03:46So it wouldn't be just the same gun that gets fired like endlessly throughout the scene.
03:50But, you know, that extended, not just from the guns of it, but also the harpoon, which becomes the big sort of end gag of the thing.
03:57You know, it starts off by the boat, ends up in Charlie's hands.
04:00He uses it a few times.
04:02So we're kind of getting little moments where we get to identify, okay, this weapon exists within this scene.
04:07We see him pick it up off the floor, run and jump and stab a guy in the face.
04:10And then he falls to the ground.
04:11And then in the background of the shots, while Walker is fighting against the assassin, that body is still there with the harpoons sticking up in the air.
04:18So you're constantly reminded of its position within the room.
04:21This sequence felt like the most sort of in both of our wheelhouses type of vibe.
04:26Do you know what I mean?
04:27Because it was like the approach to the action felt like both of us were in a real confident space.
04:33We'd gone through a fair journey at this point in the shoot, because this was like sort of like maybe halfway through the shoot, maybe something like that.
04:38It wouldn't take long if we had to reshoot all of that and start without too much rehearsal.
04:44We could just go and plot with the same guys and go, right, do you remember where we were?
04:47It was so much fun to kind of like to do this sequence and see it come to life on a day by day basis.
04:53Make sure to stream Havoc on Netflix right now.
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