Tom Hardy and director Gareth Evans sat down with Melissa Nathoo to discuss new film HAVOC, but it descended into chaos with talk of 'beast mode' and Barbie. Report by Nathoom. Like us on Facebook at http://www.facebook.com/itn and follow us on Twitter at http://twitter.com/itn
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00:00I don't remember Barbie being as violent. Keep it simple, stupid.
00:03Yeah, what does Beast Moe look like? That was quite hurtful. It's as simple as that.
00:07Guys, great to see you. You know there's going to be chaos when the title is all in capitals.
00:12One important question I had was, is this a new Die Hard?
00:15Or is it, more importantly, a Christmas film? Because I swear I heard Christmas songs.
00:20It's definitely set across the Christmas period, but I wouldn't want to venture out into saying it's a new Die Hard.
00:26That's like action film royalty there, so yeah.
00:28Yeah, but you're known. I'll temper expectations a little bit.
00:31That would upset Chuck, wouldn't it? That would upset Chuck.
00:33He'd come back out of the desert, I have a word.
00:35Well, you have made one of the greatest action films of all time, so there's going to be huge expectation.
00:40But I know you did say that Tom turned up in Beast Mode. What does Beast Mode look like?
00:45Yeah, what does Beast Mode look like? That was quite hurtful.
00:49It's made in a nice way. It's more like a sort of like you choose crayons kind of when he outtook it.
00:56Can we just unpack that?
00:57It's more so like mythological, you know, as opposed to like, you know, like an orc-chewing crayons.
01:05Like an orc-chewing crayons.
01:06I mean, yeah, yeah. Knuckle-dragging crayons with a moron turned up to work.
01:11I could barely talk to him or get a legible word out of him.
01:12Tom had done quite a lot of physical preparation ahead of the film.
01:16It was a primal thing to provide a Cro-Magnus of a man. No, not that then.
01:22Not that. No, no, no.
01:23Okay. Physically, look.
01:24Physically, he came ultra prepared and yeah, yeah, yeah. In the most intimidating way you could imagine a good human being.
01:33It was good. It was a good intimidation though.
01:34Right. Tom, you'll be happy to hear this time. I'm not going to ask you what was the coolest thing you did in here or to fix my love life.
01:41I know we struggled with both of those last time, but what is it that you particularly love about playing in the crime world?
01:54Because you do it quite a lot and you do it really well. So obviously I know that's why people sign you up, but what do you love about it?
02:01I love gainful employment. And it's as simple as that.
02:06Yes. Keep it simple, stupid.
02:10Let me chew one.
02:14I do, I do enjoy a miscreant. I do enjoy a scallywag. I also enjoy the paradox of the human condition and, you know, perversely we find that in places where villains are criminals, anything that has a conflicting, you know, like a, you know, the concept of like light and dark, you know,
02:40inside one character. So oftentimes there's a wish fulfillment element to playing criminals or even a corrupt police officer or, you know, somebody who's a, I don't know what they call it, anti-heroes for one of a short, a shorthand where somebody has an obstacle that is in the way of their higher growth or whatever, their higher being, and they have to sort of figure that out in order to take a step forward into the light.
03:04They're more interesting than people who are virtuously always good.
03:07Yeah. I've never met anybody like that. So it's best to sort of start with.
03:11Yeah. They don't exist.
03:13Well, apparently they do.
03:14I don't know.
03:15No, I believe, I believe so. There are some. There are some.
03:18There are some. There are some. And much like in Barbie, they used up all, sorry.
03:23I've been waiting for this question all day last. This is the one. I've been waiting for this moment.
03:27It was interesting you answered it last time.
03:29Yeah.
03:30Yeah.
03:31Much like in Barbie, there was a worldwide shortage of pink paint. I feel like you guys maybe created a shortage of fake blood in this one. I don't know where I'm going with this question now.
03:44It started good.
03:45It was really good.
03:46It could have gone anywhere.
03:47It was on the spot.
03:48Just go back there, think of something else.
03:50I was trying to think of all the parallels between Barbie and this film.
03:53Can you compare it to Barbie?
03:56He will.
03:56I will at some point. Yeah. Yeah.
03:58So what was the question?
04:01I don't even know.
04:03Within a short enough blood.
04:04That was a good direction.
04:08It was something about there being a lot of blood. You know what? Let's forget it.
04:12No, it's okay. There was.
04:14However.
04:14I don't remember Barbie being as violent.
04:18Director's Cut will be coming out.
04:19Yes.
04:20That's it.
04:21I do feel like, though, the sound in here is incredible.
04:25How important was it for you to, like, properly, like, amp that up?
04:29What I've always loved is the meticulous attention to detail.
04:32And the team at Cinematic, you know, Max and Gaz and everyone else that worked across this film,
04:37it was, like, an endless laundry list from me of saying, like, okay, there's this piece of choreography here.
04:44I need a sound for it.
04:45And it was going through all the fine detail every single day.
04:47I'd write lists and lists and lists of things.
04:50And, you know, and they would spot as much as they could with, you know, to the naked eye watching it.
04:54But because I live the choreography with the stunt performers when we design it, there are always, like, little bits which are kind of missing.
05:01It might be like, oh, there's a bit here where the gun is being pulled out of a pocket or whatever.
05:05We need the sound of the fabric and that.
05:07So we get very, very detailed, very, you know, because on a subconscious level, if a sound is missing, you'll know it.
05:16You'll feel it.
05:17You don't have to be, like, a sound professional.
05:18You have to work in sound to know something's gone wrong or something's missing.
05:22And so, yeah, it was a very, very laborious process for them.
05:26They did an incredible job of, like, layering everything up so that it tells that story with a sort of percussive element to the sound design as well.
05:33You couldn't look away because it just sounded incredible as well.
05:37However, this relationship, I think, definitely we should see more of at some point along the way because you clearly interview well together, I think.
05:48But also work well together.
05:49It's a great film.
05:50Thank you so much.
05:51Thank you so much.
05:51Nice to see you guys.
05:52Pleasure to meet you again.
05:52Thank you very much.