Posted April 22, 2015 by admin in Resource

Catatan Produksi Film Run All Night (2015)

About The Production

The Sins of the Fathers


I’ve done terrible things in my life. Things for which I can never be forgiven. I decided long ago that when the night finally came for me to pay for the things I’d done, I wouldn’t protest…But the night didn’t go as planned. And they didn’t just come for me.

Mob hitman Jimmy Conlon has lived a life of regret, full of things he’s done that he can never take back. Decisions of a moment that haunt his waking hours as well as his dreams and, one way or another, come back around to hurt him…or worse, the ones he loves.

And on this night, one split-second decision will make him run for his life.
In “Run All Night,” Liam Neeson stars as Conlon, who, over the course of just one night, must face off with his former mob boss in order to protect his son. In doing so, he sets off an action-packed chase where he is the most wanted man in the city-by both sides of the law.

“I loved how the story is full of action while it also examines the fractured relationships between two men who are like brothers, and a father trying to make amends with his son for things that happened years ago. It was complex and rich, with thrills and spills, and a lot of ‘what ifs,'” says Neeson. “What would have happened if Jimmy had taken this course instead of that course? But that’s the story of all our lives, isn’t it?”

Neeson once again teams up with director Jaume Collet-Serra, whom he describes as “like a brother,” and who the actor says, “sees action movies as symphonies.” Collet-Serra states, “It was one of the best scripts I’ve ever read. Every word came to life. The central story of the fathers’ sins coming back to haunt their sons was evocative and the characters were full of soul.” The director reveals he immediately envisioned Neeson in the role of Jimmy. “It was a no-brainer. Not only does Liam have great range, but he has sons, and I knew he’d connect to the story on a whole other level.”

Neeson admits that the script hit a deeper chord with him, having sons who are at the age of discerning their own paths in life. “I can’t imagine losing their love or trust and I can relate to being willing to do anything-no matter what it takes-to get that back.”
In the twists and turns of the night on the run, Collet-Serra saw Ed Harris as mob boss Shawn Maguire, who is also going to protect his own son, and is coming after Conlon with everything he’s got.

“I thought Ed was perfect for the role,” notes Collet-Serra. “He’s a wonderful actor and can exude intimidation. He and Liam each command a powerful presence, and together they really ratchet up both the drama and the action. The combination of the two gives the film a real punch.”

Harris was intrigued with the tale of retribution, regrets and redemption, and eager to work with Collet-Serra and Neeson. “I was glad they asked me to join them, I thought it would be fun. There’s an edge, but also an intimacy to the crazy night they get caught up in. Jaume knows how to weave the action and emotion together and I’ve always had a lot of admiration for Liam, so it was a great scenario all around.”

Producer Roy Lee also found the story and the creative mix exciting. “It had me from the get-go. One split-second event triggers the dominos and the life-and-death chase to stay alive is on…and one way or another, before dawn, it’s going to play itself out. Jaume is a master at the chase and Ed and Liam are masters at being tough guys.”

The script came to Lee by way of producer Brooklyn Weaver, who manages screenwriter Brad Ingelsby. Weaver says, “I was absolutely blown-away by the emotionally powerful characters and journey, which he had executed in such a thematically epic manner. On page four I had goose bumps and by page 11 I knew I wanted to make the movie. I really connected to the complex, intertwined story of fathers and sons in the middle of all this great action that kept me turning the pages. I knew Brad’s script would be in great hands with Jaume, Liam, and the rest of the incredible cast.”

Ingelsby wanted to set the deathly conflict against the gritty backdrop of the mafia, explaining, “That world always interested me. Particularly from the vantage point of years down the road, when the repercussions of the choices these guys made when they were young and the full weight of their actions eventually catch up with them.”
Producer Michael Tadross was equally intrigued by the mob element. He adds, “I love these stories because they deal with loyalty and, in this film in particular, how the decisions you make in life really affect your family. You can run from your past, but you can’t hide.”

But maybe, just maybe, you can get a second chance. Collet-Serra says, “Most people wish they could have at least one do-over, to right some wrong in their life. To actually get that opportunity to redeem yourself is very appealing and everyone can relate to that.” But Jimmy’s only got one shot at redemption, at having his son not hate him anymore. One shot to live…and one night to pull it off.




Nobody gives a s**t about you. I’m the only one who ever cared…and all that ended an hour ago.


I won’t let you take him, Shawn.


You don’t got a choice. I’m coming at your boy with everything I got, Jimmy.

Blood may be thicker than water but mafia ties outlast everything. Jimmy knows where the bodies are buried, because he put them there. But his secrets have cost him.
Neeson says of his character, “Jimmy’s part of a group that has a very unique set of morals and a code of ethics that they rigidly stand by. Loyalty is everything. And that’s his great conflict-and also what gets him into trouble. When push comes to shove, who does he choose?”

Collet-Serra points out, “Liam has obviously played a father before, but I think the difference with this character is that it’s not just about protecting or saving, it’s about earning back the title. For anybody who’s a father I would imagine losing that can be heartbreaking and you would do anything to reverse the situation.”

Estranged from his family because of the many deeds done at the bidding of his boss, Jimmy is all alone and without heat in a dumpy Brooklyn apartment at Christmas.
“Jimmy’s a remnant of a period that’s long gone, struggling to survive in a modern world that has no room for him anymore,” Neeson describes. “He gave everything up for his job and all he has left are his regrets. The closest thing he has to family now is Shawn. That’s who he goes to when he needs help, like money to pay the heating bill. That’s who has his back.”

Ingelsby explains, “I thought it was an interesting dynamic to depict someone who used to be a very powerful man, who now isn’t in a position of power but is still in the periphery of that same world. Now the same guys who were afraid of him don’t take him seriously, they make fun of him.”

Although he is no longer Shawn’s enforcer, those guys still have to keep their distance, because Shawn still looks out for Jimmy. “Jimmy carries a heavy burden, this loyalty to a crime family that is more like his family than his own, by his own choice. It’s a very honorable thing to try to keep that darkness away from his son. So he’s really caught in a bind,” says Collet-Serra. “Day one, first take, Liam brought all that to the character. That’s been my experience with him, on all the movies we’ve worked on. He’s a damn good actor and it’s always a pleasure.”

Trained to kill as a covert operations solider in the military, Jimmy came back home and when things didn’t work out, he fell back on what he knew how to do well. Neeson offers, “Seeing what he’s seen and doing what he’s done, he could do what other people couldn’t do, so he took care of their dirty work. It’s been a few years now and he may be down, but he’s not out. He’s been involved in life-and-death issues, not just in Vietnam but in the concrete jungle of New York, so at the end of the day, he knows what to do to stay alive. He’s a survivor.”

Jimmy’s boss, Shawn Maguire, is another survivor, running what’s left of the Irish mob on the West side, the Westies. Harris observes, “In the ’70s, the Westies who ran Hell’s Kitchen were really brutal, and vicious, and druggies; most of those guys are either dead or behind bars. Like Jimmy, Shawn has stayed out of jail and out of a coffin. He’s tough.”
But the two have more in common than their survival skills. They’re also friends, tied inexorably together through their past-from the girls they dated, to the men they killed.

Collet-Serra notes, “It was very important to establish the friendship between Jimmy and his boss and really feel their deep bond so when their relationship and loyalty is tested, it’s more profound. Ed did a fantastic job conveying both best friend and worst enemy in their bittersweet journey.” Neeson was thrilled to work with Harris and says of his co-star, “If you get the chance to work with Ed Harris, you do it. No questions. Ed is a legendary actor. It was extraordinary doing these intense scenes with him.”

“Jimmy and Sean have such a rich history; they are so closely tied together, and because of that, so are their sons’ destinies. It was interesting to explore that with Liam,” says Harris. “Jimmy is Shawn’s guy from the early days, his best pal, really. Now he’s in bad shape and Shawn’s trying to help him out. It creates so many layers. These guys really care about each other even though they end up on opposite sides of the fence.”

It was the first time the two had the opportunity to work together. Although Harris was doing eight shows a week on Broadway at the same time, filmmakers rearranged the schedule to accommodate him. “It speaks to how much we wanted Ed, and how much he wanted to do the film,” says Collet-Serra. “I admire his stamina.”

Tadross recalls, “We’d race him to the curtain with a police escort, whatever we had to do to get him there. He was working day and night through the whole shoot. Ed is such a pro. He’s amazing.”

“It was worth it. I feel really good about the work,” states Harris. Jimmy and Shawn have fatherly instincts in common, as well as their checkered past. And those instincts conflict with their fierce loyalty to each other one terrible night when their sons inadvertently cross paths. Although they both grew up in the same city and around the business, Jimmy and Sean’s boys couldn’t be more different.

Joel Kinnaman stars in the role of Mike Conlon, Jimmy’s estranged son, who wants nothing to do with his father or his father’s line of work, not since Jimmy abandoned them years ago. A quick run as a professional boxer didn’t pan out, so in addition to his construction job, he drives a limo to support his wife and two kids.

Kinnaman describes Mike as “another casualty of his father’s lifestyle. He walked out on Mike when he was five and Mike’s lived his life just trying to be everything his father wasn’t.” The only time Mike has seen Jimmy in the past five years has been at his mom’s funeral, and even then Jimmy showed up drunk. Before that, it was only when he needed a place to hide out. “Jimmy has not been a father figure in any way and so Mike takes his own role as a dad very seriously. That’s why he works so hard; he’s trying to make ends meet for his family and his family is everything. It’s what he lives for,” says Kinnaman.
The actor had been on Collet-Serra’s radar for some time. “I’m a fan of Joel’s and was just delighted that he came on board. He’s powerful in so many ways-mentally, physically, emotionally-and he brought all that to this character. He and Liam connected immediately.”

Both Kinnaman and Neeson agree that working out the father and son relationship on screen afforded them the chance to become close off screen. Kinnaman shares, “I’ve always looked up to him, so it was a very special opportunity. It was a great honor to get to play alongside Liam. He’s had so many memorable performances.”

“It was wonderful working with Joel,” Neeson affirms. “We were very much a team, discovering our way through the emotional maze of this fractured father-son relationship. They are suddenly thrust into this situation where they have to trust each other, but Michael doesn’t know how to trust Jimmy.” Things are so strained that Jimmy has never even met his son’s wife or his granddaughters, who are also drawn into the fray.

Genesis Rodriguez stars as Mike’s expectant wife, Gabriela Conlon. “She’s very grounded and supportive,” says the actress. “She understands more than anyone he’s a tortured son who just wants to be a good dad, and Gabriela and their two daughters fill that void for Mike in the family that he’s always been lacking.”

Rodriguez admits the role was different for her, particularly in an action film. “I’ve never played a mother, someone who has to take care of other people before herself. You feel so much more vulnerable once you have the belly strapped on; you feel the weight of it and it literally drags you down when you have to run,” she says.

“Genesis is great,” Kinnaman acknowledges. “She really gave a fierce, maternal energy to Gabriela. And she really brought it in scenes where Gabriela and Mike are disagreeing. You can see why he fights to protect his family, but you know Gabriela protects him too.”
“Joel has this internal monologue always going on underneath the surface, which is great to work off of,” says Rodriguez.

Mike’s commitment to be a good father figure also extends to kids at the gym, and in particular a young boxer nicknamed Curtis “Legs” Banks, played by Aubrey Omari Joseph, whom he mentors. In the course of their flight, Mike must also protect Legs from the fallout of the night’s perilous events. Kinnaman prepared for his role by learning to box, training with professional boxers for three months. Producer Mike Tadross shares, “He was really great at it, picked it right up. He had professional boxers around him telling me, ‘This kid can really box.'”

Kinnaman enjoyed the training. “The boxing really shows Mike’s deep-seated anger, but it also gives him a physicality and hints at his ability to be lethal. He didn’t want a part of his father’s violent life but in a way he still vents his emotions through violence,” he details.

Although Jimmy and Shawn’s sons have taken different paths, Danny Maguire has had his own issues. He may have followed in Shawn’s footsteps and gotten into the business, but there is a growing philosophical and emotional rift between them that comes to a head over getting into bed with Albanian drug dealers. Unlike his dad, who wants no part of the drug trade, Danny is not content with his dad’s legitimate business, running a bar.

Boyd Holbrook plays Danny and says of his character, “Danny and Mike are yin and yang. Mike is straight-laced; he’s got a family, he’s got an honest job. Danny’s just trying to get ahead as quickly as possible. He’s a little ambitious in all the wrong ways. He has a lot to prove to live up to his father.”

A father he’s heard a lot of stories about. “In his mind, his father’s larger than life, and he wants that rite of passage,” he continues. “He’s always been catching up and trying to make himself and his presence known, to be somewhat of a contemporary version of him.”

“Shawn’s son is a bit of a wild card,” Harris posits. “I think Danny wants to emulate who he thinks Shawn is or wishes he is, like the vicious outlaws who were pretty insane on a certain level. He wishes Shawn was more reckless, and bolder in his dealings.”

Danny’s determination to prove himself to his father and Mike’s determination to steer clear of his throws them into each other’s path one night when Mike unwittingly chauffeurs the drug dealers connected to Danny. Mike subsequently witnesses a murder and can implicate Danny, and in that moment his whole life changes.

Brooklyn Weaver notes, “From our very first meeting, Jaume’s theory was that this one night is the key to Mike’s entire path.” Whether or not he realizes it, or likes it, he needs his father’s help. Kinnaman relates, “He’s reluctant to accept that help at first because of his feelings toward him, but it becomes evident that his dad is the only person who can help him out of this situation. So they are forced together.”

Collet-Serra adds, “In the larger scheme of things, if this night didn’t happen, Mike would not be complete. This night has to happen so that he can reconnect with his father, so he in turn can be the best father he can be.”

To help his son, Jimmy must dust off his gun-and use it again. Of course once he does, he has both the mob and the entire police department on their trail. “Father and son are together and yet not together, trying to evade the forces of law and order, and the Westie gang, and it sets up a lovely tension between the two of them,” says Neeson.

Vincent D’Onofrio stars as Detective John Harding, a cop who has wanted to put Jimmy away for three decades and who may now get the opportunity to do just that. “I definitely wanted to be involved with a New York kind of drama/action film with Liam and Ed,” says D’Onofrio, who has spent many hours in the theatre watching Harris on stage. “Harding is a New York City detective who has a rocky history with Jimmy. He’s never been able to prove how many hits Jimmy committed and he’s still fixated on that. It’s been many, many years but when they meet again, it’s actually the first thing on Harding’s mind. He believes this is the night he’s going to finally nail Jimmy Conlon.”
If he can catch him.

Neeson offers, “Harding represents not only justice, but also Jimmy’s conscience. Jimmy is haunted by his kills, he sees their faces, and he wants to unburden himself. He just has to get through this night to arrive at a place where he finally may be able to after all this time.”

But who Jimmy really needs to worry about is the guy Shawn has called upon to track him and his son down: Andrew Price. He’s a whole new kind of enforcer, and he’s colder and harder than Jimmy ever was.

Collet-Serra describes Price as “the monster that you unleash and you cannot stop. He’s a next generation hitman. He has no alliances to anybody or anything except money. He represents the new way of the mob. Everything has a bottom line.”

When Shawn reaches out to Price, the bottom line becomes taking out Jimmy and Mike. No matter what. Harris says, “Both Jimmy and Shawn know there’s only one way it can end. It’s the rule of the street in the world they inhabit.”

Common stars as Price, the assassin who isn’t going to stop until, as Jimmy says, “We’re all dead.” He offers, “It’s just cool to be in a film with Liam Neeson and to play his character’s modern-day counterpart. The guy who will look someone in the eye, shoot them in the head, say ‘job’s done’ and keep going. Price has an edge, he’s a little disturbed, is very smart and determined and moves with precision. He’s on this quest to get his prey and he is on them. It was exciting to embark on that.”

Collet-Serra recalls their first meeting. “Common is a really nice guy. That obviously speaks to his acting skills as he was able to draw from somewhere deep and play this villain who’s really tough and scary, and has this relentless energy.”

For his role, Common trained with the stunt coordinators to develop a body language and gun skills that were different from anyone else’s. “He definitely lived up to the expectation of somebody coming after a Liam Neeson character, which is not an easy thing to do,” Collet-Serra smiles.

Rounding out the cast are Bruce McGill as Shawn’s consigliere, Pat Mullen; Holt McCallany as his muscle, Frank; and Patricia Kalember as his wife, Rose Maguire. Nick Nolte also makes an appearance in a pivotal scene as Jimmy’s brother, Eddie, whom he rarely sees.

Neeson declares, “We were so blessed to have the great Nick Nolte. I couldn’t believe it when Jaume told me. He was wonderful. So raw and honest. His part is brief but hugely important to my character and we were all very excited by his taking the role.”

Collet-Serra agrees. “I was very fortunate to have such a great cast to collaborate with. They all brought so much to their characters and that brought so much to the story. Their performances engage you and keep you on the edge of your seat, and really elevate the stakes of survival and redemption.”




Right now, Shawn’s got everyone meeting at the Abbey, they’re gonna start pullin’ your life apart. And the cops got their own motivation. All I’m asking…is…listen to your father for one night.


One night. Then I never have to see you again.

“Run All Night” shot in practical locations in and around New York. Originally set in the screenwriter’s hometown of Philly around the Italian mob, Brad Ingelsby researched and incorporated the Irish mafia when filmmakers decided to change the locale. The production team also mined the rich world of the Westies, the infamous and cutthroat mobsters that ran Hell’s Kitchen in the ’70s.

“Although that mob, per se, doesn’t exist anymore, a lot of people moved over to Queens,” comments Collet-Serra. So that’s where we scouted.” As they drove around, a visual imagery began to develop in the director’s mind. “It’s full of Irish pubs and Irish culture and I realized that a lot of those places were near or under the elevated train. That instantly gave me a sense of place and structure. So the elevated trains and subways became a metaphor for the mafia connections. Everything and everyone that had to do with that world was near a subway or a train.”

Production designer Sharon Seymour says, “It was a great hook to hang our gangsters on, really visual, a smart idea on Jaume’s part. And it was an interesting take on New York because we’re not showing typical ‘Manhattan movie’ New York; there’s a very real sense of what the neighborhoods and community outside of the Manhattan borough are like. Jaume really embraced that, he has a really great aesthetic. What he likes and what he responds to are very strong, architectural spaces that have a sense of place.”

The production design team created Shawn’s pub, the Abbey, which is the headquarters of the mob, out of three different locations: an exterior under the train on Jamaica Avenue, another exterior reverse under the train in Woodside, and an interior in Bay Ridge, Brooklyn.

They looked at many Irish bars in the boroughs, and quite a bit in Yonkers. Seymour recalls, “Once we had identified what we wanted for the exterior, our choices were limited to the elevated subway area. It took awhile, it was a complex puzzle, but we solved it.” The interior had the same feel as the exterior and a bigger, more dynamic space.

Jimmy’s place also had to be connected to the train and that took awhile as well. Seymour recalls, “We ended up in a real space that we made even smaller than it actually is, but the kitchen windows directly overlook the train, and the exterior has the train running right by it. The result is very claustrophobic. It really reflects the end of the line and Jimmy’s decline.”

The interiors play out in the tight quarters of actual working class row houses in Ridgewood, Douglaston and Bellerose. The characters environments, except for Mike’s and his family’s, are in either a natural palette, like brick and wood, or in cool tones.
Mike’s world is the only one that has really warm colors and “has this real sense of humanity to it,” says Seymour. “We wanted to reflect how they were doing economically, and that they were really struggling to get by. We found this house in Maspeth that was a single floor, small two-bedroom, and it just felt right. It had a lot of paneling. It just felt very much like a starter home. It was cramped, but full of life.”

John’s Boxing Club in the Bronx was one of the first locations they found. “It felt like a community-based gym, it didn’t feel slick and new,” says Seymour. They also travelled north to Putnam, New York for the rural cabin setting of one scene.

Collet-Serra notes, “It was very important that with a movie called ‘Run All Night,’ we don’t just run from Brooklyn to Queens. You want to run through all of New York. We made a big effort to go into Manhattan several times, as well as Queens, Brooklyn and the Bronx. We really shot almost everywhere.”

Tadross smiles, “The story takes place in one night, but we shot 48 nights. In New York. In the winter.” Brooklyn Weaver adds, “Mike Tadross knows everyone in New York and knows the city inside and out. Without him we wouldn’t have gotten the locations we got.”

One of the most recognizable places they incorporated into the shoot is the world-famous Madison Square Garden. “Although the mob has a large presence in the Woodside area, they would still have roots back in the city,” Seymour explains. “That’s what led us to the whole connection with Madison Square Garden and the restaurant nearby. It would have been something that is a renovated version of a place they used to frequent back in the day.”

Roy Lee says shooting at the Garden was “challenging, but definitely paid off.” Collet-Serra shot inside the venue just before a New York Rangers hockey game, but to get the exterior, used the actual crowd exiting the event, working around the real traffic on Seventh Avenue.

Equally challenging was shooting the action sequences in the subway. Since the subways are always in motion and New York officials staunchly protect the system, filmmakers were only allowed to use it at certain times.

Collet-Serra had four hours each day, in two days, to shoot. “We couldn’t control any of the subways, except one for about an hour, from 3:00 a.m. to 4:00 a.m. one night. But you don’t know when the train is going to come, or if it’s going to be full of people or not, and if it is, if they are going to look into the camera…so it just makes everything much more difficult and complicated. But then, that’s New York,” he smiles.

In addition to a subway chase, there is a dramatic car sequence in which Jimmy is chasing the cops through Brooklyn in his Camaro. But there’s a twist-Mike is also in the cop car he’s running down. For the sequence’s spectacular finish, the production design team built an entire pawn shop from the ground up in an empty lot in the Richmond Hill neighborhood of Queens.

“You always see cops chasing the bad guys, so it’s fun to have the bad guy chase the cops. Ultimately, if you have your main character chasing a car in which his son is riding, it adds more danger to the situation,” says Collet-Serra. “I also really wanted it to happen under the elevated subway, and crashing through a building gave it a dramatic ending.”
There were seven cameras outside, one on an ultimate arm that was travelling and moving. They also used a movie bird-a camera on a high crane looking down, for a wide shot-and several crash boxes. Additionally, four surveillance monitors inside the pawn shop grabbed footage from that angle to cut in.

The car had to hit the ramp, fly through the air and end up right in the middle of the pawn shop. “It’s like threading a needle,” says Collet-Serra. “They only had four feet on each side of this entrance as he’s coming in sideways, and they have to hit a specific mark. If they were short or long we were in trouble. But the team really prepared and we had a really great stunt driver who nailed it.”

Another sequence was shot in the Linden Plaza Apartments in Brooklyn, where Mike’s young protege, Legs, lives. Seymour describes, “The New York City Housing Authority built a lot of the projects at the same time. When we originally started looking at them, they all have a cookie cutter look to them. But when pictures of this came up, it was just so striking and visually bold. It has these great balconies, which facilitated one of our more interesting action sequences.”

During this part of the story, Neeson, Common, D’Onofrio and Kinnaman’s characters are all chasing each other through the interior and exterior of the massive multi-level complex. The building was difficult to control because of its size, and required huge lighting set-ups and crews. Multiple cameras and helicopters were employed all night and the two days there were the coldest and windiest of the entire shoot. And, finally, the night schedule meant residents would be in their apartments while they were filming.

D’Onofrio recalls, “We would come through an apartment, break through all the partitions on the balconies, go out at the end of the building, through the hallway and then back through their room, all through the night while people were watching TV, or trying to get some sleep. By the time we finished, the last take that I did, there was a couple sleeping in their beds with their newborn, which was sound asleep and didn’t wake up through any of the shooting. Then we had to tip-toe through the living room, and onto the balcony and do one last take. It was pretty funny.”

“It was freezing, it was night, it was tough, but a great experience,” Tadross notes. “The residents invited us into their homes, they made us coffee. They were just lovely, wonderful people.”

One of the internal sequences at the same location required hand-to-hand combat in a burning apartment. Collet-Serra shares, “I had wanted to do a fight sequence in a burning room for a long time. It’s very difficult because it gets very hot, very quickly. There’s a lot of the smoke and the camera doesn’t really see through it.” But his actors were in for the long haul and no one complained.

“It helps when you have such a well-oiled machine, with a director at the helm like that,” says Lee. “You don’t want to mess around at four o’clock in the morning, but that’s why you have the right guy for that job. Sometimes, Jaume and Liam didn’t even have to speak. Liam knew what Jaume was thinking and vise versa. They’re just a great team.”
From fights on a subway to hanging off a building, Neeson is very hands-on planning and executing his fight sequences. Kinnaman recounts, “There were a lot of intense action sequences that we had to do, and a lot of fight scenes, and it was especially fun to do it with Liam; it’s impressive how much he does and how physical he is.”

Collet-Serra says, “Liam loves to do action and really puts time into rehearsing to get it right. He’s a trouper. In our last film, I had him doing all sorts of things, and even swinging from a cable, and in this one I’ve got him doing even more, and on a cable 16 feet off the ground.”

Neeson’s longtime stunt double, Mark Vanselow, was also the stunt coordinator and worked closely with Neeson and Collet-Serra to choreograph the fights. Neeson observes, “Each character you play has a different back story so each character is going to react differently to things, and even hold weapons a different way. It’s always a fascinating process.”

Junkie XL’s music accompanies the night’s journey as it winds up to its frenetic climax, with Jimmy and Shawn facing the ultimate sacrifice for their sons.
“I’ve always had a soft spot for the tapestry of family conflict in movies, especially if you can wrap it up in a little bit of action, and I believe this movie has all of that,” says Neeson.

Collet-Serra concludes, “I think if audiences come for the action, they’ll get hooked in by the emotion, and they’ll enjoy quite a ride.”