Episode 264: Havoc - featuring Sunny Pang

Joining the show today, world-renowned actor, Sunny Pang. We delve into his gripping performance in Havoc (2025), the latest action-thriller from acclaimed writer-director Gareth Evans. Pang shares behind-the-scenes stories from the film’s production, his experience working alongside stars like Forest Whitiker, Yeo Yann Yann, Jessie Mei Li, and and how he approached his complex role in the gritty, high-stakes world of Havoc.
We also touch on the film’s stunning visuals by cinematographer Matthew Flannery, a pulse-pounding score by Aria Prayogi, and the collaborative effort behind the film’s visceral impact, from Tom Pearce’s production design to editing by Sara Jones and Matt Platts-Mills. Take a deep dive into the artistry and adrenaline of Havoc through Sunny Pang’s unique lens.

Havoc (2025)
Starring: Tom Hardy, Jessie Mei Li, Timothy Olyphant, Forest Whitaker, Sunny Pang, Justin Cornwell, Quelin Sepulveda, Luis Guzmán, Yeo Yann Yann, Michelle Waterson-Gomez, and many more.
Written and Directed by Gareth Evans
Cinematography by Matt Flannery
Music by Aria Prayogi
Edited by Sara Jones and Matt Platts-Mills
Production Design by Tom Pearce
Action Design and Stunt Coordinator: Jude Poyer

Netflix Release: April 25, 2025
Runtime: 107 minutes

Episode Transcript

Speaker 1 (00:30):
All right, Ellis sent Hima back another dish. How are
we doing out there? Good? Great gray yand day Yan
wonderful as you see on your screen your dial. However
you are choosing to join us today, I know the
cast and the crew of the film appreciates you as
you see Havoc. Havoc is written and directed by Gareth Evans.
It is starring Tom Hardy, Jesse Maylei, Timothy Oliphant, Forrest Whitaker,

(00:53):
Sonny Pang, Justin Cornwell, Quinland, Sepulvida, Louise Guzman, Yo Jan
Jan Michelle, Michelle Waterson, Goman, and many many more. We
got cinematography which was top notch by Matthew Flannery. We
have the original score by Evans Evans brother because he
has done the Raid films with him Aria Priogi. We

(01:15):
got editors Sarah Jones and Matt Plotts Mills. Great production
designed by Tom Pierce, and we have action design and
stunt coordination by Jude Poyer. Havoc is a relentless neo
noir crime thriller in a rain soaked, crime ridden city scape.
It follows Detective Patrick Walker, a seasoned and morally compromised

(01:36):
cop who becomes entangled in a complex web of corruption, betrayal,
and violence after a botched drug deal. Walker's task with
rescuing Charlie Beaumont played by Justin Cornwell, the estranged son
of powerful mayoral candidate Lawrence Beaumont played by Forrest Whittaker.
Charlie's involvement in the deal sets off a chain of
events that pitts Walker against gangsters, corrupt officials, and his

(01:59):
own pass So Havoc emerged as a cinematic spectacle in
April twenty twenty five. I know, me and a lot
of people listening to the show right now have been
clamoring for years, ladies and gentlemen, members of the audience,
years for this one. So I was finally, I was
so stoked to be able to sit down and watch.

(02:19):
It features everyone that I had just mentioned, and what
I would say is it draws Gareth draws inspiration from
like old Chinese action films, particularly those directed by John Wu,
and mixing a little bit of his own version of
the French Connection in it, which I thoroughly enjoy. Obviously,

(02:39):
anything John Wu does and the French Connection is legendary.
Gareth Evans, the writer, director, is known for his masterful
direction in the Raid series, in Moran, Tau and Apostle,
and it brings a unique blend of intensity and a
narrative depth to Havoct. His script intricately weaves character development
with exhilarating action sequences, reminiscent of the storytelling and storytelling

(03:03):
prowess of John Wu classics and the gritty realism of
French connection. Evans's ability to balance emotional stakes with high
octane thrills is evident throughout the film, making it a
compelling theater going experience. Well, I wish we would have
got to see it in the theater. You know, Netflix
doesn't do a whole lot of theater releases, but that

(03:24):
would have been fantastic. But nevertheless, still a great experience
for the audience. One of the things that stands out
for me is the cinematography. The cinematography of Haboc is
helmed by Matthew Flannery, whose collaboration with Evans and previous
projects it's critically acclaimed. Ladies and gentlemen, you look at

(03:44):
this film and it doesn't look like a two dollars film.
It looks like a two hundred million dollar film. Flannery's
visual approach and have it captures the raw energy and
intricate choreography of the action scenes while maintaining a cohesive aesthetic.
His use of dynamic camera movements and innovative angles not
only enhance the storytelling, but also pays homage to the
visual styles of the classic action genre. The film's visual

(04:07):
palette is both gritty and vibrant, reflecting chaotic yet a
structured world that the characters try to navigate. The soundtrack
another one of my favorite portions of the film, by
Area prayogis it serves as a sonic backbone for the film,
driving the narrative forward with pulsating rhythms and evocative melodies.

(04:29):
Prayogi skillfully blends traditional orchestral elements and contemporal electronic sounds,
creating a soundscap a soundscape that is both timeless and modern.
The score complements the film's intense action sequences and emotional moments,
enhancing the overall viewing experience. Cannot agree with that more.
Each musical cue is meticulously crafted to resonate with the

(04:51):
film's thematic undertones and character arcs. I definitely wanted to
point out the production designed by Tom Pierce. Tom pierce
production design and habit is a testament to meticulous craftsmanship
and creative vision. The sets are intricately designed to reflect
the film's diverse locations, from urban landscapes to intimate interiors.
Pierce's attention to detail ensures that each environment contributes to

(05:15):
the narrative, creating a believable and immersive world for the
characters to inhabit. The production design seamlessly integrates with the
film's visual aesthetic, reinforcing the themes of chaos and order
that permeate throughout the story. As I mentioned before, we
have influences and homages that use stylistic and elements of

(05:39):
motifs of old the Chinese action films of John Wu.
The film's emphasis on brotherhood, honor, and redemption echoes Wu's
signature storytelling approach. Additionally, Havoc incorporates the incorporates the gritty,
realistic aesthetic and complex character dynamic reminiscent of the French
Connection Evan's ability to sense synthe thought synth. The These

(06:01):
influence into a coherent and original narrative is commendable, resulting
in a film that is both a tribute to its
predecessors and a fresh addition to the action genre. In conclusion,
Havoc stands out as a forminal piece of cinema, showcasing
Gareth Evans's prowess in writing and directing, Matthew Flannery's innovative cinematography,

(06:21):
Aria Praogi's evogative soundtrack, and Tom Pierce's meticulously crafted production design.
The film's ability to blend influences from John will in
the French Connection while maintaining its own identity is a
testament to the collaborative effort of its talented creators. Havoc
not only entertains but enriches the action genre, leaving a

(06:42):
lasting impact on its audience and broader cinematic landscape, and
a part of that cinematic landscape. Ladies and Gentlemen no
stranger to the show. He has been on the show
several times before. I don't even consider him a work
confidante anymore. I consider him a friend, and he's been

(07:02):
kind enough to grace his grace us with his presence.
One of the actors from the film Havoc, Ladies and Gentlemen,
the man behind ching Sonny Pang. Sonny so happy to
have yoh, Sonny is back. Ladies and gentlemen, Yo, what's
up with up?

Speaker 2 (07:21):
How's everybody doing? Are you doing? Brother?

Speaker 1 (07:24):
I am doing well? How about you know what? Let's
talk about that. How are you, sir? I don't I
let's let's let's put the movie on hold for a second.
How are you the man? How are you well?

Speaker 2 (07:35):
Surviving as usual?

Speaker 3 (07:36):
I mean, doing different things, trying out different things, especially
vertical series. You or trying to like get my hands
onto it. How will I put it?

Speaker 2 (07:46):
Never been to doing this?

Speaker 3 (07:48):
Vertical series is really a new ways of shooting dramas
and actions, so charl and error, so getting my hands
on it, living the way as I progress with my team, and.

Speaker 2 (07:59):
So well, it's not too bad. It's pretty pretty good.

Speaker 3 (08:03):
But at the same time, it's pretty bad because I
closed down my studio somehow because of the rental was
way too much. I'll have to like screw this. I'm
gonna close it for a bit and come back later.
So and therefore they jump into you know Where to
go see and yeah, so you're.

Speaker 1 (08:20):
Talking about you're talking about the Ronan Action studio.

Speaker 2 (08:25):
Correct, yes, correct, It's okay.

Speaker 3 (08:28):
You know, all the guys understood we had for some
other people that celebrate with us, you know, learn out
of space so we can train once in a while.

Speaker 2 (08:37):
But then again we still get jobs here and there.
It's not really like what he used to but because what.

Speaker 3 (08:43):
Is happening, the whole climate change of filming industry is changing,
and you know, we've got to learn how to deal
with the situation that becomes, you know, learn how they're
using that different ways of platform to make movies right
now or maybe make series at this point in time,
as we see like the Vidigo Sernies of the world, and.

Speaker 1 (09:02):
You're talking about the executioner right, yes, called executioner.

Speaker 3 (09:08):
Excuse yeah, I'm the one leading the ashen bits with
my team as well some of the students of mine
that you get the hands of it to do something
fight scene as well.

Speaker 1 (09:19):
So actually, before we before we get into havoc, let's
briefly talk about that. Man, do you actually think with
the way that kind of studios are are drifting away
from an old formula or an old format of how
they used to make and distribute movies. On the one hand,

(09:40):
for me, I see it, you know, I see it
being a bad thing, and then the flip side of
that is I also see it possibly being a really
good thing for beginning filmmakers because if you know, you
kind of have it in your head like I'm never
going to get a studio to promote this and put
it in theaters blah b whiah. There is something to

(10:02):
be said about shooting, you know, a vertical web series
and being able to distribute it yourself. So I'm just
curious on where you lie on that.

Speaker 3 (10:12):
I think that it's involved good and bad, you know,
for me, because as like I said, the climate right
now on filmmaking has completely changed the.

Speaker 2 (10:20):
Whole course of how we used to make movies.

Speaker 3 (10:24):
Of course that you will expect still some of the
people who is trying to make good movies, I would say,
it's not completely going to end, but maybe on a
much more plighter budgets or maybe shifting the whole shooting
from it to another countries like the cheapest budget, cheaper
budget and so on. Then but there's skill people watching
movies like you and me and some of the people.

(10:45):
It's not completely dead, but maybe because of the pricing
is a bit down, a little bit lesser, and the
day list will think twice before they get involved. Right,
maybe you don't need dailyst I don't know. Right for me,
I think that the body calls help us through through
us certain times because back in Southeast Asia, we don't
have a system.

Speaker 2 (11:06):
Like the West did.

Speaker 3 (11:07):
Like you know, you have actors union, you have your
crew union, you have a stunt union.

Speaker 2 (11:13):
Where Southeast Asia we don't have it.

Speaker 3 (11:15):
Right, so it's kind of like we don't know where
to look for work at some point. Sometimes we go
by you know, by word of mouth or reputations, you know,
the things that you do, or maybe that's because of
your credit that what you've done. So maybe they're gonna argue,
but they always talk about dollar cents. So where do

(11:35):
we go from there? And the budget's not getting bigger,
it goes smaller and smaller and crazier. You know, you're
gonna feed the guys and myself, you know, and I
just lost a couple of guys on my end because
they had to do food and jobs because they can't
live like that, you know, without with their any jobs.
You know, at the end of it is how the
way actually we create new opportunities for ourselves and for

(11:59):
the people around this. So I think the political series
might be the ends of less as to makers, even
the beginners as will yeah.

Speaker 1 (12:08):
Yeah, and it's kind of interesting to see where we'll
go from here. I don't know. So the reason why
I continue to do this show, actually, the reason why
I started doing this show to begin with whatever, six
seven years ago, whenever I started, was because I kind

(12:28):
of saw the landscape of film changing, but more importantly,
the audiences drifting towards I mean, let's just be real,
more of a short, short form format. You know, they
want to see things in reels. They want to see
things in you know, something that spans ten seconds to

(12:49):
only five minutes, and I and I work with a
couple of people where even like five minutes is a
lot to them to pay attention. And you know, I
kind of I'm not saying that you can't be entertained
by that format, but for people like you and I,
we consider the theater going experience like going to church.

(13:11):
It's communal, like it is a it is a something
that you are meant to take part with everyone around you.
And it's weird, I think, like, you know, and it's
not to bang you know, streaming services like Netflix, but
I get the idea of you know, it's easier to

(13:32):
watch stuff at home. But for something like this, it
has Tom, it has you, it has Forrest Whittaker as
Timothy Oliphant. There's no fucking reasons, Sonny, that this shouldn't
been released in the theater, you know what I'm saying.
Even if it's a if it's a short release, I
still think this is one of those things where it

(13:54):
behooves you to see it on a big screen. In fact,
I was very jealous of all you guys because you
guys did A Q and A on the big screen,
didn't you.

Speaker 2 (14:03):
Yeah, that's right.

Speaker 3 (14:04):
So for for for me, I think that I think
cinema will not go away. But the shot spending of
people not watching a big whole feature film inside of
cinema as well, because they don't have that kind of
what it cat community is everybody's to himself, you know.
It's very solo and there's always thinking that you know.

(14:25):
And also the kind of like lifestyle that we have
right now is all on the phone.

Speaker 2 (14:31):
Right and with with the with the earpiece, and that's it.

Speaker 3 (14:34):
You can get yourself into that that big that that experience,
but it's very minimal because a lot of people like
those people that doesn't really step into a cinema, they
don't understand it.

Speaker 2 (14:46):
So they need to step inside through the.

Speaker 3 (14:47):
Cinema and experience the whole you know, experiences and to
realize that while it is so different feeling, it's really
you feel the gunshot, you feel the impact, you feel
the whole drums of the whole floor, or even the
vibrate of the whole bodies, and everything goes around it, right,
and the dialogue and the closeness to the characters, because

(15:09):
a lot of people just don't at the time, because everybody,
some people may have three jobs in one go. Given
the way to the entertain themself from smoking brig and
just go through two minutes of smoking brain and look at.

Speaker 2 (15:22):
It and after all care continue with it.

Speaker 3 (15:24):
And it's they according to them, is cheaper as well,
come to I'm going to subscribe it to that. That's
like what five bucks for a month and you can
see all kinds of crap. But they don't what they
don't realize. It's just to the experience of it. Like myself,
I love seeing mam my whole life, right. I even
spend fourth on back in not two thousand, I spent
like what six thousand dollars to buy proper AD receiver centrals,

(15:49):
because all the home theaters have a theater system, right,
just to experience what is in me experience again in
the movie that I love, and I think that you
will not go but for that reason. But we need
good what I hold a say, storytelling, not what reasonly
has happened, you know, all that wook culture, all that

(16:12):
nonsense out there, you know, spoiling the hole cinemass. And
the story is just you know, not well written, and
it's really cheesy. Either you got cheesy or it's just like,
why the hell do you even do make this movie?
And you spend those kind of money and just like
why am I paying for this way? Because whatever people's pay,
they expect something else better than experience, not just by

(16:35):
seeing gunshot, especially effects, but to understand or feel that
they in those moments, to experience the kind of storytelling
they always used to have a good love, have a
good crazy moment, or have a scare moment, you know,
those kind of things. But in vertical, no matter what
it is. I can tell this because I shoot some

(16:56):
of the stuff. It's still relatively new. There's still a
lot of things to come shoot while quite seeing you
need to sheep a little bit. And sometimes when my
guy's fight too fast everywhere the helliday, you know, try
to capture them, you know, just like what the fuck
you can we do.

Speaker 2 (17:11):
Over and over again. So he tends to like spreatch.

Speaker 3 (17:14):
Your head or your balls. He says, like, okay, change
another angle, you know. Sometimes very miserable, right, so I'm
kill there the better technology, maybe they will not surpass
the kind of quality of how we may making gonna
be maybe reaches people a little bit, but not crazy.

Speaker 2 (17:31):
We are trying.

Speaker 3 (17:32):
But I me again, I think cinema will still be there.
But hopefully did everybody gets to wake the fuck up
and invest in the white people.

Speaker 2 (17:41):
Not embassing with white people. You want your money back,
Go and listen to those you know, honey coated down
and knick your balls and then come and get the
fuck out of him, you know what I mean. Those
that can't jumping caun't you see, you know what I mean?
And those with an agendas you can ask them to.

Speaker 3 (17:57):
Go fly a kite, go kill himself somewhere else, you know,
you need it. With the people like Gareth Evans, he
really put all the heart and soul down to it,
right with even with Tom Hardy as well, you know
that guy's basically a piece. Why is it looked so hard?
And then when the film comes out to understand why?
Because you just want people to be entertained. Of course,

(18:18):
out there there's a lot of people nick.

Speaker 2 (18:19):
Picking the because of this, because of that is it's
just a.

Speaker 3 (18:22):
Social genres are quite stereotopical. But let me ask you this,
what is not stereotypical?

Speaker 2 (18:29):
Terms of action?

Speaker 3 (18:30):
Right, you got to put people in arm's way, You
got a final way to entertain people with a different
kind of blood that's putting in. Maybe he's kind of saying, well,
let me ask you this. You you know can come
out and survive the next day, get the fuck out again?

Speaker 1 (18:47):
No, No, definitely not, Well do you I mean do
you do you think that? And I'm glad that you
brought up Gareth, and we'll get into havoc. What I'm
hoping with cinema is that it's kind of like close
So you know how clothes always kind of go out
of fashion then they come back into fashion. I'm hoping

(19:08):
that movies do that eventually here because I do think
a lot of people that grew up with short form media,
they're going to start to I hope, I don't know
for sure. I hope that they start to expand their
horizons a little bit and go back to, like you said,
a full story, like you are invested in the characters,

(19:29):
You are investing invested in the action pieces or whatever
it may be. So I'm I'm hoping that happens. But
you brought up Gareth and Tom and and really the
attention to detail with with havocs, So I guess for starters.
I hate to be cliche and boring, but how did

(19:52):
you how did you get involved with the project? How
did that kind of come about?

Speaker 3 (19:58):
Well, Yab, actually one day call me out of the
blue when I'm watching a good movies and oy, yeah
it's sunny day. Yeah, I'm watching a movie. Whin Yeah,
I got something to tell you? What your virgin for?

Speaker 2 (20:11):
Buff?

Speaker 3 (20:13):
I'm just kidding, he said, no, no, I got I've got
a project video. I wanted to be in it because
I said, okay, who's in it?

Speaker 2 (20:20):
God? Money? Okay.

Speaker 3 (20:22):
I mean so that's how it started, right, I mean
that long the way before the twenty fourteen that's how long.

Speaker 2 (20:30):
I know gave evidence. We were supposed to shoot something together.

Speaker 3 (20:34):
It was supposed to be the Night Come for us
and t WO that com was supposed to be a
dark Girl and Eric gar Vivans was supposed to be
Actually those two directors were supposed fun together work on
the smoke. I did went over to do some training
back then for like good good months ish three and
uh one day, just yeah, just call me and go
into the office and say, I have to apologize to you.

(20:56):
We have to candice thing because there's some issue and
we got no other.

Speaker 2 (21:01):
Choice but to shut it down and forbid.

Speaker 3 (21:04):
So I said, okay, fine, and Timo said the same thing,
went up to my room and went up to the
apartment where would I stay and tell me the same thing.
So they both say the same thing. Once they're really
something that they want me to play, they will call me.
So they are just for feeling their yah the the
you know promises.

Speaker 2 (21:22):
Which is something that is very few people do in
this mood.

Speaker 3 (21:26):
I can tell you that it's a very honorable thing
for men to men give their promises to and also
at the same time that I'll promise them they're not
school up without telling them out school it up because
that we we we will make sure that you know
everything is on pold that what they'd.

Speaker 2 (21:41):
Needs and what TEAMO needs. That's how the friendship should be.
You see, with this kind of.

Speaker 3 (21:48):
Day and age, what don't mean ship sometimes, But with
this right I keep it deep to my heart. And
I said that, you know, these are the people that
it's getting rare nobody's promises and keep. But they did
promise they keep. So I feel very glad. I'm very
grateful to what have given to me, even though the

(22:10):
ching I said, whatever you want me to play, but
just I don't wish being going but naked.

Speaker 2 (22:15):
That's it, you know.

Speaker 1 (22:18):
Well, And I actually you brought something up there. And
I don't know, I don't know if I've told you
this before, but you you know you talk about loyalty
and friendship and even like that in itself has kind
of changed dramatically over the last ten years. But and
I'm not just I'm not just saying this because you're

(22:38):
on the show, but I actually tell people about you
all the time. Yes, I tell them to tell them
to watch your movies and everything, but I also tell
them about what kind of person you are. So in
my experience, I have talked a lot. I've talked to
several writers, directors, actors, you name it from the West,

(23:00):
and it's not to say that they aren't appreciative of
coming on the show, but typically after I interview him,
that's it. That's done. Like I never I never talked
to him again. And it's a rarity with you. You'll
actually just reach out to me and be like, hey,
how are you going. I don't have a project to promote.

(23:21):
I just want to know how you're doing. And I
tell people that story all the time because it means
a lot to someone like to someone like me, because
obviously I'm not doing this for the fucking money. I
am doing it to create relationships and form bonds with
people that you know down the line. Like you said,

(23:43):
it's not about going to work at that point. It's
about getting together with your friend. And I just think
that that's something that's kind of lost these days, you know.
So I just wanted to tell you that I tell
people about you all the time. I'm like, Sonny, Sonny
isn't just a work confidant. He's a friend at this point,
and people from the West just don't do that. Anymore.
So it's it's kind of a bummer. So hopping into Havoc.

(24:06):
You you you get the call from Gareth and is
there any conversation about how is there any conversation with
him how you're going to shape Ching's presence on screen?
Or does Gareth go, hey man, your Sonny Pang. You
can speak fucking thirty different fucking languages. I just want you,

(24:29):
I just want you to take it and make it
your own. Or did he give you some bullet points
to follow along the way?

Speaker 3 (24:36):
Well, what we did was that when I arrived on
On in Wales, in Wills the following next day, I
went over to have a meeting with him move about
as because he was still shooting. He was shooting a
thin Medusa Medusa Medusa segment. I think that's preparing, preparing
so young, So.

Speaker 2 (24:55):
I'm kind of preparing.

Speaker 3 (24:56):
So I came into the studio with him, I saw
Staf the yeah, and then we started talking and everything.

Speaker 2 (25:03):
So he and another producer Aram sat on the table
with me. So I said, so you have a bit.

Speaker 3 (25:10):
Of chat and then you only had like an hour
to talk about this whole idea of the character. So
Dad goes at it. You know, this is how the
point the watching is doing. And you know, so Villa
points that I need to know.

Speaker 2 (25:24):
I run with it.

Speaker 3 (25:25):
Well whatever if you you should be doing so so
so I did. So I read this gig, I said, okay,
this is the situation is happening. So I just put
it into myself. And with that kind of situation, how
the comments going. I'll remember all the lines and you know,
so I go with it. And I remember my first
day was the at the at the at the beginning

(25:47):
of the pub, I met met with Charlie, you know,
maybe Charlie me in so that part and actually that
I was smoking and everything.

Speaker 2 (25:55):
So obviously when you have.

Speaker 3 (25:58):
A situation something going down right, you turns there really nervous.
I remember that kind of movement where my club was
almost attacked by some games when I was as a
poutsuit putting all the sticks and everything. I was having cigars,
I was, I was smoking my cigars, but I was nervous.

Speaker 2 (26:18):
So I used that.

Speaker 3 (26:19):
Levige put this those moments for more for what you
have seen. So it's really like you had that Holy shit,
I saw them, but I just hold on, what the
hell they doing the same thing? Goes, but actually they
did not. They stand afar stare in me, and then
I stared back, and I just looked and said, if

(26:40):
this ship's gonna go down, we're gonna go fucking I'm
gonna go swinging right with.

Speaker 2 (26:44):
The steaks whatever I didn't grab. So those are moments
are real.

Speaker 3 (26:47):
Sorry, I've not been true before, so it's easy for
me to get get into those moments. And it was
so it was fun that after I said a few takes,
the cigarettes was not working because the studio doesn't allow cigarette,
and say, what the fuck win, you give me a vape.

Speaker 2 (27:02):
But.

Speaker 3 (27:05):
And sometimes it doesn't work, sometimes wants and she popped up,
you have been a problem with that. But then we
get up that when with the guy, the prop guy
fixed it.

Speaker 2 (27:13):
We got passed. The damn thing valid.

Speaker 3 (27:15):
Works, so we get onto it and uh, there's one
problem walking down Sonia was coming out across that we
shoot that as well. We should the balks with the
wave with with the kid. So everything was okay until
one point then Gab said, you remember the script They
say that to me in a very hotspol I said, yeah,

(27:37):
read and by what the fuck man?

Speaker 2 (27:39):
Yeah? Sure, yeah, and don't give me that moment.

Speaker 3 (27:42):
Everybody think that we're gonna fuck each other's up and
just go trying. They too, men were just pupping each
other and Matt Nephew okay, king mad and we told
him back and on some.

Speaker 2 (27:56):
Songs that way. Yeah, and you always feople against me.
We go so things at each other, buddy. Just then
everybody when we start about, everybody knows it is good friends.

(28:18):
We just.

Speaker 1 (28:23):
You brought up. You brought up Matt. Matthew Flannery the cinematographer.
I thought he really captured the grit and claustrophobia of
the urban world that you guys are in. As someone
who is kind of used to performing complex physical scenes

(28:45):
in these type of environments, how did the visual storytelling
done by Matt help you in your performance? Did it
influence influence your performance at all? Or no?

Speaker 2 (28:59):
No, he's he's complex himself.

Speaker 3 (29:01):
So he's a complex get to the beginning, getting some
bloody tall, always stalking there, you always giving the next problem.
Goddamn it, fucking tall. He was just on me, you know,
as usual RECOPI ship. But the way he favored is
already we plan like already a story wode so they

(29:21):
know exactly what to do and when the first ad
Liam will actually tell me what to do. So I
just follows that as it is, but I add on
some of the things to my own self, like with
all the expressions, you know, the kind of like intensity,
whatever it is. So I'm regions of whatever the environment
they gave me because I'm very flexible.

Speaker 2 (29:41):
I'm wondering to think twice so much.

Speaker 4 (29:44):
But I didn't go on set to look at where
am I going beforehand, so I can get myself familiar
with the environment and held the plastophobic environment, the smoke spots,
the dangerous happening.

Speaker 2 (30:00):
And so I get him mysel Yeah.

Speaker 1 (30:05):
Yeah, So to that point, you know you talk about,
you know, sharing the screen with Matthew, you particularly you
you you share the screen with some powerhouses in this film.
I mean you share the screen with uh who I

(30:26):
actually thought and and correct me if I'm wrong. I
want to make sure that I say her name right
because I thought she was fantastic, but Yao Yanyan is
that she is fantastic. She is so intimidating in this film,
much like yourself. But it described to me or if

(30:50):
you have any stories, what was like working with Yao
yn Yin or Jesse may Lai or Timothy Oliphant. What's
what's it work? What's it like working alongside alongside of them,
particularly in such a high stakes, high adrenaline environment. Was
there a specific scene or a rehearsal that you did

(31:11):
with any of them that stands out in your mind?

Speaker 2 (31:14):
Oh?

Speaker 3 (31:14):
Well, post of all, Jinyan is one of my close friends.
We knew each other for a very long time, back
to back in two thousand and six or two thousand
and seven. So we should a film called The One
Last Dance Together.

Speaker 2 (31:30):
But she wasn't. We don't really actually connected.

Speaker 3 (31:32):
But I see her on set while she's doing her part,
and I was supposed to start me with a shotgun
and kill it. Yeah.

Speaker 2 (31:40):
That that's like a very simple scene.

Speaker 3 (31:41):
Right. So but after that, when I get to see
her and I know who she is, we're just hide.

Speaker 2 (31:47):
By and everything. She's very nice.

Speaker 3 (31:49):
I just know that something about her is just very
unusual back then, right, not because of life, sexually or whatever.
That I know that the kind of the discipine that
she has she'll do over and over again. And even
though she's she goes she got some accident onto her
finger as well. She insists of keep doing the scene again,
and I'm really good. So I really look up to

(32:11):
her and say I did. She's gonna be somebody the
food and then many a pass on and passed on,
and then we finally have a film together and told
the collectors she acted as my lover. And you know,
there's chemistries there. We know each other, what we are doing,
rehearsed the line. It's very natural that you work with her.
It's just so comfortable. There is no there is no

(32:32):
I'm better than you, there is no that I was
smarter than you. There's always room for us to discuss.
We even talk shit to about it, talks about other people,
but it's not about the whole what's happening, and it's
very family like. There is no there is no who's better,
who's not. There's always that, you know, think about this film.
Have you watched this film? Do you like this film?

(32:54):
Which acted do you like?

Speaker 2 (32:56):
You know?

Speaker 3 (32:56):
This is that we always talk about film. We talk
about what is the possibility of doing something great film right?
And then after that film we shoot another.

Speaker 2 (33:04):
Movie together again. It's called The Patalan Street Warrior.

Speaker 3 (33:08):
She gets my one of my leader, one of my
warrior leader and then we have to fight and I
got killed.

Speaker 2 (33:15):
I listened to her.

Speaker 3 (33:16):
You know this, it's just very naturally we we so
I meet each other and this film she's the boss lady, right,
and then you know, because of all the problems that
we have and you know the kind of chemistry that
we have, it's just so natural.

Speaker 2 (33:29):
There's nobody that is.

Speaker 3 (33:30):
I was willing to well, given down my pay, willing
to work well with her.

Speaker 2 (33:34):
You know, there's always this closeness that we have. We
always chat about a lot of things. And remember she.

Speaker 3 (33:41):
A wife a rifle like to reach your arrival on
in oboes. And then we immediately she called me and said, hey, brother,
come on and have coffee. And so away hop into
the hop into the to the cabin and then see
her when we have a coalpee. We are so much
to talk about, so excited to talk about was in it?
And well where we uh?

Speaker 2 (34:02):
World war? What we're going to do, talk about the
scripts and so on. You know how she could have
come approach.

Speaker 3 (34:07):
On this right, it's so easy, like it's just meeting
your own family, right, and Yen Yen has won the
building possible work before for one of the best performances.

Speaker 2 (34:19):
Yeah, she's a bad stuctress.

Speaker 3 (34:21):
She is really good at I was like, congratulator, give
her a clause in awesome and you deserved it, right,
But then again, you know, when you come back to
Southeast Asia like a hometown, maybe we'd have a little
bit of respect. But everybody will start avoiding you because
you would you would you You became the A list, right,

(34:42):
you know, the kind of pop dogs and everything. But
as you can see when you talk to me, there
is nothing like that. We we always like down to work,
We always talk to people. But because of the infuity
complex they have and then resulted that we have very
little jobs and me and her we both have the
same problems, and she was also being bullied as well.

(35:05):
In a certain points, I would not mention the whole whatsoever,
but some time I felt that it's all this necessarily,
you know what I mean, It just in fully complex man,
you know, I mean that I don't give a crap
about what other people say.

Speaker 2 (35:18):
I'll just do whatever I know.

Speaker 3 (35:20):
And yes, garb and choose me to be in a
movie because of the problems that they keep, you know,
I don't expect much out of it, even tho I
told Garret, even it's not five minutes, I'll do it anyway. Right,
I don't really get it because the kind of probisy
to give me, give me, it's reallysoul.

Speaker 2 (35:35):
So, I mean, I'm so grateful to it.

Speaker 3 (35:38):
Nobody in this chance will give you this kind of opportunity.

Speaker 2 (35:41):
Not in my country there is.

Speaker 3 (35:43):
But then they kill it off because they talk of
all kinds of budgets and all this not blue shit.
Everything's all crap, right, I'm certain sometimes when I look
back at my own place where I come from, of
course there are people who still turn to me, but
very little. But when I get out of this country,
the whole.

Speaker 2 (36:00):
World is looking and cheering on. They like what I do.

Speaker 1 (36:04):
Right.

Speaker 3 (36:05):
I got fans from India right to me. I got
fence from US right to me. I got fence for Duk.

Speaker 2 (36:11):
When I was in.

Speaker 3 (36:11):
There the premiere of a habit, I mean, I didn't
expect anything much, but it was a lot of camera.
My ball was standing on my name and stopped me.
What am I gonna do? I just like, holy shit,
it's only cameras. I don't know whether to last. Now,
I'll just put on the face, but you know, just
go whatever.

Speaker 2 (36:30):
So after that, when I paused those.

Speaker 3 (36:32):
Camera, somebody on the far left start calling young on
my names and it's my fans.

Speaker 5 (36:38):
A good of my fans was dead waiting for me,
and I was just like, what the fuck. I was
just okay, gonna stay in composed and just spying my
little block and take pictures. But I'm glad, right, I'm
really glad, and people are so welcoming, and just like
you know, I don't feel I'm on top of the world.

Speaker 3 (36:54):
But I feel that I'm being appreciated, you know what
I mean.

Speaker 2 (36:58):
At the end of it. Sometimes you just have a
few appreciate it.

Speaker 3 (37:01):
But it's just somehow when way or the other, when
you come back down here the other people, but a
lot of them.

Speaker 2 (37:08):
Were just waiting to see you sing the boat.

Speaker 1 (37:11):
Yeah, I mean that's got to be. I mean, because
you have been I mean, you've been acting for a
very long time at this point. So I gotta think, like,
even though that you're nervous, stop being nervous.

Speaker 3 (37:23):
Man.

Speaker 1 (37:24):
You've earned it. You've earned You've earned this love that
you get from around the country. But I but I
think it goes back to what I said about you
at the beginning of the show. I think it's more yes,
your work is definitely worth following. But I think once
we actually talk to you as a person, I think

(37:45):
that's where all of us kind of go, oh, he's
the real fucking deal, Like he he's somebody that I
want to hang out with, Whereas like obviously there's a
lot of actors and actresses that just they're they're they're
not really a fan of the spotlight, they hate press junkets,
you know, the whole nine yards. And I kind of

(38:06):
go back and forth on that because on the one hand, yes,
of course, if if you're not used to being kind
of bombarded with questions and cameras and you know, flashing
lights and stuff like that, I could see how it
could be a little overwhelming. The flip side to that, though,
is we all came to see you, like we all
came to see your performance or whoever's performance we're talking about.

(38:29):
So I do think that there needs to be a
little bit more appreciation, especially now when everybody's got a
phone and they can record your reaction and everything. To me,
it just seems like it's such an easy thing to do,
to just be kind to those that are supporting you. Obviously,
you know you have some crazy fans here and there,

(38:50):
but for the most part, like you know, I love
to hear that at the your UK premiere you got
people screaming Sonny over here. That's that's fantastic, man like,
because to me now it's it's it starts to show
just how far your reach has gotten. You know, like
you aren't you know, just Southeast Asia. You are global now,

(39:14):
you know that's a big fucking deal these days.

Speaker 2 (39:17):
Man, Yeah, I.

Speaker 3 (39:19):
Mean I mean that coming back to to like who
else did I think that was a big surprise for me,
Like you know, I met for as wheat Taker, you know,
fors the Ghost Dog.

Speaker 2 (39:31):
Man, I was just like, this goes dog. What am
I supposed to say? Me and you was both fans
of his right, so that at that point was just
like we have to move in and shit, he's on
you know, I say, did you see home? I home?
I said? Then then Jinion just why they say, hey,

(39:54):
what come here with man? He's just hogging and it's
just like you.

Speaker 3 (39:59):
Then I said, hi said oh checking and saying one
hand she's she's he's holding you name the other hand
I was just shaking his head.

Speaker 2 (40:06):
I don't know why I haven't keep holding your hand
by I don't think so I'm going to let it go. Uhh.
I smart. He was walking.

Speaker 3 (40:14):
He knows that we were just killing and we're just
like who's big fans and looking at him and shaking
his saying, you know, happing with him or just like
you know, it's really it's the real, you know. And
when he comes to he's acting bits and when you
go to rehearsal on his crop and everything, then just

(40:35):
sit nearby but not being far away, which is looking
when time beginning and say, man, this is like a
masterclass line man, just like from a king like that.

Speaker 2 (40:49):
You know what I mean, a king of kings.

Speaker 1 (40:51):
You know the last King of Scotland, wasn't he in
that the last King of Scotland.

Speaker 3 (40:57):
Yeah, that's right, the last kings from Scotland might boast
know which is everything has been there just like wow,
just crazy right.

Speaker 1 (41:04):
I'm so glad that. I'm so glad that you mentioned
Ghost Dog for my audiences. If you have not seen
Ghost Dog yet, that's a great pull from Sonny. Ghost
Dog is I think definitely underrated. But now that it's yes.
Now that it's like been you know what, twenty years
since that film's released. I hate to see great films

(41:29):
like that kind of get buried beneath what people call
content these days. You know, like Jim Jarmusch is a
fantastic filmmaker.

Speaker 2 (41:40):
And if you guys, yeah, if.

Speaker 1 (41:42):
You guys have not seen Ghost Dog, yeah, after you
watch Havoc with Sonny in it, then you need to
watch Ghost Dog. I had a couple more questions for you, man,
so there's a ye. So first and foremost, I think
my favorite scene with you is definitely the scene in
the hospital. I get we get to see your range.

(42:05):
Not only your range, but you can speak in different
languages because you are having a conversation with Vince played
by Timothy Oliphant in the hospital and you are speaking
to him in English. You kind of talk some ship
to him and it says Cantonese.

Speaker 2 (42:23):
Yeah, yeah, Anthony, You're.

Speaker 1 (42:25):
You're talking ship to him in Cantonese. I think my
favorite And we can talk a little bit about that sequence.
I'm sure it wasn't Timothy on the phone? Was it
when you were doing it.

Speaker 3 (42:34):
He wasn't on the phone, And somebody feeding the lines, okay,
and then I'm just going through imagine he imagine he's
all the way you're going to respond to it. That's
not everything's perfect, but nobody'll try as much as I could.
So so when we when when when we had the
conversation where we're shooting the whole thing and then the
few bags and everything, so is imagining. So I go change, Okay,

(42:57):
this is loisy getting tanslagd. How am I gonna build
this up? So as I walk closer towards I think,
went out to the whole place again, look at it,
Look at where exactly I'm gonna.

Speaker 2 (43:08):
Keep on that guy. So I went through the whole.

Speaker 3 (43:10):
Thing again just to look where I'm gonna go. House
is going to be you know what kind of situation
on me? So we imagine prepare myself right beforehand. So
I go to that they're going up to that with
things on action. So run through the lines with the
camera with Matt running with the camera and this and
then so he need this to be a place, and

(43:31):
I need to stand here. I need to avoid avoid
standing on the their side. Things like that, So all
kinds of technical stuff. So the moment when our connection.
We did like probably I think six takes on that
with the whole cause, and then we reversed on my
bag going again that was not probably three takes or something,

(43:51):
and that's it.

Speaker 2 (43:52):
And then we move on to the front door.

Speaker 3 (43:54):
When I want past the guard there, I'm gonna kill
with the police as well. So that's like I think,
Robbie two days in total in the press.

Speaker 1 (44:04):
What I think, what I like most about that or
most about that sequence, or a little touch I should
say that I really liked. Is that the the woman
that you bump into and you're like, oh, I'm sorry,
I'm sorry. Ultimately you waste her ass about two minutes later.
You you fucking put her in the ground about two
minutes later, And I was like, you know what, that

(44:28):
is a nice little layer to Ching's character. It's very brief, obviously,
but you kind of go, oh, Ching's not fucking around anymore,
and you are like, I love how there's a there's
a fuck that you say in there, but you do
it with intensity, but it's controlled intensity because you are
still in a hospital. I fucking loved it and your

(44:49):
eyes that we were talking about this a couple of
weeks ago, because you were like, I was like, bro,
there's a couple scenes where your eyes are telling a story.
Your eyes are so intense, and you're like, what the
fuck are you talking about, Sean, And I was just like, well, listen, listen,
we'll talk about it on the show. But it's these
sequences right here. And I love, Actually, if we're talking
specifically about some of the acting that you do with

(45:12):
your eyes, I think my favorite bit is when uh,
you're asked to leave by uh, what's it? Uh, Sue?
Sue asked you to leave, and and you do like
a very subtle grit of the teeth and almost like
a very slow drawn out blink, but you tell in

(45:32):
you can tell in that moment you're fucking pissed. You're
you're you're pissed. And and that's what I was trying
to tell you when we were talking. Is that, Like
I think? So, you know how they say Tom Hanks
is the best on screen thinker, you know, I think
people say that. I'm not. I'm not for sure, but
a lot of acting can be done, like Daniel day

(45:55):
Lewis is another one. Being able to tell a scene
with your eyes is not easy to do, and sir,
you're nailing it across the board. Across the board.

Speaker 2 (46:07):
Oh, thank you, thank you?

Speaker 3 (46:08):
What that scene will actually longer, But they cut off
some of the dollars from from from the from the
from the kid because he was supposed to criticizing me
that I'm trying to get my get getting to put
get doing so a higher position that at the end
he's the one where she gets the seats. And then
he were just indirectly pressing my nerve button and I

(46:33):
was just really pissed. So that's why you see the
drop of them into it, because I was going really mad.
It feels like I'm I'm gonna put on.

Speaker 2 (46:41):
My fucking gun and shoot in the airs, you know.

Speaker 3 (46:43):
But then again, I try to like arm down because
my plans is to get him out of the equations,
get the kid out of gration, so to get shure.

Speaker 2 (46:53):
Everything whatever I deserve.

Speaker 3 (46:55):
I get it back right once in all with the
help of the talks and the drugs and everything else.
But I didn't know this thing goes sour, you know
what I mean. So I'm the ones who plan with
Vincent with forced me take up the planned the whole
fucking state with this. So I amp to be playing
because I'm the my councter is actually very jealous of

(47:17):
what is happening, you know what I mean?

Speaker 2 (47:20):
Yeah, you got anger.

Speaker 1 (47:21):
You got pushed out, you got pushed out, and you
got actually they they fraidoed you from Godfather to you
were passed over. You were passing, that's right.

Speaker 3 (47:33):
So when when I when I when I read this script,
was just like okay, I'm afraid of right now. But
I'm just like, okay, that's good, but how am I.

Speaker 2 (47:39):
Going to do this? So when he criticizing me, that
that actor Jeremy.

Speaker 3 (47:44):
Which is he's very good, right, when he criticized me,
he gave me that exchange. So I felt that the
arrogance and so returned back and just one of my people,
I just dropped myself away from it and just leave
so that that that that that was all we come well,
because I need that to be able to bounce back
with me so I can feed on those emotions.

Speaker 2 (48:05):
That I need to be feeded and they need to
be felt.

Speaker 1 (48:08):
Yeah, I'm glad that you brought that up about emotions.
Was there any aspects of your character that you found
to be most relatable or most difficult to tap in emotionally,
if that makes sense. To what aspects of the character
did you find the most relatable or most difficult to
really get into, if any at all?

Speaker 2 (48:30):
Okay, I can.

Speaker 3 (48:32):
I can assure you that this character that I paiching
is similar to somebody who actually set.

Speaker 2 (48:38):
Me up and betrayed me before.

Speaker 3 (48:41):
Okay, yeah, this character because I used to have another
couple of guys looking together with me, so I locate
the job to this person who I trustworthy. Okay, I'm
not going to mention his name, but it's the in
issue is Elle. I will call him now. Elle is
a piece of shit. But I didn't know that.

Speaker 2 (49:04):
I didn't know that, and I didn't notice that he's
supposed to be that way because I trust her all
of my life.

Speaker 3 (49:09):
We were in these projects and then you know, he
just feels that it's about time that I didn't do
my jobs and he think he's smarter than I do.

Speaker 2 (49:18):
He tried to overcome me and take.

Speaker 3 (49:20):
Everything away from me, just like blaying the whole dinner
table for me without me noticing it, which he successfully did.

Speaker 2 (49:28):
But then again, he portrayed me, and.

Speaker 3 (49:29):
He's a ton of people that are easily jealous, and
you applaut things to get you out of the equation,
and called himself the king.

Speaker 2 (49:38):
He even set this up to the previous group of.

Speaker 3 (49:41):
Guys way because my this group of guys and said
that you know, if you follow Sunny, you only get
this amount of money, but if before me, I'll give
you more money, which is all bs. She's supposed to
get more money than usual. But he make this up
so to make himself look bigger, so he and she
no difference.

Speaker 2 (50:02):
So when I when I read this whole damn thing.

Speaker 3 (50:04):
Right, this whole skip of having, he said, why the
hell m I do like this fucking helement it's just
like it's maybe it's not come until let go, because
he's all talks and everything. But there was one time
that one of this his guy, when he was doing
a job or on the production, that the guy actually

(50:26):
accidentally took a gun knock again on his blunt, and
the whole thing, really, the whole thing drop up, and
he got really pieced and yelled at his own man,
like you, how the fuck you have all kinds of
buggle language, even towards his own mother, and and and
all kinds of bad things I mean, on set, you
shouldn't do this kind of behavior.

Speaker 2 (50:45):
It shouldn't be this kind of behavior. Mistakes will always happen.
It's part of the process of fliming, right.

Speaker 3 (50:51):
But he can all emotion because he want to view
it's in power. And right after that, the guy walk away,
never come back. And one day he caught him up.
He said, Amanda, your your apartment right.

Speaker 2 (51:03):
Now, come down.

Speaker 3 (51:04):
So the old guy come down and this guy was
approaching him, took out something from his back of his back,
of his pocket. It's actually a roll paper. It was
just newspaper. He thought that's there's a knife, but he
wasn't he take it out and he's chicken shit out
and run off. He thought it was a knife. It

(51:25):
was actually only a paper newspaper. And you see the
kind of cowardness that he has. And he always tell
people that he is this mar shot. Yet he felt
with this he is so powerful, he's so intelligent, but
it is nothing but foolshit. He just want people to
know that he's so Papa Cheese is almost the thing,
you know, when he got reading nervous.

Speaker 2 (51:46):
At the end, he got like, you know, you're blended
this because of you you know, you betray me. You
know it's actually supposed to be my time. This is
how the way he is. Yeah, so this is exactly
like reverse and calling me that you know I should
let go of this character.

Speaker 1 (52:03):
So did so? Then I gotta think you you found
the role to be almost therapeutic in a sense, to
kind of to get it off your chest in a way.

Speaker 2 (52:15):
Yes, yes, in a way.

Speaker 3 (52:17):
Then I mean that I look at the bright side,
and sometimes it's so funny that when I pick up
a role sometimes just reflecting that what I experienced before.
You know, just ay damn where this is coming from you?
This is the second time it happens to me, So
it's just like it's almost following me to let go. Okay,

(52:38):
And also that I also know that what happened to
this guy. He had no job whatsoever. He has never
make a name for himself, and all you get is complain,
you know, seeping at a shops and complaining about every
single people trying to be a philanthropy. But he's nobody
to begin with, you know. And he won a world
for five minutes shot pim eating it's a million bucks.

(53:02):
A long time before I tell him winning a Woltes
without with or without doesn't matter.

Speaker 2 (53:06):
The matter is the process.

Speaker 3 (53:08):
It's always the process that means so much for Old
Wolf because that's what that was, what I was being
taught by my teacher.

Speaker 2 (53:16):
You know.

Speaker 1 (53:16):
Yeah, well on behalf of myself and the rest of
my audience. Fuck that person. Fuck that person, because like
I don't know, man, like I've never in the many
times that we've talked, I don't know, Like I just don't.
You're You're the last person that I would think that

(53:38):
like you would even want to take advantage of, because
you're You're You're so fucking open and kind and anyway,
fuck that guy. You got it, You're Fuck that person.
A couple more questions for you, man, I know we're
running a little long. I do apologize, But was there
a particular piece of direction that Garrett gave you during

(54:01):
a scene or a rehearsal that stuck with you and
changed how you saw your character? And then I'll tack
onto another way, uh uh on top of it, something
that made a piece of direction that he gave you
that you're now going to take with you on future projects.

Speaker 3 (54:19):
I think the whole project's gonna take me with the
whole projects together with me because this whole project was
very dear to me as well. I've never been into
such Hu said, and so much respite from everyone, and uh,
you know, meeting my idol Forsvietico was just like it's

(54:39):
an eye opening to to to see me at work.
To meet Tom as well, really nice guy, but he's
a you know, his dedication means something to me that
you know, it's just like wow, you know people like
that Steve, keep up the good vote.

Speaker 2 (54:52):
It's a one you know, there's never never well what
other people I was.

Speaker 3 (54:56):
Like saying that you have to meet the person wasn't
see for res how much he was written by some
of the people to throw some of the funfair to play.
And then we watched movies together with First Week Ago
shan Chie. What's the movie we watched together? And then
we have a drink you know too, let's go drink.
And so much fun with the crew, so much fun

(55:18):
with Gareth Edgans as well. Although you know you put
fun at each other, yell at each other with names.

Speaker 1 (55:25):
Yeah, you gotta have some teasing on the set. You
gotta be able to tease your peers, you know.

Speaker 3 (55:32):
We do when sometimes you get a big overboard and
leal that first idea would say like, oh my god,
I'm not listening to this because there was one plan.
The garat said, hey, we we took something together, and
then say after you fuck you. I said, oh, thank you,
I did, and then everybody just start lapping on it,

(55:55):
and you, oh my god, I'm not taking this hit.

Speaker 1 (56:01):
So so you're taking the whole project with you, like everything,
You're taken with you.

Speaker 3 (56:07):
Everything because that you know, I don't know it just
even though it's four years ago, every day for me
were just like on set it's not working explained. And
you have such great crew. Everybody is so well respected.

(56:28):
The sound guide, the Matt Matthew, you know, everybody would
just sole family, like there is no ego. You know,
every time that we meet each other, we get each other.
Even the pas are great as well, you know, always
checking on us. I said, we are good. Maybe it'll
just give me butter water. They give you a butter water.

(56:49):
And we have no demands.

Speaker 2 (56:51):
Me and Gina, we don't.

Speaker 3 (56:52):
We don't have we don't call ourselves, you know, give
up or whatever. We just want to work with people
because it's a process of a team work. It's not
about us, because I always say that, even to the
sound guy, it's about teamwork. You know.

Speaker 2 (57:06):
Sometimes I tease him as well.

Speaker 3 (57:07):
You like the kind of jokes they keep on, keep
them coming, keep coming more jokes because they like the
few at ease with you, not retention, because that's how
I've been brought up as well by my teacher. Make
everybody comfortable with you because it's not about ten work.
So it's easier when they when they when they check
some some sound, probably they come to you and just
let them do the job. They'll say thank you, you know,

(57:30):
they say, all right, you keep on saying thank you.

Speaker 2 (57:32):
You know, I feel I'm going to be a monk.
Get the fuck out of here.

Speaker 1 (57:37):
How does working on like a Western production like Havoc?
Is there any difference than you know, working in Southeast Asia,
especially in terms of action choreography, production scale or or
storytelling style. Is there any differences between Southeast Asia and
the West?

Speaker 3 (57:57):
I think I like the West in terms of that
because of the budgets and because that we can actually
focus on one scene a day, right, you can fully
give the one hundred and one hundred percent or maybe
two hundred percent on their character. You know, you can
achieve fully not stress enough what the next chapter or
the next scene you're going to do, because sometimes we

(58:19):
have so many scene a day, right, the worst one
that I had on a day. We probably do seven
scene a day, seven to eight scene a day. It's
kind of crazy that we have to run through the
dialogs and everything. Oh my god, it's just like not happening, right,
So I think the best ones it's let's giving you.
Sometimes you go to living you alone.

Speaker 2 (58:41):
I mean I was living alone in my apartment.

Speaker 3 (58:43):
But then again, you know, it give me more space
to learn my lines, to see what is it like.
We do a bit of research because I've got to
always go out. The place that I go out is
always nearby pubby shop where it's nick next to the beach,
or it just relaxed and just eat down myself.

Speaker 2 (58:59):
So I think that it's really good.

Speaker 3 (59:01):
You know, I can also treat myself as well. So everyding,
whatever I have, I have it. But because I'm based
on the budget, but in terms of the process of actions,
I think that it's also good that it's pretty much
is the Gariff stuff. It's block by block.

Speaker 2 (59:16):
What you're going to do.

Speaker 3 (59:17):
It's not the Master Show. You don't shoot the Monster Show.
So exactly what you said, like like what you used
to do, so you do this A. Once he's done
is A and we're going to be then we're more
on to see and it's very easy for us people Rember,
what what is happening?

Speaker 2 (59:31):
So it's not log issue. I feel the most comfortable
in this set, this whole piece, yeah, this whole long beat. Yeah,
so I got.

Speaker 1 (59:41):
I mean, even when you watch his films, he he
definitely is a over pre planner, isn't he he he Yeah,
he doesn't seem to me like the type of writer director,
not that he doesn't do it occasionally, but I don't
feel there's a lot of there's not an over one
amount of wiggle room to kind of do what you

(01:00:02):
want because he is very laser focused on what he
wants to see.

Speaker 2 (01:00:07):
Yes, he's always been like that, well since the last
time I know him.

Speaker 3 (01:00:11):
Yeah, because last time we even though during the time
where we're preparing, he's always very focused and I did
help him with a bit of camera, but the time
he was doing a sudden previous so I said, you
can do or what a possitive camera, can do.

Speaker 2 (01:00:23):
We need down here?

Speaker 3 (01:00:24):
And then then when I moved around him pass it on.
We do it a couple of times just to get
it right. So just that he's very focused. And then
when he when went to this computer laptop, he went
to the chopping bood and triedy, I did everything out.

Speaker 2 (01:00:36):
He would do it again to do it again. This
is how focus he is. So I like the kind
of story. I mean that he comes up with.

Speaker 3 (01:00:44):
There's no bullshit first of all, so again you know
exactly where you want to place the camera and he's
always been and then men will walk alongside with him
with the camera and the and the lightings and so on.
Everything's pre set pretty much down there, so we don't
have to worry.

Speaker 2 (01:00:58):
We just had to go to whatever need be done
with it.

Speaker 3 (01:01:01):
Yeah, So I think that it's one of the best
every thing about whatever.

Speaker 1 (01:01:07):
I think one of my favorite things. And I hope
and I hate it when when uh, you know, podcasts
or or journalists that are covering art form in any capacity,
I think one of the questions that they always ask,
which I really don't like, so I'm going to frame

(01:01:29):
it differently, but they always ask what are you going
to do next? Well, now that this project's over, what's next?
What's next with next? And always feel like that's kind
of degrading to the current project that you're talking about,
because we are very much like that type of society
that's just like, oh well, it's onto the next thing,
onto the next, next thing, and not letting whatever piece

(01:01:52):
that you just watched or listened to or whatever, you're
not letting it ruminate at all or marinate at all.
And I think, what a huge thing at the end
of this film that, at least in the context of
you and your character ching, I actually it started to
make me salivate for a future project with you and

(01:02:16):
Gareth where we get to see a lot of your physicality,
because in this film we see a lot of your
acting chops, which I love. And it's almost like, and
I would love to pick Gareth's brain, but it's almost
like a great setup for you in terms of Western

(01:02:38):
audiences seeing you. Who's that guy that that talk that
flipped between English and Cantonese and and he was one
of the villains in Havoc. But now, if if there's
a future project with you guys, we are Gareth already
gave the piece of you that can act, you know
what I'm saying. And I talked to a couple people

(01:03:01):
online and they were like, well, it just sucks that
we didn't get to see Sonny fight more and do
more action. And I shot that shit down. Man. I
was like, first of all, you should be happy that
you're getting to see this film at all, because obviously
it's been a long road to get here, especially for
you guys. And then we got to see your acting

(01:03:24):
put on display that we really haven't seen since the
Night comes for us, like in terms of being able
to fluctuate between, you know, different dialects or whatever. And
I actually like this. And again, this could just be
something that I'm telling myself, you know, to get excited.
But Western audiences now get to see Sonny the actor

(01:03:48):
and they don't even know what the fuck that you
can do with your physicality. I think that's what's great,
Like because now if I recommend this film and they'll
be like, oh, you talk to Sonny. He was great
in the film, he was great on the podcast. Yeah,
wait until you see the physicality that he can bring
to the screen when it when it warrants it. And everybody.

(01:04:08):
A couple actually, people that you talk to. I'm not
going to say his name on here, but he had
he said, uh, well, I was just pissed that Sonny
didn't get to fight more. And it's like, hold on
a second, Sonny's an actor, don't don't get don't get
it twisted, like, yes, Sonny, Sonny can move better than

(01:04:29):
a lot of other actors. But you really are kind
of downplaying just how fucking good he did in the
picture by wanting you know, and and and and I
tried telling this guy that, you know, I tried telling
him that the beauty of the French connection isn't necessarily
the action. It's these intertwining storylines that come to a

(01:04:52):
head at the end, and you're a part of that.
Why are you not appreciative that Sonny's a part of that?
So but anyway, a couple more things for you, sir.
So this film is grounded in themes of loyalty, power, consequences.
Is there a message or a feeling that you hope

(01:05:13):
that the audience walk away with after watching Havoc, especially
from your character's journey. I know that seems like a
tough one.

Speaker 2 (01:05:23):
Oh, my character's journey.

Speaker 3 (01:05:27):
Sometimes it's better to look beyond greed than rather to
be greed than thinking.

Speaker 2 (01:05:31):
That you you can go the world. It just best
to whatever is on the table just eat it.

Speaker 1 (01:05:38):
That's great, Yeah it does.

Speaker 3 (01:05:41):
Eat it. Don't try to be something that you love,
because at the end of it, you will be paid
for the consequences they do.

Speaker 2 (01:05:47):
You're you're you're giving. So whether you like it or not,
Pamma is always watching.

Speaker 3 (01:05:53):
And to be honest, Revity, you know there are film
clubwise never ended Clubwise, So what comes around goes a
long body.

Speaker 1 (01:06:03):
Uh yeah, I mean at the end of the day,
you're an asshole in this film, Sonny, I'm gonna get
you out of here, But I wanted to say something
before I let you go. I wanted to extend my
deepest gratitude for you taking the time to come on
the show and share your thoughts with not only me,

(01:06:26):
but your experiences surrounding working on Havoc. As always, it's
always an absolute and I do mean this. Look at me,
Look at me. I mean this. It's an absolute honor
to have you on my show man, It's an honor
to call you my friend. Your insights into the filmmaking process,
especially your collaboration with the entire cast and crew, your

(01:06:50):
you know, approach to the performance. I know that there's
a lot of people listening to this that that will
find this conversation inspiring. Man, And not only will they
be inspired, but you're the reason that they're going to
be inspired. Not me. I'm just a monerator. You know.
That's a testament to who you are, your ability to

(01:07:13):
to bring such depth into your roles and and you
know every and you know I I love Tom Hardy
and I love you. There's something to be said about
both of you. The second your face appears on screen,
there's a presence that exists that that's not how it

(01:07:33):
always is. I mean, even my fiance, Oh yeah, I
forgot to tell you, Sarah, I got engaged a few
weeks ago. Thank you, Thank you. My fiance was even
saying she's like, you know, who commands a screen just
as well as Tom Hardy, Sonny does, that that guy
right there does, and that I and I and I

(01:07:55):
bring that up because you and I we watch movies
all the time time. But it's really great to hear
someone who's not a part of that world in any
capacity saying things like that. And this was before she
even knew that I was going to interview you or
anything like that. She she thought the hospital sequence was great.
And you know I and it's because you bring that

(01:08:18):
authenticity to your roles, particularly in you know, gritty, high
octane films of past, and it resonates with audience in
powerful ways. Like for me, everybody's good in there, but
it's there's something to be said. I actually and I
know I've said this to you before, but I actually
think it makes you more badass when you are switching

(01:08:41):
between Cantonese and English in the same breath. I think
that actually adds a layer to your badass. And this
I told you that about what the night comes for us.
You have a way to just be so cool and
yet so intimidating in the in the same breath. So
what I wanted to do? Hold on? I I kinda

(01:09:03):
I should have did this at the beginning of the show,
but I didn't want to look goofy. Hold on one second,
we get this going on right here, get their own
and actually our listeners myself included, I know that they're
going to be captivated by your stories on set. How

(01:09:25):
you approach, your character's internal conflict, the challenges of executing
complex sequences, you know, like especially that final sequence of
the film. Obviously we don't do any spoilers here, Gang,
but and the camaraderie that you talked about with the
cast and crew, the way you spoke about working with

(01:09:46):
Gareth or Union, and you know, I think you gave
us a rare glimpse into the heartbeat of the film
Havoc and sir, the reason why I continue to talk
to you. You it's your passion, it's your craft, it's
your discipline, your dedication. I myself find it incredibly motivating,

(01:10:09):
you know, like the there is a part of me
that someday, like I want to work with you in
the film capacity, I don't. I don't want to talk
to you, you know. And and that is a testament
to the times that you and I have talked. So
I think you're an inspiration for actors and filmmakers everywhere.

(01:10:29):
Thank you for being so generous with your time, sharing
your journey, your honesty, your humility. It made for another
great episode between you and I, my friend, and I
hope there are many more to come. So I appreciate you. Man.

Speaker 2 (01:10:46):
Thank you so much.

Speaker 1 (01:10:47):
All right, we will talk soon, brother, We will talk soon,
all right, Gang, we are going to get Sonny out
of here. He's isn't he great? Like all the fucking
time is every time I'm I have him on here,
it's it's just it's it's a pleasure. And I just

(01:11:10):
hope the people listening realize just, you know, not only
a testament to who he is as a person, but
just his craft as an actor. So obviously we kept
it spoiler free, Gang, but I just wanted to reiterate.
Havoc is on Netflix now. It is written and directed
by Gareth Evans. It is starring Tom Hardy, Jesse Maylie, Uh,

(01:11:31):
Timothy Olifant, Forest Whitaker, Justin Cornwell, Quinlan Sapolvaa, Luis Guzman,
ya Yanjen, Michelle Waterson Gomez, and of course Sonny Pang,
who was on the show. Music by Aria Priogi, cinematographer
by Matt Flannery, edited by Sarah Jones and Matt platts Mills.
Production designed by Tom Pierce.

Speaker 3 (01:11:52):
Uh.

Speaker 1 (01:11:52):
It's available now, Gang, I had a great time. I
definitely think it was worth the wait. I think a
lot of critics that that we're banging on this film.
They just I wonder if some of you all are
action film officionados when you write the shit that you do,
because if you predominantly are watching, like you know, top

(01:12:14):
forty hits IP stuff like, yeah, this film is not
gonna be fucking for you. This is this is off
the beaten path. This is you found your way down
an alley that you that you probably shouldn't be in.
But thank you again to Sonny for coming on the show.
Hopefully this episode was good for you, guys. I would
assume that it is. Sonny is always fucking fantastic every

(01:12:37):
time he comes on the show. So Ellis Cinema, Sonny
pang Haboc Netflix, Now I got some coming down the
pipe for you, gang. But in the meantime, Ellis Cinema,
we're gonna