THIS MONTH’S FILM MOMENTS THAT MATTER
CORIN HARDY’S CAREER as a director so far has been filled with all kinds of murderous mayhem. From child-snatching goblins in The Hallow to demonic sisters of the cloth in The Nun, Hardy has served up enough blood to keep Castle Dracula in business. So, when he sits back and reflects on the claret-soaked chaos he’s about to unleash in the second season of Gangs Of London, and then worries that he’s possibly gone too far, the mind fairly boggles. What the hell has he got in store this time?
“I love blood,” laughs Hardy, sitting down with Empire in a London post-production house. “Blood is such an important colour to use in the canvas of action. You get this immediate reaction when you see it.” But when he sat down to watch the final version of a sequence set in a launderette, even this hardiest of Hardys baulked somewhat. “Some of this stuff, you plan it, you choreograph it, you storyboard it, pre-viz it, shoot it with stuntmen and actors, edit it, and by the time you’ve got your final sequence, only then do you see what you’ve made. And I sat back and watched it and thought, ‘I’ve gone too far this time.’”