Eighteen days. That is how long it took to film the final, 20-minute showdown in Kenji Tanigaki’s new action epic, The Furious. In an era where digital effects often mask lackluster choreography, Tanigaki opted for something more dangerous: pure, physical endurance.

Opening in theaters today via Lionsgate, the film follows Wang Wei (Xie Miao) on a desperate hunt for his kidnapped daughter. The premise is a classic trope. The execution, however, is anything but. Tanigaki, a veteran of three decades in stunt coordination, didn't just want a fight. He wanted a collision of philosophies.

The Physics of the Fight

Tanigaki built the film’s combat around the specific martial arts backgrounds of his leads. He didn't force them into a generic style. Instead, he leaned into their strengths.

"Xie Miao is a Chinese Wushu practitioner," Tanigaki explains. "Joe Taslim is a Judo expert."

This contrast drives the choreography. Taslim’s character constantly tries to close the distance to initiate a throw. Miao’s character fights to maintain space. It is a tactical game of cat and mouse. Every punch and parry serves the characterization. It is not just violence. It is a conversation.

Integrating the Camera

Most action films suffer from a disconnect between the stunt team and the camera crew. The choreography is set, then the DP arrives to figure out how to film it. Tanigaki refused this approach. He brought his cinematographer, Meteor Cheung, into the rehearsal room six weeks before production began.

"It’s a bit unfair to the camera team when they join at the last minute," Tanigaki says. "They don't know the choreography."

By training together, the camera became a participant in the fight. The result is a steady, fluid perspective that avoids the disorienting blur of shaky-cam. You see the impact. You feel the weight of the blows.

The Chaos of the Final Act

The film’s climax was meant to be a simple two-on-two brawl. It didn't stay that way. Tanigaki grew attached to the villainous character played by Brian Le and decided to write him back into the finale. Suddenly, the scene shifted from a balanced duel to a five-way melee involving three different factions.

It was chaotic. It was messy. It was perfect.

Key Takeaways

  • Style-First Choreography: The action is built on the real-world martial arts backgrounds of the actors, specifically the clash between Judo and Wushu.
  • Early Camera Integration: By bringing the cinematographer into rehearsals six weeks early, the team achieved a fluid, steady-cam look that avoids common action-movie blur.
  • Organic Evolution: The 20-minute final sequence grew from a simple two-on-two fight into a complex five-way brawl through last-minute creative pivots.

Tanigaki is already looking ahead. He wants a sequel. But he is clear about the stakes. The film’s future depends entirely on the audience. If the box office numbers hold, he gets to build this universe further. If they don't, the story ends here. The pressure is on the viewers.