For Carnahan and Grillo, they want the entire film to feel like the “knife fight between Adam Goldberg and the German in Saving Private Ryan.” They want that knock-down, drag-out, deeply uncomfortable brutality. When you have these kinds of characters, the complexion of the movie changes. They’re all dealing with injury, they tape it up, rub some dirt on it, play at 80%, and go do their job. They see their characters not as indestructible martial arts masters, but more in the mold of special ops soldiers or football players.

So you’re immediately plugging in to this very mortal, very human, everybody’s been hurt, everybody’s tweaked their back in fact, more people have an affinity and an understanding of that situation than being this completely physically fit monster that doesn’t feel pain

You’re getting a guy who’s like the walking wounded. So this idea you’re catching a guy who is compelled to go after his brother after he just got his ass kicked in a completely different operation. Soft tissue damage in their hands, radial fractures, knees are shot, this and that. Special forces operation guys often times like football players.

JOE CARNAHAN: What Frank and I both cotton to is this idea of special operators. Instead, they want their picture, which will build a deeper story with regards to the two brothers and their father, to highlight “The Walking Wounded.”: Simply put, Carnahan and Grillo don’t want to make a highly-choreographed picture in the vein of Evans’ movie or John Wick. Steve Weintraub spoke with Carnahan and Grillo earlier this week for an exclusive conversation about The Raid remake, and after learning how they got involved with the project, they explained how their version will differ from the original.

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