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Hi, everyone. I'm Gareth Evans,
I'm the writer/director of The Raid 2.
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I'm gonna share with you anecdotes
that went into the making of this film.
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And then hopefully, like, along the way,
I can kind of explain...
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...some of my intentions with this
as a sequel to the first film.
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And, yeah, fingers crossed,
I don't kind of cross over too much...
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...on any of the behind-the-scenes
materials...
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...that we'll have for the film
when it comes out.
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One of the things
I wanted to do with this--
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This actual opening shot
lasts for about like a minute.
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And it's like this huge, long, wide,
static shot of this entire location.
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And one of the reasons...
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...was initially to just completely start off
with a new tone...
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...with a new sense of pace
for the film.
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Because the first Raid...
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...when it was named Raid: Redemption
out in the U.S...
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...it started off at this breakneck pace
from the get-go.
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We kind ofjumped
right into the action...
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...and then immediately,
you know, went into that building...
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...within a matter
of, like, two, five, six minutes.
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And so I wanted to kind of start
with a shot that kind of told the audience:
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"You know, okay, take it easy.
Take in the landscape first.
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Then this is the new pace.
This is the flow we're gonna go for."
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Because obviously there's a much longer
running time for the film.
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There are things about that opening shot
I liked in terms of the composition of it...
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...because it allowed you to take in
that image like a painting...
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...like you would on a painting.
So you see--
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Like those little pops of dust...
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...as they cough up
behind the sugar canes.
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You could see in these two farmers
sat down next to a pre-dug grave...
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...and they set the tone
then for what's about to happen here.
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It's kind of all preempting...
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...the fate of Andi,
Rama's brother in the film.
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It's a question of ambition really.
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So this is Alex Abbad who plays Bejo.
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Me and Alex had worked together before
on our first movie, Merantau.
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And in that movie, he played, like,
a very sort of sleazy pimp character.
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And I talked to Alex, like,
there's a little bit of background actually...
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...about, like, the preexisting script
for Berandal.
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Because about two--
About four years ago from now actually...
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...after we finished Merantau,
I wanted to do Berandal.
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I'd written the script,
which was like a stand-alone project.
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And, you know, that ended up
becoming retrofitted...
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...to become The Raid 2...
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...after we did The Raid 1 instead,
that was like a plan B project.
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And so Alex, I'd contacted four years ago
about this role...
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...because Bejo existed in this role,
as did Uco, played by Arifin Putra.
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So Alex and Arifin
were both in this weird position...
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...where I went off
to make The Raid 1...
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...and had to tell them,
"I'm not gonna work with you yet.
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I really wanna work with you...
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...on The Raid 2,
so there's nothing for you in The Raid 1."
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So I had to kind of save them in order
to be able to still cast them in this film.
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It was-- For me, this scene was always
kind of like a bold way to start.
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A lot of people
kind of had this expectation.
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These ideas in their head that we were
gonna continue the brother story...
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...and we were gonna continue
to talk about, like, Rama and Andi.
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But in my eyes, like,
I was done with that.
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I was already kind of-- I already said
enough about their relationship...
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...within the first film.
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So this seemed like
a good opportunity...
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...to kind of start with a bit of a shock.
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And there you go.
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And so, yeah, it was like this opportunity
to sort of like, you know...
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...straight away for the audience...
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...like present them with a major role,
a major character from the first film...
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...and just take him out of the equation
immediately from the get-go.
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For me, it was the idea of, "Okay, well,
I'm gonna start with a slower pace."
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I'm gonna tell you,
"This is not going to be The Raid 1."
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Not gonna be a rehash of the original--
With the original--
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With the same sort of like, you know,
one-structured building thing.
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This is gonna be a totally different thing
and all bets are off at this point.
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So I talked a little in interviews
about the film...
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...idea that the start of The Raid 2 would
be two hours after The Raid 1 finished.
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And this is where we join in.
This is that moment, you know...
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...after they've escaped that building
to have a meeting with Bunawar, and--
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With the box of tapes
and then with Bowo...
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...and with somebody
who is clearly not actually Pierre Gruno...
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...who played Wahyu from the first film.
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For reasons
that I'm not gonna go into here...
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...we ended up hiring an extra
to play the role.
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It's a shame.
I'd love to have shown his face.
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Some things don't work out...
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...and this is one of those moments
when it didn't work out.
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So we did our best
to kind of, like, hide that...
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...with careful framing,
careful body positioning...
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...and careful moments
when we cut in and out of that shot.
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There was more for Bowo, actually.
We had more for his character.
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We were gonna show him get killed
in a scene later in the film...
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...but it ended up being cut out
as a deleted scene.
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This gentleman here, Cok Simbara,
who plays Bunawar...
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...he's like an incredibly famous actor
as well...
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...in the Indonesian film
and television industry.
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And has, like, you know,
worked countless times there.
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And so he's one
of those senior actors...
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...that people have
a huge amount of admiration for.
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And I just love the look of him.
I just love the tone of his voice...
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...and the way he carries himself,
and immediately...
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...I kind of saw him straight away fit
in this role of Bunawar.
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So Toro, my producer in Indonesia,
he suggested him.
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He kind of presented me
with a bunch of photographs...
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...of his portfolio throughout the years.
And then once I kind of--
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I started looking at characters
for what this guy should look like...
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...how he should dress,
how he should look.
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And I was looking at a Japanese film
called Bayside Shakedown.
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And there's a--
There's an actor there...
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...and he's kind of wearing this sort of,
like, rain jacket with a rain hat.
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As soon as we kind of bought something
similar, a costume similar to that...
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...put it on Cok, I was like:
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"Okay, this guy is Bunawar now,"
and he kind of fit the role perfectly.
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And I could do with someone like you
to help me dig out some more.
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So this is kind of the whole, you know,
taking care of the first film.
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This is kind of wrapping everything up.
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I had a lot of legwork I had to get through
in order to get us to a point...
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...where we could start The Raid 2.
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Because, like, this all still, you know:
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"Okay, these characters from the first film
that they're left hanging and trailing off...
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...we had to get rid of them.
We have to make a clean slate.
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So that whenever we get ready to start
the new progressive story...
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...which is the moment he goes
into prison...
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...and becomes an undercover cop,
you know, we're good to go then."
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You know,
from that point onwards technically...
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...you don't have to have seen
the first film to get it.
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These first 10 minutes
were so intricate...
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...in terms of being able to balance
the right amount of exposition...
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...with the right amount of character beats
and right amount of intrigue.
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Because I wanted to present Bunawar...
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...as this guy that maybe you can,
maybe you can't trust or not.
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There's a certain kind of, you know,
manipulation going on as well...
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...in terms of how he deals with Rama,
in terms of how he talks to him.
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And so, yeah, it's-- It was-- It was a--
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It was a fair balancing act.
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And I think when it came to the
postproduction side of things, this was--
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This first reel, this first 20 minutes,
was the most intensive...
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...in terms of the amount of work we put
in terms of postproduction.
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One of those things.
All the way up into the last moment...
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...we were always
kind of shifting structure around...
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...cutting scenes down, making them
shorter, trying to streamline the opening...
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...so we could get to, you know, that--
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What I was saying earlier, the start
of The Raid 2 faster and more effectively.
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You might have spotted a brief cameo
from Joe Taslim, the star of--
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One of the stars from The Raid 1...
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...who thankfully went off then
to kind of, you know, get a role in Fast 6.
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A big, huge, proud moment
for people in Indonesia, you know.
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And he's gone on now, and he's become
this big name now in Indonesia.
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So when we came knocking on the door
for The Raid 2...
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...obviously the only thing we could afford
was a photograph of him, so, yeah.
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So much for friendship, yeah.
I'm kidding, of course.
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He's a lovely guy and we're gonna work
together on the next film.
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But, yeah. So it was just--
And for that one, I just--
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It was desperate to get Joe back in
in some capacity, and so I said to him:
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"I can't bring you in in a flashback.
I can't bring you in in some kind of like--
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I don't know, like, sort of spiritual,
sort of, you know, guidance way.
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I can't think of any way I can bring you in
other than you're a part...
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...of a bunch of documents
and there's a photograph of you."
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And Joe's such a good sport.
He's been so sort of appreciative of that...
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...of what the first film did for him,
he was game.
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He just came in and took that photograph
and hung out with us on set for a while.
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He came and visited the set a lot,
actually.
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So, yeah, there's been, like,
this good relationship between all of us.
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And we put a bullet in him
to protect your life!
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There's no such thing as a clean war
in this world.
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One of the things I wanted to establish
in this opening was play around...
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...with, like, a certain amount
of editing style.
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And one of the things
I really wanted to do...
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...is to kind of have this style of editing
where it was kind of effective of Joe Bo--
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John Boorman's films like Point Blank
or Sam Peckinpah's The Getaway.
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And what I wanted to do
is have these things...
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...of, like, you know,
continuous audio from one source...
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...but then shifting locations with the--
On the image...
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...to try to, like, you know, create this
sort of like unusual atmospheric feel...
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...between, like, you know,
chronology and information...
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...and what we're taking from it,
and so--
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Yeah, I wanted to play with that when we
introduced this funeral scene of the film.
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Eagle-eyed people might've noticed
there was incense sticks...
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...on the table there.
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There are gonna be a few question marks.
In the first movie when we have lko...
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...we show him praying,
and so lko's character is clearly Muslim.
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And the idea of the incense sticks
was to present this idea of:
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"Okay, you know,
lko's character is Muslim...
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...maybe the father is Buddhist,
maybe Chinese Buddhist...
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...and maybe the mother
was the Muslim side of the family."
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It wasn't in there to kind of make any kind
of social commentary or anything...
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...but it was just kind of--
it was more sort of, you know...
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...as a throwaway gesture.
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So, yeah, peace and harmony
for everyone.
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I can provide safety
for your wife and child.
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We can keep them out of reach.
But I need you.
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Right now...
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So we're introducing
the big players now.
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This is kind of where
The Raid 2 really starts.
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Now we get to introduce
some of our Japanese casts...
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...and then also the sort of, like,
you know, the next senior actor...
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...Tio Pakusadewo, who plays Bangun.
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And then earlier, we saw photographs
of Kenichi Endo and Ryuhei Matsuda...
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...who play Goto and Keiichi,
respectively.
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And, yeah, this is, like--
This is, like, the real kick-starter.
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Now, this is the starting point where
we're gonna sort of lay out our plan...
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...and our plot
for what's about to follow then.
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One thing that should be clear,
I guess...
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...in terms of the names and details
I've been throwing up...
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...is that idea that, like, this is
a much more densely populated script...
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...in terms of characters,
also in terms of plotting.
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And that was a conscious decision.
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I mean, I guess to a certain degree,
that was more informed...
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...by the fact I had a preexisting script.
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You know, it wasn't sort of like a response
to The Raid 1.
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It wasn't like we did The Raid 1
and we were like:
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"Where are the flaws?
We need more story."
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It was more a case of that preexisting
script had so much in there that we kept.
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We only ended up changing maybe
about 20, 30 percent of the script.
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So, you know, Bejo was there,
you know, Uco was there...
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...Bangun was there.
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Hammer Girl, Baseball Bat Man,
they were already there.
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It was just basically
police procedural elements...
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00:12:27,123 --> 00:12:30,293
...that we had to bring in
for the new version of the script.
216
00:12:30,501 --> 00:12:34,088
And it was just having to kind of establish
that undercover cop element...
217
00:12:34,297 --> 00:12:36,966
...and the investigative side
of his character then.
218
00:12:37,300 --> 00:12:40,470
Okay, this guy here, this--
The prison warden is Pak Adi.
219
00:12:40,678 --> 00:12:42,096
And he's actually the--
220
00:12:42,305 --> 00:12:45,016
One of the company chairmen
for Merantau Films.
221
00:12:45,224 --> 00:12:48,561
And he was also, like,
a sort of well-respected man...
222
00:12:48,770 --> 00:12:52,941
...in terms of, like--
One of the silat organizations, IPSI.
223
00:12:53,483 --> 00:12:54,817
So, yeah, we brought him in.
224
00:12:55,026 --> 00:12:57,445
He was a pop star
in the '70s and '80s as well...
225
00:12:57,654 --> 00:13:01,449
...so we kind of brought him in to kind
of play a role in this film as the warden.
226
00:13:01,658 --> 00:13:04,577
And, yeah, it was just a pleasure
to work with him.
227
00:13:05,036 --> 00:13:06,663
I need more than that.
228
00:13:07,330 --> 00:13:09,540
He's the asshole son
of an asshole politician.
229
00:13:09,707 --> 00:13:11,542
So we had a kind of...
230
00:13:11,751 --> 00:13:13,920
There's a scene here that we out.
231
00:13:14,921 --> 00:13:16,464
This was one of those moments--
232
00:13:16,673 --> 00:13:19,300
One of the really hard scenes
for us to decide to out...
233
00:13:19,509 --> 00:13:23,137
...because we actually showed
the moment leading up to him...
234
00:13:23,346 --> 00:13:25,306
...beating up the politician's son.
235
00:13:25,515 --> 00:13:28,184
So here, like, later on,
when Rama says, like, you know:
236
00:13:28,393 --> 00:13:31,646
"Where is he," we were gonna cut
straight to this nightclub.
237
00:13:31,854 --> 00:13:34,857
And we did this whole sequence,
it's about maybe four minutes...
238
00:13:35,066 --> 00:13:39,237
...five minutes long, and it was just one
Steadicam shot going through this club...
239
00:13:39,445 --> 00:13:42,573
...following the conversation
between Rama...
240
00:13:42,782 --> 00:13:45,660
...and then these, like, two guys,
one is an undercover cop...
241
00:13:45,868 --> 00:13:49,580
...that sort of introduced him
to these low-level thugs.
242
00:13:50,081 --> 00:13:53,209
And the idea was, is that, like,
in that scene was this thing of:
243
00:13:53,835 --> 00:13:56,254
He would be under the pretense
of going up...
244
00:13:56,462 --> 00:14:00,299
...to meet with these, like, low-level thugs
to start working for them.
245
00:14:00,508 --> 00:14:02,301
But in the process of doing that...
246
00:14:02,510 --> 00:14:05,847
...would lose his shit
and then come after the politician's son...
247
00:14:06,055 --> 00:14:10,309
...and then beat him in front of them
so that they would bear witness to this--
248
00:14:10,518 --> 00:14:14,063
You know, this crazy, psycho,
like, you know, country-boy kid...
249
00:14:14,272 --> 00:14:17,108
...that was wanting to make
waves in this sort of underworld.
250
00:14:17,567 --> 00:14:21,696
And ended up being too much of
a crazy psychopath for them to hire him.
251
00:14:21,904 --> 00:14:24,991
And so then that would be
his, you know, gateway into prison.
252
00:14:25,199 --> 00:14:28,411
But his gateway into prison
with a story that would corroborate...
253
00:14:28,619 --> 00:14:31,914
...everything he wanted to set up
in terms of not being a policeman...
254
00:14:32,123 --> 00:14:34,584
...but being part of this world.
255
00:14:35,501 --> 00:14:39,255
This is the first fight of the film.
This is the first big fight in the toilet.
256
00:14:39,464 --> 00:14:40,798
And these shots here...
257
00:14:41,007 --> 00:14:44,802
...are actually almost directly the same
as the things we did...
258
00:14:45,011 --> 00:14:48,556
...for a very early
investors' teaser promo...
259
00:14:48,765 --> 00:14:51,267
...we shot in order to try and get money
for the film.
260
00:14:51,601 --> 00:14:54,020
It didn't work,
but we still kept the same shots.
261
00:14:54,437 --> 00:14:57,982
I don't know what that says about me.
My stubbornness I guess as a filmmaker.
262
00:14:58,775 --> 00:15:05,323
So this was, like, a big fight sequence
for us to shoot and to start off with.
263
00:15:05,531 --> 00:15:08,951
We had about three--
You can kind of tell if you really look for it.
264
00:15:09,160 --> 00:15:13,039
But we had about two different
sort of sizes for the toilet cubicles.
265
00:15:13,247 --> 00:15:16,793
Some were kind of narrow
and some were kind of wider then...
266
00:15:17,001 --> 00:15:18,795
...so we could have more space.
267
00:15:19,670 --> 00:15:23,174
And then we also had a certain design
in place...
268
00:15:23,382 --> 00:15:26,344
...where we would have the walls
on a hinge mechanism.
269
00:15:26,552 --> 00:15:30,681
So that our Art Department could end up
sort of swinging the walls left and right...
270
00:15:30,890 --> 00:15:33,184
...opening up the entire thing...
271
00:15:33,392 --> 00:15:36,479
...so we could get our camera in,
we could kind of spin around...
272
00:15:36,687 --> 00:15:39,857
...and do 360s inside that toilet cubicle
with lko as he's fighting.
273
00:15:40,024 --> 00:15:43,402
Here's the shot as we come along to
it. So we're going in there with him.
274
00:15:43,569 --> 00:15:46,823
They're opening the walls so we can
get wide and come up to a profile.
275
00:15:46,989 --> 00:15:48,616
And then here they close it again.
276
00:15:48,825 --> 00:15:53,329
So it was like a combination
of, you know, art design, set design...
277
00:15:53,538 --> 00:15:56,040
...and then also good timing.
278
00:15:57,208 --> 00:16:00,086
And at this point,
I just feel sorry for every single person...
279
00:16:00,294 --> 00:16:03,923
...that was at the bottom of that pile,
because that was not a comfortable--
280
00:16:04,132 --> 00:16:06,968
Not a comfortable shot
for any of them to do.
281
00:16:11,681 --> 00:16:16,185
It was kind of important for me to make
sure that lko would lose his first fight.
282
00:16:17,103 --> 00:16:20,189
I didn't wanna kind of have this thing
of, like, you know...
283
00:16:20,398 --> 00:16:22,483
...this incredibly invincible hero guy...
284
00:16:22,692 --> 00:16:25,736
...who could beat them up
and take out every person that comes in.
285
00:16:25,945 --> 00:16:29,699
We'd established there was significant
amount of people behind that door...
286
00:16:29,907 --> 00:16:33,035
...wanting to get to him.
In my eyes, it was always that thing of...
287
00:16:33,244 --> 00:16:36,164
...we would play up the idea
of there being some strategy...
288
00:16:36,372 --> 00:16:38,875
...in order for him
to keep the numbers down low...
289
00:16:39,083 --> 00:16:41,836
...by pulling in two
and slamming the door shut...
290
00:16:42,044 --> 00:16:44,797
...or always throwing bodies
in the direction...
291
00:16:45,006 --> 00:16:48,092
...of where they would wanna come in
so he would block their path.
292
00:16:48,301 --> 00:16:51,512
But it was always the thing of,
"Okay, it's just biding their time.
293
00:16:51,721 --> 00:16:53,556
It's never gonna be the solution to it.
294
00:16:53,764 --> 00:16:56,642
Like, he's going to be,
like, hurt by them...
295
00:16:56,851 --> 00:17:00,313
...and he's going to be the one
that loses that fight eventually."
296
00:17:00,771 --> 00:17:04,150
And this setup here with the wall,
this was...
297
00:17:04,358 --> 00:17:08,154
I wanted to create this kind of symmetry
between the first film and the sequel...
298
00:17:08,362 --> 00:17:10,990
...where this choreography,
these punches...
299
00:17:11,199 --> 00:17:14,076
...are very, very close,
if not exactly the same...
300
00:17:14,285 --> 00:17:18,456
...to the sort of exercise that he did
with the punch bag in part one.
301
00:17:18,664 --> 00:17:20,958
Difference is in part one,
it was all about him...
302
00:17:21,167 --> 00:17:24,253
...mentally preparing himself ready
for what he was about to do...
303
00:17:24,462 --> 00:17:26,839
...spiritually ready
for what he was about to do.
304
00:17:27,048 --> 00:17:28,674
But as we see in Ike's expression--
305
00:17:28,883 --> 00:17:31,135
I love his expression here.
He just nailed it.
306
00:17:31,344 --> 00:17:34,931
It's all about regret, about sadness,
and it's all about him realizing...
307
00:17:35,139 --> 00:17:38,893
...just how much he's had to give up now
in order to kind of be where he is...
308
00:17:39,101 --> 00:17:42,438
...in order to kind of do what he wants--
What he has to do.
309
00:17:42,647 --> 00:17:43,689
There's a difference...
310
00:17:43,898 --> 00:17:46,484
...because in The Raid 1,
it's something he wants to do.
311
00:17:46,692 --> 00:17:50,029
He wants to go in there
to take his brother out of that building.
312
00:17:50,238 --> 00:17:54,033
It's all part of his-- You know, his desire.
He needs to be able to do that.
313
00:17:54,242 --> 00:17:57,578
But here, it's more of a torment
for him...
314
00:17:57,787 --> 00:18:01,123
...because, you know, he has to do it
in order to keep his family safe.
315
00:18:01,332 --> 00:18:05,127
And the only part of him that wants
to get involved in this capacity...
316
00:18:05,336 --> 00:18:10,841
...is purely that idea of revenge
for the people who took out his brother.
317
00:18:11,050 --> 00:18:14,595
But he knows that the entire time
that he is in this prison...
318
00:18:14,804 --> 00:18:16,722
...he's not going to be able to do that.
319
00:18:16,931 --> 00:18:20,685
So it was all about, like, that frustration
of not being able to fulfill...
320
00:18:20,893 --> 00:18:24,063
...you know,
the vengeance inside of him as well.
321
00:18:25,648 --> 00:18:30,903
So now we're about to introduce
Arifin Putra, who plays Uco...
322
00:18:31,112 --> 00:18:34,115
...and Benny actually sat next to him,
played by Zack Lee.
323
00:18:35,533 --> 00:18:41,038
So Arifin, I'd seen him
in the Mo Brothers film Rumah Dara...
324
00:18:41,247 --> 00:18:42,456
...where he played Adam...
325
00:18:42,665 --> 00:18:48,212
...like, this sort of psychopathic guy who
was part of, like, a slasher film family.
326
00:18:48,796 --> 00:18:51,132
And I'd always wanted to cast him
since then and--
327
00:18:51,340 --> 00:18:54,510
Yeah, similarly to, like, Alex,
who played Bejo earlier...
328
00:18:54,719 --> 00:18:56,721
...I'd already spoken to him
about the role.
329
00:18:56,929 --> 00:18:59,849
I'd already talked to him
about bringing him in on the project.
330
00:19:00,057 --> 00:19:04,020
And so, yeah, he was another one
of those actors that kind of had to wait...
331
00:19:04,228 --> 00:19:07,898
...sit and wait for two or three years
before I was able to give him the call...
332
00:19:08,107 --> 00:19:11,402
...to say we were gonna go ahead
and go into preproduction on it.
333
00:19:12,445 --> 00:19:14,405
But, yeah, I loved working with him.
334
00:19:14,613 --> 00:19:18,117
It was fun to work with him because
he was always game for improvisation...
335
00:19:19,618 --> 00:19:21,370
...and very committed to the role.
336
00:19:21,579 --> 00:19:24,081
A lot of younger actors,
they're very hungry for it.
337
00:19:24,290 --> 00:19:26,334
They wanna be doing
these genre films...
338
00:19:26,709 --> 00:19:30,087
...they wanna have an opportunity
to kind of stretch out and not play...
339
00:19:30,296 --> 00:19:32,089
...the pretty boy romance role
anymore.
340
00:19:32,298 --> 00:19:35,259
And to actually have someone
with a little bit of a bite to him.
341
00:19:35,468 --> 00:19:38,596
And he certainly has that
in scenes later on in the film as well.
342
00:19:39,347 --> 00:19:40,639
This?
343
00:19:42,099 --> 00:19:43,392
This location, actually--
344
00:19:43,601 --> 00:19:46,395
I'll talk a little bit about locations here
because the...
345
00:19:46,604 --> 00:19:48,773
I love these buildings,
these old buildings.
346
00:19:48,981 --> 00:19:51,650
It's in an area called Kota in Jakarta.
347
00:19:51,859 --> 00:19:53,361
And they're all kind of old...
348
00:19:53,569 --> 00:19:57,531
...sort of Dutch-influenced architecture
in terms of the design of the buildings.
349
00:19:57,740 --> 00:20:01,243
Now, none of them have been, like,
taken care of or looked after properly.
350
00:20:01,452 --> 00:20:03,037
And so-- You know, when you--
351
00:20:03,245 --> 00:20:06,665
When you see the grime on the wall,
it's all real, it's all from there.
352
00:20:06,874 --> 00:20:09,001
But there's so much texture to them.
So much--
353
00:20:09,210 --> 00:20:10,920
And so many interesting spaces there.
354
00:20:11,128 --> 00:20:14,548
And one of these buildings, basically,
would've provided us...
355
00:20:14,757 --> 00:20:18,803
...with about four or five different locations
we could use throughout that building.
356
00:20:19,011 --> 00:20:23,265
So you go from one floor to the next,
you go next door to another building.
357
00:20:23,474 --> 00:20:25,559
And suddenly,
we'd have shot the porn den...
358
00:20:25,768 --> 00:20:30,856
...we'd have shot the prison canteen
scene, which we're watching right now.
359
00:20:31,065 --> 00:20:33,609
We've also shot the visitor room here.
360
00:20:33,818 --> 00:20:36,070
We shot different scenes
in this one building...
361
00:20:36,278 --> 00:20:39,782
...where it was just like, you know,
so many different spaces...
362
00:20:39,990 --> 00:20:44,036
...so many different architectural designs,
all within one roof, basically.
363
00:20:48,207 --> 00:20:50,126
This initially was going to lead off...
364
00:20:50,334 --> 00:20:52,753
...into another one of those scenes
that we deleted.
365
00:20:52,962 --> 00:20:59,093
We deleted it for pacing issues, where--
We were gonna do, like, a flashback.
366
00:20:59,301 --> 00:21:04,306
And the flashback was gonna be
lko kind of leaving an elevator...
367
00:21:05,266 --> 00:21:09,520
...going back to his apartment
only to be met by Andi, his brother.
368
00:21:09,728 --> 00:21:12,606
And we had this whole element
of, you know, back-story...
369
00:21:12,815 --> 00:21:15,317
...for, like, a flashback element
with his brother.
370
00:21:15,526 --> 00:21:18,404
How he'd given him money
and helping him outwith his kid...
371
00:21:18,612 --> 00:21:21,240
...because the idea
was that the baby was sick...
372
00:21:21,449 --> 00:21:23,534
...and that they needed
some kind of support.
373
00:21:23,742 --> 00:21:29,957
And, you know, since Rama had retired
from being a police officer at that point...
374
00:21:30,166 --> 00:21:33,043
...in order to kind of
keep his head down and keep low...
375
00:21:33,210 --> 00:21:35,296
...he needed money,
that's where it came from.
376
00:21:35,463 --> 00:21:37,965
It was the idea of, like,
the shades of gray...
377
00:21:38,174 --> 00:21:41,844
...in terms of, like, the moral implications
of taking money from his brother...
378
00:21:42,052 --> 00:21:44,805
...who he knows is a criminal.
379
00:21:45,431 --> 00:21:48,392
And there was, like--
There were strong reasons why we cut it.
380
00:21:48,601 --> 00:21:50,895
To be honest,
I think the scene wasn't necessary.
381
00:21:51,103 --> 00:21:52,813
It kind of dragged the plot forward.
382
00:21:53,022 --> 00:21:56,567
It kind of, like-- It kind of didn't really
kind of move anything forward...
383
00:21:56,775 --> 00:21:58,861
...at a pace that we needed to
in this movie.
384
00:21:59,069 --> 00:22:03,073
But also, I just felt
it was kind of a cheap shot in a way.
385
00:22:03,282 --> 00:22:07,077
We were trying to do it to play on the
emotional thing about the brother dying.
386
00:22:07,536 --> 00:22:11,999
But I kind of liked to kind of keep
this sort of more coldhearted...
387
00:22:12,208 --> 00:22:15,878
...distanced view of that--
Of that sort of grieving process for him...
388
00:22:16,086 --> 00:22:21,383
...and not kind of, you know, get too much
within that headspaoe right now.
389
00:22:21,592 --> 00:22:24,470
It would overwhelm what we were trying
to do with the scenes...
390
00:22:24,678 --> 00:22:26,805
...which is to establish more
about Uco...
391
00:22:27,181 --> 00:22:29,808
...establish more
about what his investigation is...
392
00:22:30,017 --> 00:22:32,520
...establish more about
what his mission has to become.
393
00:22:32,728 --> 00:22:35,272
And to confuse that
with emotional elements...
394
00:22:35,481 --> 00:22:38,943
...about somebody who'd been killed
within the first two, three minutes...
395
00:22:39,151 --> 00:22:43,322
...it felt like the wrong place and time and
the wrong decision to put that scene in.
396
00:22:43,531 --> 00:22:45,824
So that's why we lost it in the end.
397
00:22:46,325 --> 00:22:48,244
I'm the guy gifting you
five years of my graft...
398
00:22:48,410 --> 00:22:53,916
This is Mike Lucock, another Indonesian
actor from the film Rumah Dara.
399
00:22:54,124 --> 00:22:56,001
You might notice a pattern here...
400
00:22:56,210 --> 00:22:59,755
...which is basically that I steal
cast members from the Mo Brothers.
401
00:22:59,964 --> 00:23:02,132
And they end up stealing cast members
from me.
402
00:23:03,300 --> 00:23:06,971
We kind of-- Me and Timo have been,
like, good friends for a long time now.
403
00:23:07,179 --> 00:23:10,015
Timo Tjahjanto is, like,
one of the directors of Rumah Dara...
404
00:23:10,224 --> 00:23:11,600
...alongside Kimo Stamboel.
405
00:23:11,809 --> 00:23:13,894
And so I've become good friends
with them.
406
00:23:14,103 --> 00:23:17,648
Then we watch their movies together,
we talk about their projects together.
407
00:23:17,856 --> 00:23:20,276
So we're always kind of spitballing ideas
about like:
408
00:23:20,484 --> 00:23:23,195
"Who you wanna cast for this?
Who you wanna cast for that?"
409
00:23:23,404 --> 00:23:26,240
Always spoken highly about Mike,
so we wanted to bring him in.
410
00:23:26,448 --> 00:23:28,826
Only a small role,
but the guy was professional.
411
00:23:29,034 --> 00:23:31,620
He came in
and then nailed it immediately.
412
00:23:31,829 --> 00:23:35,583
And he presents, like, this opportunity
for us to kind ofjust give...
413
00:23:35,791 --> 00:23:39,587
...like, a little more hint
into that investigative undercover role...
414
00:23:39,795 --> 00:23:43,632
...for Rama, just to kind of,
you know, give that sense.
415
00:23:43,841 --> 00:23:46,510
And it kind of helps us in a way
on an exposition level...
416
00:23:46,719 --> 00:23:49,972
...give that sense of the amount of time
that's gonna pass now...
417
00:23:50,180 --> 00:23:55,603
...and the idea of the amount of damage
that Rama did to that politician's son...
418
00:23:55,811 --> 00:23:59,481
...has put him in prison for a lot longer
than he was ever supposed to be.
419
00:23:59,690 --> 00:24:02,109
He was supposed to get himself in
for a few months...
420
00:24:02,276 --> 00:24:04,445
...and then make a name for himself,
you know...
421
00:24:04,653 --> 00:24:07,948
...make himself known to Uco,
and then get out.
422
00:24:08,157 --> 00:24:12,411
But, you know, he-- Obviously, as a result
of his overwhelming aggression...
423
00:24:12,620 --> 00:24:15,414
...about the situation with his brother
and with Bejo...
424
00:24:15,623 --> 00:24:19,460
...yeah, he's created this problem
for himself.
425
00:24:20,085 --> 00:24:23,839
So now this is
the big prison riot scene.
426
00:24:24,048 --> 00:24:27,509
This was the bane of my life
for about eight days.
427
00:24:27,718 --> 00:24:31,347
And it was in this incredible location
in Gombong...
428
00:24:31,555 --> 00:24:36,185
...which is about a 12-hour bus ride
from Jakarta.
429
00:24:36,560 --> 00:24:38,062
Yeah, as soon as we got there...
430
00:24:38,270 --> 00:24:41,273
...we booked out every single hotel room
we could possibly get...
431
00:24:41,482 --> 00:24:45,361
...because we were having to kind of look
after not just the cast and the crew...
432
00:24:45,569 --> 00:24:48,030
...but all the extras
and all the fighters as well.
433
00:24:48,238 --> 00:24:50,240
A lot of people involved in this shoot.
434
00:24:50,449 --> 00:24:53,494
There's a-- This is, like, a big, heavy load
on the production...
435
00:24:53,702 --> 00:24:56,121
...in terms of, like,
what we were trying to achieve.
436
00:24:56,330 --> 00:24:59,958
So, yes, this was Gombong,
in a place called Benteng Van Der Wijk...
437
00:25:00,167 --> 00:25:02,628
...which was, like, an old Dutch fort.
438
00:25:03,295 --> 00:25:04,838
We obviously modified it a lot.
439
00:25:05,047 --> 00:25:07,925
I mean, it was basically just a structure,
just a layout.
440
00:25:08,133 --> 00:25:11,345
It was basically like a pentagon shape
of red brick walls.
441
00:25:11,804 --> 00:25:15,808
And then we came in and added,
you know, fencing, barbed wires...
442
00:25:16,558 --> 00:25:19,978
...shelters, concrete and tiles...
443
00:25:20,187 --> 00:25:24,733
...and then we also had to add,
like, tons and tons of mud...
444
00:25:24,942 --> 00:25:27,444
...that we had to actually import
to bring there...
445
00:25:27,653 --> 00:25:31,448
...because we just couldn't get the mud
from anywhere local nearby.
446
00:25:31,657 --> 00:25:36,954
And then, of course, my producer, Toro,
said that I had a maximum...
447
00:25:37,162 --> 00:25:39,790
...of two to three days
when I was allowed to have rain.
448
00:25:39,998 --> 00:25:41,834
Hence, why when we end up cutting...
449
00:25:42,042 --> 00:25:45,713
...to that sort of pivotal moment of them
walking, then the slo-mo kicks in...
450
00:25:45,921 --> 00:25:49,925
...that we start to lose the rain,
we start to make it dry out a little bit.
451
00:25:50,134 --> 00:25:53,846
And so we just have small droplets of rain
then, because we were done.
452
00:25:54,054 --> 00:25:56,807
We had no more rain bars
we were allowed to use anymore...
453
00:25:57,015 --> 00:25:58,892
...from that point on.
454
00:25:59,268 --> 00:26:01,478
Yeah, it was--
It was an ambitious shoot.
455
00:26:01,937 --> 00:26:06,859
It was a big, big project for us to do.
Filled with lots of logistical errors...
456
00:26:07,067 --> 00:26:11,572
...which I will kind of, like, highlight
in a second, once the fight gets started.
457
00:26:12,114 --> 00:26:15,242
One of the things I wanted to do
with fight scenes in this film...
458
00:26:15,451 --> 00:26:19,997
...was to establish a sense of narrative
purpose within the fight scenes.
459
00:26:20,205 --> 00:26:24,752
So I didn't want it to-- For me, it wasn't
enough for the fight scene to be...
460
00:26:25,377 --> 00:26:27,129
...just about the visceral thrills.
461
00:26:27,337 --> 00:26:28,630
So here, we start off...
462
00:26:28,839 --> 00:26:31,925
...we have the paranoia
that he's gonna be the one under attack...
463
00:26:32,134 --> 00:26:36,221
...only to realize that they're coming after
U00, they're not coming after him at all.
464
00:26:36,430 --> 00:26:38,682
When he realizes they're after Uco,
it's like:
465
00:26:38,891 --> 00:26:41,643
"Okay, well, if I don't protect him,
my mission's over."
466
00:26:43,103 --> 00:26:46,398
Yeah, I like that kick,
so I had to stop myself for that kick there.
467
00:26:46,607 --> 00:26:50,110
That was one of those examples of, like,
a punch line in the fight sequence.
468
00:26:50,319 --> 00:26:52,654
We tried to put them in
throughout the fights.
469
00:26:52,863 --> 00:26:54,364
We tried to kind of put like...
470
00:26:54,573 --> 00:26:56,950
If there's something
which was three minutes long...
471
00:26:57,159 --> 00:26:59,620
...we tried to have five,
six punch line moments.
472
00:26:59,828 --> 00:27:03,165
And those are-- Those movements
within a fight sequence...
473
00:27:03,373 --> 00:27:06,293
...where it will elicit a reaction
from the audience.
474
00:27:06,502 --> 00:27:10,964
And kicking the guy's face into the tiles
was definitely one of those.
475
00:27:11,548 --> 00:27:13,467
I'll jump back in to what I was saying...
476
00:27:13,675 --> 00:27:15,886
...before I completely lose
my train of thought.
477
00:27:16,720 --> 00:27:20,599
Yeah, so, you know, it was the idea of--
It's starting off with paranoia...
478
00:27:20,808 --> 00:27:22,601
...finding out that the target...
479
00:27:22,810 --> 00:27:26,313
...is actually the person that he needs
to, like, you know, get close to...
480
00:27:26,522 --> 00:27:29,358
...and, you know, that sense of,
"if I don't protect him...
481
00:27:29,566 --> 00:27:32,861
...if I don't keep him alive,
I'm just gonna rot in jail for no reason.
482
00:27:33,070 --> 00:27:36,657
It's, like, a waste of my entire time
and my entire family's life."
483
00:27:36,865 --> 00:27:42,079
And so, yeah, he becomes a bodyguard
and has to kind of assume that role.
484
00:27:42,287 --> 00:27:45,582
And in the process of doing that,
we get this character change then.
485
00:27:45,791 --> 00:27:47,584
We have this character arc going on...
486
00:27:47,793 --> 00:27:50,796
...where Uco's character
is knocked out and unconscious...
487
00:27:51,004 --> 00:27:53,173
...and then he's forced
to deal with this...
488
00:27:53,382 --> 00:27:56,301
You know, this thing of seeing that guy
that he wanted dead...
489
00:27:56,510 --> 00:27:58,637
...no more than about,
like, two scenes ago...
490
00:27:58,846 --> 00:28:01,473
...was now the person responsible
for keeping him alive.
491
00:28:01,682 --> 00:28:05,102
And so, you know, it becomes this thing
where we, throughout the fight...
492
00:28:05,310 --> 00:28:09,273
...it's not just the visceral stuff,
but also the important plot details.
493
00:28:09,481 --> 00:28:12,985
The important character motivation
that's gonna keep us going on then...
494
00:28:13,193 --> 00:28:15,737
...you know, way beyond the confines
of this prison.
495
00:28:17,114 --> 00:28:20,534
So I'm gonna do something
really quick here.
496
00:28:20,951 --> 00:28:24,162
There's a long set up here
where we had a long take, a long shot...
497
00:28:24,371 --> 00:28:27,082
...I end up splitting it
into a bunch of different takes.
498
00:28:27,291 --> 00:28:31,503
So it starts here. And I'm gonna
shout "cut" every time there's an edit.
499
00:28:32,629 --> 00:28:33,964
Cut.
500
00:28:34,172 --> 00:28:37,301
We stitched these shots together
to make it feel like it's one flow.
501
00:28:37,509 --> 00:28:40,762
I wanted to make you feel like
you're watching one really long shot.
502
00:28:40,971 --> 00:28:42,055
Cut.
503
00:28:42,264 --> 00:28:45,183
Because, like, the actual process
of shooting this stuff...
504
00:28:45,392 --> 00:28:47,895
...is really difficult,
because it was so much- Cut.
505
00:28:48,103 --> 00:28:51,481
There's so much chaos going on
and there's always mud hitting the lens...
506
00:28:51,690 --> 00:28:55,485
...and there's all these different,
you know, elements that could go wrong.
507
00:28:55,694 --> 00:28:57,696
And we also wanted
to kind of, you know...
508
00:28:57,905 --> 00:29:00,407
...really show off
some of our camera movements.
509
00:29:00,616 --> 00:29:02,200
So-- One second.
510
00:29:02,409 --> 00:29:03,911
Cut.
511
00:29:04,202 --> 00:29:05,787
Hold on for one more second.
512
00:29:05,996 --> 00:29:09,291
Cut. Okay, so we wanted
to be able to establish this thing...
513
00:29:09,499 --> 00:29:11,960
...where we were running around
with this Fig Rig...
514
00:29:12,169 --> 00:29:15,589
...and coming down low angles,
through the mud, through the fighters...
515
00:29:15,797 --> 00:29:18,425
...through everything else,
then jumping on that crane...
516
00:29:18,634 --> 00:29:20,677
...to come up
for that bird's-eye view shot.
517
00:29:20,886 --> 00:29:23,305
And then to come back down
and continue the movement.
518
00:29:23,513 --> 00:29:26,016
And it was this whole
one flow of a scene-- Cut.
519
00:29:26,224 --> 00:29:28,977
--Where I wanted to be able
to stitch every one together.
520
00:29:29,186 --> 00:29:33,607
And we were going from fighter to fighter,
prison guards to prisoners...
521
00:29:33,815 --> 00:29:36,818
...to Rama fighting a bunch of guys,
and then back to him again.
522
00:29:37,027 --> 00:29:40,739
Cut. And then we come in
and rejoin with Benny against U00.
523
00:29:40,948 --> 00:29:44,201
It's this thing of making this--
You know, this momentum keep going...
524
00:29:44,409 --> 00:29:47,913
...and to make the audience feel like
they're gonna get just as tired...
525
00:29:48,121 --> 00:29:50,624
...as the guys
who are fighting in this mud.
526
00:29:51,166 --> 00:29:54,252
Speaking of the mud,
you can tell now it's starting--
527
00:29:54,461 --> 00:29:57,172
Mud's getting thicker and thicker,
because day by day...
528
00:29:57,381 --> 00:29:59,675
...we had to keep adding
more and more on top...
529
00:29:59,883 --> 00:30:02,886
...because it was just turning into soup
the entire way through.
530
00:30:03,095 --> 00:30:06,306
And it was really difficult,
such a hard, hard shoot...
531
00:30:06,515 --> 00:30:09,893
...so physically demanding
on everyone involved, not just the cast...
532
00:30:10,102 --> 00:30:14,481
...but also the Camera Department too
and the Lighting and everyone else.
533
00:30:14,690 --> 00:30:17,442
We-- Working out in Indonesia,
it's a nightmare...
534
00:30:17,651 --> 00:30:20,862
...because, you know, we'd never get,
like, sort of, like, a solid...
535
00:30:21,405 --> 00:30:23,323
...sense of light source from the sun.
536
00:30:23,532 --> 00:30:25,534
It keeps dipping in and out all the time.
537
00:30:25,742 --> 00:30:29,037
The clouds are never consistent.
You don't get clear skies at all.
538
00:30:29,246 --> 00:30:32,833
And so we had to build
these huge, long silk sheets...
539
00:30:33,041 --> 00:30:37,713
...to kind of run over the ceiling
of that building from one end to another...
540
00:30:37,921 --> 00:30:41,299
...in order to kind of get a better balance
of the color.
541
00:30:42,300 --> 00:30:45,679
This is one of my favorite things
that Ike's done in the movie...
542
00:30:45,887 --> 00:30:48,306
...because this is so, so difficult.
543
00:30:48,515 --> 00:30:52,394
You can watch him. He's barely able
to keep his feet still inside the mud...
544
00:30:52,602 --> 00:30:56,273
...take on all these different guys that
are coming at him at a breakneck pace.
545
00:30:56,481 --> 00:30:58,316
So, yeah, we did about maybe...
546
00:30:58,525 --> 00:31:01,278
We ended up doing about seven
or eight takes on that one...
547
00:31:01,486 --> 00:31:03,280
...which I was expecting a lot more.
548
00:31:03,447 --> 00:31:06,700
But I was so proud
to kind of get that take. That was hard.
549
00:31:06,908 --> 00:31:08,952
Like, on a technical level,
it's hard anyway.
550
00:31:09,161 --> 00:31:11,079
When we designed
this whole fight scene...
551
00:31:11,288 --> 00:31:14,750
...we designed it in, like, you know,
a sports hall with crash mats.
552
00:31:14,958 --> 00:31:17,919
We hadn't figured in--
We hadn't taken into account yet...
553
00:31:18,378 --> 00:31:21,631
...what it was gonna be like
once we'd filled the thing with mud.
554
00:31:21,840 --> 00:31:24,926
And I don't think really any of us
expected it to be this muddy.
555
00:31:25,135 --> 00:31:27,846
We thought there would be
at least some element of grass...
556
00:31:28,055 --> 00:31:33,393
...and some kind of, like, concrete in there
to sort of help with the footing, but, no.
557
00:31:33,852 --> 00:31:36,146
Thatsoup
that his head is submerged into...
558
00:31:36,354 --> 00:31:40,484
...that's what we were dealing with every
day of the eight-day shoot on this one.
559
00:31:49,743 --> 00:31:52,621
So now we're jumping forward in time.
560
00:31:53,080 --> 00:31:56,416
And I wanted to kind of have
this exit the prison.
561
00:31:56,625 --> 00:31:59,211
Actually this location was actually--
it was a café.
562
00:31:59,419 --> 00:32:03,090
It was a café in the middle
of the old town, Kota. Kota again.
563
00:32:03,298 --> 00:32:06,051
Those walls were already like that.
They looked like this.
564
00:32:06,259 --> 00:32:08,178
We didn't have to do anything...
565
00:32:08,386 --> 00:32:11,848
...except add one or two little prison bars
on the door, and that was it.
566
00:32:12,057 --> 00:32:13,600
So it was perfect for us.
567
00:32:13,809 --> 00:32:16,103
This is a composite.
This shot was a composite.
568
00:32:16,311 --> 00:32:19,981
We couldn't get this high with our
Jimmy Jib, with our crane and stuff...
569
00:32:20,190 --> 00:32:22,859
...so we just shot, like,
a little section of the wall...
570
00:32:23,068 --> 00:32:25,654
...a little section of Arifin
crossing over the floor...
571
00:32:25,862 --> 00:32:26,905
...and just had Andy...
572
00:32:27,114 --> 00:32:31,868
...our legendary CG guy, who has worked
with me on everything I've done...
573
00:32:32,077 --> 00:32:35,413
...expand the shot out,
expand this sort of-- The landscape...
574
00:32:35,622 --> 00:32:38,667
...to make it feel like
it was this one big, huge bird's-eye view.
575
00:32:39,167 --> 00:32:41,044
You can do that yourself.
576
00:32:42,337 --> 00:32:46,341
And so we're establishing now
the first of many moments...
577
00:32:46,550 --> 00:32:49,261
...where we start to show
the cracks in the relationship...
578
00:32:49,469 --> 00:32:52,097
...between Rama
and, you know, Bunawar...
579
00:32:52,305 --> 00:32:54,975
...who's kind of in charge
of his investigation...
580
00:32:55,183 --> 00:33:00,230
...with the idea of Rama
removing the wire from his clothing.
581
00:33:00,564 --> 00:33:02,732
Because he knows
he's gonna exit that prison...
582
00:33:02,941 --> 00:33:05,443
...and then be taken
under the wing of Uco...
583
00:33:05,652 --> 00:33:08,905
...and, you know,
become part of Bangun's family.
584
00:33:09,114 --> 00:33:12,325
And here's Bangun,
played by Tio Pakusadewo.
585
00:33:12,534 --> 00:33:16,371
And so there was just the idea
of the first day wearing a wire...
586
00:33:16,580 --> 00:33:18,957
...is the worst thing
that Bunawar could have done.
587
00:33:19,166 --> 00:33:23,628
So he was kind of planting those seeds
of, like, doubt and mistrust in them.
588
00:33:25,046 --> 00:33:27,841
Now we're getting
into the whole gangster side of things.
589
00:33:28,049 --> 00:33:29,176
We're sort of--
590
00:33:29,384 --> 00:33:31,803
We're into the families now,
the two rival groups.
591
00:33:32,012 --> 00:33:34,931
We get the Japanese side
with Kenichi Endo as the lead...
592
00:33:35,140 --> 00:33:39,603
...and then obviously, Tio Pakusadewo
is Bangun, who I mentioned earlier.
593
00:33:39,811 --> 00:33:41,897
Tio had to learn Japanese for this role.
594
00:33:42,105 --> 00:33:44,733
So these lines of dialogue
back and forth...
595
00:33:44,941 --> 00:33:48,111
...we kept it all in Japanese
to make it easier for Kenichi Endo...
596
00:33:48,320 --> 00:33:51,531
...so he didn't have to learn Indonesian,
and fair play to Tio...
597
00:33:51,740 --> 00:33:54,367
...and also to Oka Antara
who plays Eka...
598
00:33:54,576 --> 00:33:57,370
...there in the background,
looking all dapper in his suit.
599
00:33:57,954 --> 00:34:01,541
They both had to kind of learn
their Japanese dialogue, and...
600
00:34:01,750 --> 00:34:03,585
You know, we had a translator
on standby.
601
00:34:03,793 --> 00:34:05,754
We had my wife then, Maya...
602
00:34:05,962 --> 00:34:08,798
...who was kind of overseeing
all of the Japanese dialogue...
603
00:34:09,007 --> 00:34:11,343
...to make sure
they are pronouncing correctly.
604
00:34:11,551 --> 00:34:14,012
Japanese casts themselves
were cool with it as well.
605
00:34:14,221 --> 00:34:16,431
They came on board
and helped us out as well...
606
00:34:16,640 --> 00:34:19,976
...suggested some translation changes
here and there.
607
00:34:20,185 --> 00:34:22,062
And that's kind of the case really...
608
00:34:22,270 --> 00:34:25,065
...throughout the whole process
of writing the script.
609
00:34:25,273 --> 00:34:27,525
I write everything in English
first and foremost.
610
00:34:27,734 --> 00:34:29,861
So the whole script exists
in English first...
611
00:34:30,070 --> 00:34:33,823
...and then it gets translated later on
into Indonesian...
612
00:34:34,032 --> 00:34:36,660
...and then translated further again
into Japanese...
613
00:34:36,868 --> 00:34:38,662
...for these-- For these characters.
614
00:34:38,870 --> 00:34:42,499
And so, you know, when you're doing
translations like that, a lot can get--
615
00:34:42,707 --> 00:34:45,710
A lot can get lost in translation.
616
00:34:46,378 --> 00:34:51,466
And so it's kind of important to be able
to get these versions of the script...
617
00:34:51,675 --> 00:34:54,177
...and workshop them with the cast,
and then...
618
00:34:54,386 --> 00:34:56,429
You know, the benefit I've had...
619
00:34:56,638 --> 00:35:00,016
...is that a lot of my cast,
they speak in fluent English too...
620
00:35:00,225 --> 00:35:01,810
...so they can read both versions.
621
00:35:02,018 --> 00:35:04,187
They can read the English
and the Indonesian.
622
00:35:04,396 --> 00:35:06,231
Read the English
and read the Japanese...
623
00:35:06,439 --> 00:35:08,400
...and then be able to come to me
and say:
624
00:35:08,608 --> 00:35:11,319
"You know, I get what
you were trying to say in English...
625
00:35:11,528 --> 00:35:13,697
...but something's gone missing
along the way."
626
00:35:13,905 --> 00:35:17,909
And then we'll work together and
we'll find the correct term to use, then.
627
00:35:18,118 --> 00:35:20,829
This is all something we do
in preproduction. This is all--
628
00:35:21,037 --> 00:35:22,831
When we're doing
our reading sessions.
629
00:35:23,039 --> 00:35:26,543
So we went away. We went off to this,
like, place in the middle of Puncak.
630
00:35:26,751 --> 00:35:28,962
It's sort of like this--
Sort of like a villa...
631
00:35:29,170 --> 00:35:32,924
...and we stayed there for a few days
and read through the entire script...
632
00:35:33,133 --> 00:35:36,469
...and then started making notes
of anything that needed to be changed.
633
00:35:36,678 --> 00:35:41,016
Because a lot of times, direct English
to Indonesian translation can sound stiff.
634
00:35:41,224 --> 00:35:43,351
It can feel forced.
635
00:35:43,560 --> 00:35:47,564
And so we wanted to make sure
that, like, it fit the tone of the film...
636
00:35:47,772 --> 00:35:50,066
...it fit the tones of the characters...
637
00:35:50,567 --> 00:35:56,156
...and, you know, wasn't sort of
too straightforward and direct translation.
638
00:35:56,740 --> 00:35:59,117
--Is that you suffer the indignity
of an old man seeing your cock--
639
00:35:59,284 --> 00:36:00,660
This was...
640
00:36:00,869 --> 00:36:02,954
This scene here
was probably the only--
641
00:36:03,163 --> 00:36:05,915
The one and only time
that lko has ever asked me...
642
00:36:06,124 --> 00:36:09,252
...if I really, really, really wanted
to shoot this kind of a scene.
643
00:36:09,461 --> 00:36:12,505
He seems fine when it comes to
people being punched or thrown...
644
00:36:12,714 --> 00:36:14,591
...or kicked or stabbed or shot at...
645
00:36:14,799 --> 00:36:17,969
...or, you know, sandwiched
between cars. All of that's fine.
646
00:36:18,178 --> 00:36:21,765
But the moment we wanna get him
to take any of his clothing off...
647
00:36:21,973 --> 00:36:25,518
...man, he went nervous and he was
really, really quiet for a while...
648
00:36:25,727 --> 00:36:28,063
...when it was leading up to the shoot
to this one.
649
00:36:28,271 --> 00:36:30,690
And so I had to kind of assure him
that, you know:
650
00:36:30,899 --> 00:36:32,484
"We're not gonna show anything.
651
00:36:32,942 --> 00:36:35,111
We're gonna be very careful
with our framing."
652
00:36:35,320 --> 00:36:37,697
When he actually--
He's not actually doing anything.
653
00:36:37,906 --> 00:36:41,493
He just mimes the movement and we just
zoom in to kind of hide everything.
654
00:36:41,701 --> 00:36:43,745
But, yeah, like, you've never--
655
00:36:43,953 --> 00:36:49,292
I've never ever seen him this nervous
the entire time I've known him.
656
00:36:49,501 --> 00:36:51,419
So, yeah, fair play to him.
657
00:36:51,628 --> 00:36:55,006
He did--
He did his job and I think the crew...
658
00:36:56,257 --> 00:36:59,219
They probably did make fun of him
quite a lot during the shoot.
659
00:36:59,427 --> 00:37:02,597
But, yeah, he was a trouper
and he pulled through on it.
660
00:37:08,061 --> 00:37:10,939
If you're watching this
for, like, the second time...
661
00:37:11,564 --> 00:37:14,859
I'm guessing you should be,
you shouldn't listen to my commentary...
662
00:37:15,068 --> 00:37:16,820
...before you've seen it first time.
663
00:37:17,028 --> 00:37:21,116
You already know what the character
of Eka, played by Oka Antara--
664
00:37:21,324 --> 00:37:25,036
You already know
that there's another side to him...
665
00:37:25,245 --> 00:37:28,456
...where, you know,
he's an undercover cop that went--
666
00:37:28,665 --> 00:37:32,752
That was presumed to have gone rogue
and the idea is that--
667
00:37:32,961 --> 00:37:35,797
You know, that he's been left
to sort of hang...
668
00:37:36,005 --> 00:37:37,757
...and he has had no choice...
669
00:37:37,966 --> 00:37:40,718
...but to just, you know, survive
within this family.
670
00:37:40,927 --> 00:37:43,888
And the only way that he can survive
is to become a gangster...
671
00:37:44,097 --> 00:37:46,266
...is to become one of those thugs.
672
00:37:46,474 --> 00:37:50,019
And he's just been left to hang
by his superior, which is Bunawar...
673
00:37:50,228 --> 00:37:52,272
...by all intents and purposes.
674
00:37:52,480 --> 00:37:55,358
And so I wanted to play on this idea
a little bit of--
675
00:37:55,567 --> 00:37:57,026
There's only a few moments...
676
00:37:57,235 --> 00:38:00,113
...but I wanted to play on the idea
that there are moments...
677
00:38:00,321 --> 00:38:04,617
...where he hints either through dialogue
or through gestures...
678
00:38:04,826 --> 00:38:07,871
...that maybe he knows
that Rama is an undercover cop.
679
00:38:08,079 --> 00:38:10,999
So there's the idea
that, you know, there's a possibility...
680
00:38:11,166 --> 00:38:15,003
...there was more than one wire in Rama's
clothing, that's why Rama is terrified...
681
00:38:15,170 --> 00:38:18,965
...because he knows that there would be
more than just the one connection.
682
00:38:19,174 --> 00:38:23,052
And that, you know,
when Oka actually says that it's clear...
683
00:38:23,261 --> 00:38:26,639
...that it's all fine, who knows,
maybe he did find something.
684
00:38:26,848 --> 00:38:28,850
He's protecting him
because he knows that--
685
00:38:29,058 --> 00:38:31,728
You know, he knows the position
that Rama is in.
686
00:38:31,936 --> 00:38:33,938
And later on, that kicks in again.
687
00:38:34,147 --> 00:38:36,941
There's a scene coming up soon
when Rama is introduced...
688
00:38:37,150 --> 00:38:38,610
...to his apartment block...
689
00:38:39,360 --> 00:38:41,362
...and Eka says to him directly--
690
00:38:41,571 --> 00:38:47,327
He says, you know, "I feel like we come
from the same place, you and I.
691
00:38:47,535 --> 00:38:49,621
I hope that's not
where our similarities end."
692
00:38:49,829 --> 00:38:52,499
And that was like
a sort of premonition, in a way...
693
00:38:52,707 --> 00:38:54,709
...for the fact that they both share...
694
00:38:54,918 --> 00:38:59,380
...that hidden identity
as undercover cop, then.
695
00:39:01,549 --> 00:39:03,384
--Just call and they'll take care of it.
696
00:39:03,593 --> 00:39:05,094
Thanks.
697
00:39:05,678 --> 00:39:09,432
We did a lot of studio work
for building locations, like--
698
00:39:09,641 --> 00:39:13,228
So previously, we had Bangun's office,
and now we have Rama's apartment.
699
00:39:13,436 --> 00:39:16,856
And all of these were built
inside a studio set.
700
00:39:17,398 --> 00:39:19,984
And whenever possible,
we would try to build...
701
00:39:20,193 --> 00:39:22,362
...three or four sets
within one studio space...
702
00:39:22,570 --> 00:39:25,073
...that we could just jump around
from room to room...
703
00:39:25,281 --> 00:39:28,451
...and be able to maximize
our shooting time.
704
00:39:28,660 --> 00:39:30,453
But, yeah, the--
705
00:39:30,662 --> 00:39:33,873
Our Art Department, led by Moty
and his team, they did a good job...
706
00:39:34,082 --> 00:39:38,211
...on trying to kind of, like, you know,
create sort of, you know...
707
00:39:38,419 --> 00:39:42,090
Like a sort of a minimalist,
but, you know, nice-looking design...
708
00:39:42,298 --> 00:39:45,051
...with a minimal amount of money
that we could give them...
709
00:39:45,260 --> 00:39:48,930
...in order to kind of execute the ideas
that I had in mind.
710
00:39:53,643 --> 00:39:56,771
So I'm gonna talk a little bit
about the music now.
711
00:39:56,980 --> 00:40:01,359
So on the first Raid, we had
an original score from Indonesia...
712
00:40:01,568 --> 00:40:04,654
...which was done by Fajar Yuskemal
and Aria Prayogi.
713
00:40:04,862 --> 00:40:05,989
And then later on--
714
00:40:06,197 --> 00:40:09,409
I mean, this was kind of decided
before we'd even completed the film.
715
00:40:09,617 --> 00:40:12,870
Like, Sony Pictures Classics,
Sony Worldwide...
716
00:40:13,079 --> 00:40:16,541
...wanted to kind of replace the audio,
replace the score...
717
00:40:16,749 --> 00:40:20,086
...with something that they could
easily market and sell to the masses.
718
00:40:20,295 --> 00:40:22,213
That became an alternative score...
719
00:40:22,422 --> 00:40:28,177
...done by Joe Trapanese
and Mike Shinoda from Linkin Park.
720
00:40:28,386 --> 00:40:31,014
And so that was like a--
it was a great opportunity...
721
00:40:31,222 --> 00:40:33,600
...for me to be able to have my film
scored twice...
722
00:40:33,808 --> 00:40:36,769
...and to be able to hear
where the similarities would be...
723
00:40:36,978 --> 00:40:40,315
...and then also, you know,
where the differences would occur...
724
00:40:40,523 --> 00:40:45,153
...in terms of, like, what tone they thought
I was going for scene by scene.
725
00:40:45,361 --> 00:40:48,656
But at the same time, it was difficult.
726
00:40:48,865 --> 00:40:50,283
It was a real hard thing...
727
00:40:50,491 --> 00:40:54,287
...to be able to discuss openly
with my composers from Indonesia...
728
00:40:54,495 --> 00:40:57,999
...because they put in all this work
and they were so proud of their work...
729
00:40:58,207 --> 00:40:59,250
...and so was I.
730
00:40:59,459 --> 00:41:02,003
Like, I was very happy
with the work they did.
731
00:41:02,795 --> 00:41:07,091
Then for it to kind of slip by the wayside,
not be kind of have given a platform...
732
00:41:07,300 --> 00:41:11,346
...for other people to hear their work,
it was hard for them.
733
00:41:11,554 --> 00:41:13,681
And I totally understand
where they came from.
734
00:41:13,890 --> 00:41:17,185
I know they weren't happy
that they lost out on that opportunity...
735
00:41:17,393 --> 00:41:20,813
...for their work to be played
in different territories.
736
00:41:21,022 --> 00:41:24,984
But for this one, I wanted
to kind of take every step possible...
737
00:41:25,193 --> 00:41:27,320
...to prevent that from being the case.
738
00:41:27,528 --> 00:41:30,365
And one of the ways
that I could do that...
739
00:41:30,573 --> 00:41:32,325
...was by making sure...
740
00:41:32,533 --> 00:41:36,788
...that I combined Joe Trapanese
and Aria Prayogi...
741
00:41:36,996 --> 00:41:39,332
...and then Fajar Yuskemal together...
742
00:41:39,540 --> 00:41:42,919
...to make this composition
as a sort of a--
743
00:41:43,127 --> 00:41:47,006
As a mix of Western
and then Eastern sort of styles.
744
00:41:47,215 --> 00:41:48,800
And so, you know, they're--
745
00:41:49,008 --> 00:41:51,636
All three of them
are classically trained musicians.
746
00:41:51,844 --> 00:41:54,055
And they all have very similar tastes
and that--
747
00:41:54,263 --> 00:41:57,183
But what Fajar and Ogi
can bring to the table...
748
00:41:57,392 --> 00:42:01,104
...was, like, a deeper understanding
of those traditional Indonesian music--
749
00:42:01,312 --> 00:42:03,189
Musical elements, those instruments.
750
00:42:03,398 --> 00:42:07,276
And then what Joe could bring to it,
obviously was that kind of, you know...
751
00:42:07,485 --> 00:42:10,488
Those really hard
sort of, like, electronic beats to it.
752
00:42:10,697 --> 00:42:13,866
But then also what I love about--
Especially this scene now.
753
00:42:14,075 --> 00:42:17,036
And it's kind of, like, perfect timing
for us to discuss this...
754
00:42:17,245 --> 00:42:21,124
...is that amongst
all of this sort of aggressive...
755
00:42:21,332 --> 00:42:25,420
...hard, rough, edgy sort of, like,
you know, electronic sounds...
756
00:42:25,628 --> 00:42:27,964
...that we put in
to all the fight sequences...
757
00:42:28,172 --> 00:42:30,133
Like, here was that key moment...
758
00:42:30,341 --> 00:42:33,010
...when the first two days of them
working together...
759
00:42:33,219 --> 00:42:36,139
...when we flew them out to L.A.,
we gave them this scene.
760
00:42:36,347 --> 00:42:39,976
I wanted them to start here because I felt
that this scene, this one moment...
761
00:42:40,143 --> 00:42:42,812
...where we have, like, a quiet...
762
00:42:43,020 --> 00:42:46,899
...sort of contemplative sequence
between Rama and his wife...
763
00:42:47,108 --> 00:42:51,028
...after not speaking to her, not being able
to communicate to her for three years.
764
00:42:51,237 --> 00:42:54,407
We needed something there that
would work on an emotional element...
765
00:42:54,615 --> 00:42:56,951
...and really sort of set the tone
for the film...
766
00:42:57,160 --> 00:42:59,787
...and really kind of back up
what I was trying to do...
767
00:42:59,996 --> 00:43:01,998
...on a visual and a performance level.
768
00:43:02,206 --> 00:43:05,084
And so, yeah,
they collaborated together...
769
00:43:05,293 --> 00:43:07,086
...and brought so much heart and soul.
770
00:43:07,295 --> 00:43:12,884
Like, this scene is pretty much
carried so heavily by the score.
771
00:43:13,092 --> 00:43:16,387
It's one of my favorite pieces of music
in the entire film...
772
00:43:16,596 --> 00:43:18,806
...so much so
that we ended up reusing it...
773
00:43:19,015 --> 00:43:22,435
...for the-- Sort of the tail end
of the end credits.
774
00:43:22,643 --> 00:43:26,439
I gotta say, I mean, in addition to
the fact that the music is so great here...
775
00:43:26,647 --> 00:43:29,817
...one of the other things I'm happy with
is lko's performance.
776
00:43:30,026 --> 00:43:32,487
And, you know,
it often gets overlooked...
777
00:43:32,695 --> 00:43:36,532
...because everyone kind of focuses on
the fact that, yeah, he can beat the shit...
778
00:43:36,741 --> 00:43:39,577
...out of people, left, right and center,
but when it comes...
779
00:43:39,786 --> 00:43:43,748
...to sort of the physical performance
and the actual dramatic performance...
780
00:43:43,956 --> 00:43:45,708
...I think he's just brilliant.
781
00:43:45,917 --> 00:43:47,502
I think he's so good here.
782
00:43:47,710 --> 00:43:52,298
And it's so much in his eyes there,
so much in these little tiny gestures.
783
00:43:52,507 --> 00:43:55,927
You know, little gl-- Little sort of,
like, curl of a smile and stuff.
784
00:43:56,135 --> 00:43:58,888
It's just-- It all came from this ability
that he has now.
785
00:43:59,096 --> 00:44:01,015
Because on the previous two movies...
786
00:44:01,224 --> 00:44:04,227
...like, he was still kind of lacking
in world experience.
787
00:44:04,435 --> 00:44:06,354
He hadn't really done much really.
788
00:44:06,562 --> 00:44:10,107
He'd kind of, you know, just lived his life
in a very sort of young way...
789
00:44:10,316 --> 00:44:12,443
...a very sort of immature way,
and then...
790
00:44:12,652 --> 00:44:16,197
You know, suddenly, we go into this one
and he's married...
791
00:44:16,405 --> 00:44:18,491
...he's expecting his first child.
792
00:44:18,699 --> 00:44:21,828
And so then I was able to, you know...
793
00:44:22,995 --> 00:44:25,665
Not exploit, but I was able
to get inside his head more...
794
00:44:25,873 --> 00:44:30,253
...then to call upon those fears you have
when you're an expectant father.
795
00:44:30,461 --> 00:44:33,381
About, you know-- Of not being able
to be there for a child...
796
00:44:33,548 --> 00:44:36,259
...not being able to be around
to hear those first words...
797
00:44:36,467 --> 00:44:38,761
...to be able to, like,
see those first steps.
798
00:44:38,970 --> 00:44:41,305
And so I was able to kind of push
and prod him...
799
00:44:41,514 --> 00:44:44,767
...and get a stronger
emotional performance out of him.
800
00:44:45,184 --> 00:44:49,480
Okay, so the porn den.
The legendary porn den.
801
00:44:50,773 --> 00:44:53,109
This is one of those locations
I told you about...
802
00:44:53,317 --> 00:44:56,445
...when we were shooting
in the prison canteen...
803
00:44:56,654 --> 00:45:00,700
...and then also the warden's office.
This was, like, the ground floor of that.
804
00:45:00,992 --> 00:45:03,119
And just for trivia...
805
00:45:03,327 --> 00:45:06,664
...because we're dealing
with an Indonesian censors board...
806
00:45:06,873 --> 00:45:10,084
...we had to be careful what we show
and what we don't show on screen.
807
00:45:10,293 --> 00:45:12,712
And so when it came
to those TV monitors...
808
00:45:12,920 --> 00:45:18,676
...all of the sort of movements of flesh,
when you really look at them in detail...
809
00:45:18,885 --> 00:45:23,222
...it's one of my ADs. And all he's doing
is just bumping his elbows together.
810
00:45:23,431 --> 00:45:26,350
So it's just that.
There's no actual nudity on screen.
811
00:45:26,559 --> 00:45:28,519
We wouldn't be able to get away
with it.
812
00:45:28,728 --> 00:45:32,565
I didn't wanna have to go through and
change anything in post unnecessarily.
813
00:45:32,773 --> 00:45:35,860
So, yeah, it's elbow time.
814
00:45:36,068 --> 00:45:38,446
Okay, so this actor, Epy Kusnandar...
815
00:45:38,654 --> 00:45:42,992
...is one of my all-time favorite guys
I've worked with.
816
00:45:43,200 --> 00:45:44,785
We worked with him--
817
00:45:44,994 --> 00:45:48,539
Me and Timo, sorry, worked with him
on Safe Haven, our short film.
818
00:45:48,748 --> 00:45:52,543
And Timo has worked with him
ever since and so have I now.
819
00:45:52,752 --> 00:45:56,088
He's just such a great character actor
and a good sport too.
820
00:45:56,297 --> 00:46:00,009
Because all of those clumps of hair
missing from his head...
821
00:46:00,176 --> 00:46:02,845
...yeah, I was telling the hairdresser,
"Just go for it...
822
00:46:03,054 --> 00:46:07,183
...and just don't do anything according
to what you would normally do."
823
00:46:08,476 --> 00:46:11,646
I'm gonna probably lose my thought,
so I have to talk about this.
824
00:46:11,854 --> 00:46:15,441
This is my one and only time
I've ever written an Indonesian joke.
825
00:46:15,650 --> 00:46:18,903
And it's a shame because this is one
of those one and only times...
826
00:46:19,111 --> 00:46:23,199
...where this would absolutely get cut
from an Indonesian market.
827
00:46:23,407 --> 00:46:26,535
But the whole thing ofjoki
and why it works so well in Indonesia...
828
00:46:26,744 --> 00:46:28,704
...when she says,
"Where do you come from?"
829
00:46:28,913 --> 00:46:33,793
"Joki" in Indonesia is when you have
like a carpool lane in the U.S...
830
00:46:34,001 --> 00:46:35,711
...or you have these roads...
831
00:46:35,920 --> 00:46:38,756
...that you have to have
more than one passenger in your car.
832
00:46:38,965 --> 00:46:41,884
And in Indonesia,
when you're driving along those areas...
833
00:46:42,093 --> 00:46:45,429
...before you get to those roads,
there's always people at the side...
834
00:46:45,638 --> 00:46:47,306
...and they'll put their fingers up.
835
00:46:47,515 --> 00:46:52,144
And if you stop over, you can pick one up
and then give them like a dollar or $2...
836
00:46:52,353 --> 00:46:54,188
...and they'll ride the road with you.
837
00:46:54,397 --> 00:46:57,733
And then they get off at the end
of the road, and then that's done.
838
00:46:57,942 --> 00:47:00,903
But the idea
is that the poor kid behind that curtain...
839
00:47:01,112 --> 00:47:05,032
...who is being treated so terribly by her
is just one of those guys from the joki...
840
00:47:05,241 --> 00:47:07,618
...when you kind of put
the two images together.
841
00:47:07,827 --> 00:47:11,747
For an Indonesian audience, at least,
it kind of works really well as a gag.
842
00:47:11,956 --> 00:47:14,208
But, unfortunately,
they won't get to see that.
843
00:47:14,792 --> 00:47:18,504
So let's step away from the dildos
and go back to Epy's hair.
844
00:47:18,713 --> 00:47:23,050
Basically, my whole remit on that one,
I told the makeup guy and the--
845
00:47:23,259 --> 00:47:25,928
The hairdresser, sorry,
for the role and that, I said:
846
00:47:26,137 --> 00:47:30,766
"it's the equivalent of this porn baron...
847
00:47:30,975 --> 00:47:34,437
...taking a photograph of some model
that he saw in a catalog."
848
00:47:34,645 --> 00:47:37,732
Instead of taking that photograph
to a salon to replicate it...
849
00:47:38,274 --> 00:47:42,361
...he took it to a junkie that he knows two
streets down that has a pair of scissors.
850
00:47:42,570 --> 00:47:45,781
And so that was like the design.
It was like, "Give me that haircut.
851
00:47:45,990 --> 00:47:47,283
Give him that look."
852
00:47:47,491 --> 00:47:51,037
And so, yeah,
we really just destroyed and ruined him.
853
00:47:54,498 --> 00:47:57,793
So now we're getting into our thing
of building up the tension...
854
00:47:58,002 --> 00:48:01,338
...of the fight sequence
before it all kicks off and explodes.
855
00:48:01,547 --> 00:48:03,090
This is something I like to do.
856
00:48:03,299 --> 00:48:05,426
I like to have
calm-before-the-storm moments.
857
00:48:05,634 --> 00:48:10,639
And, basically, what I wanted to do is to
kind of play around with, like, reflections.
858
00:48:10,848 --> 00:48:15,144
And we designed this thing where--
And it took ages for us to set this up...
859
00:48:15,352 --> 00:48:18,814
...because it was a combination
of positioning of the water on the floor...
860
00:48:19,023 --> 00:48:21,442
...then also,
the strength of the light on the gun...
861
00:48:21,650 --> 00:48:25,071
...and then, you know, darkening
the floor surface where the water was...
862
00:48:25,279 --> 00:48:27,823
...in order for us
to be able to just get this shot.
863
00:48:28,032 --> 00:48:30,993
So this sequence took like--
It took us like a day...
864
00:48:31,202 --> 00:48:33,621
...to just get
all of the build-up elements done...
865
00:48:33,829 --> 00:48:37,583
...before we were able to kind of
move forward, then back to the normal...
866
00:48:37,792 --> 00:48:41,921
...you know, head slamming, kicking
and pushing and shooting.
867
00:48:50,262 --> 00:48:53,557
So this was Oka's first introduction
to do an action scene.
868
00:48:53,766 --> 00:48:57,561
And this stunt right here, with
the pull down to the guy on the table...
869
00:48:57,978 --> 00:49:01,482
...that went terribly, terribly wrong
on the first guy that did it.
870
00:49:01,690 --> 00:49:04,985
Because the guy who first did it
misjudged his fall.
871
00:49:05,194 --> 00:49:06,445
Fell down way too early...
872
00:49:06,654 --> 00:49:10,950
...and then almost cracked his ribcage
open against the edge of the table.
873
00:49:11,325 --> 00:49:14,537
It was a bit of a rough patch for Oka.
I think he was kind of--
874
00:49:14,745 --> 00:49:17,706
He was definitely, like,
a little bit emotional about it.
875
00:49:17,915 --> 00:49:20,876
But I had to take him inside and say,
"This is going to happen.
876
00:49:21,085 --> 00:49:25,714
That kind of stuff will happen to everyone
on the shoot in some capacity or another.
877
00:49:25,923 --> 00:49:29,927
You know, don't beat yourself up about it.
Just-- Like, this is-- Carry on.
878
00:49:30,136 --> 00:49:33,430
Let's do the stunt. Gonna have to do it
because we're not gonna stop.
879
00:49:33,639 --> 00:49:35,349
You're gonna have to keep going."
880
00:49:35,683 --> 00:49:37,434
And...there you go.
881
00:49:37,643 --> 00:49:42,106
Okay, so this stunt,
jumping forward through the window...
882
00:49:42,314 --> 00:49:44,608
...I hate doing the stuff with glass.
883
00:49:44,817 --> 00:49:47,570
It's my least favorite
whenever it comes to these stunts...
884
00:49:47,778 --> 00:49:50,364
...because it doesn't matter
we're using tempered glass.
885
00:49:50,573 --> 00:49:55,661
Yeah, people get little cuts from them.
It's just the way the glass is.
886
00:49:55,995 --> 00:49:57,830
And so--
Especially for a jump like that.
887
00:49:58,038 --> 00:50:02,168
We had Yandi, our stunt guy,
stunt doubling for Epy to do the jump.
888
00:50:02,668 --> 00:50:06,172
And you can see,
if you go through it frame by frame...
889
00:50:06,380 --> 00:50:10,259
...literally about three frames
before he makes impact with the glass...
890
00:50:10,467 --> 00:50:13,262
...we had like an--
Like a squib charge go off...
891
00:50:13,470 --> 00:50:15,848
...to kind of make it splintered already.
892
00:50:16,056 --> 00:50:19,268
And so, yeah, the timing
of the squib guys was just amazing.
893
00:50:19,476 --> 00:50:21,061
It was just perfect for that.
894
00:50:21,770 --> 00:50:25,566
Epy himself is like-- You know,
he's a very kind of physical actor.
895
00:50:25,774 --> 00:50:28,360
Like, when we did Safe Haven,
he wanted to be the guy...
896
00:50:28,527 --> 00:50:32,323
...who would do the jumps and the grabs
and the stabs and everything else.
897
00:50:32,531 --> 00:50:33,741
But on this one...
898
00:50:33,949 --> 00:50:37,536
...there are certain moments where
we just had to bring in a fight double.
899
00:50:37,745 --> 00:50:39,997
But he trained
as much as anyone else did.
900
00:50:40,414 --> 00:50:43,417
He came in and sort of, like, learned
the choreography with lko.
901
00:50:43,626 --> 00:50:47,171
And, yeah, for his moments
when it is him, man, he went full-on.
902
00:50:47,880 --> 00:50:50,507
So I was proud of him
and proud of his performance here.
903
00:50:50,716 --> 00:50:53,886
And he's a great comedic actor.
He's got great timing as well.
904
00:50:54,094 --> 00:50:55,679
And he's got this great look, so--
905
00:50:55,888 --> 00:50:58,349
Yeah, absolute joy
to work with him again.
906
00:50:58,974 --> 00:51:00,643
He did good.
907
00:51:00,809 --> 00:51:02,728
Hounded him down quickly and cleanly.
908
00:51:02,895 --> 00:51:05,022
You'd swear he's been doing it all his life.
909
00:51:05,189 --> 00:51:06,607
Didn't take a wrong step.
910
00:51:09,109 --> 00:51:10,319
0K8)'-
911
00:51:10,486 --> 00:51:13,239
So, what I wanted to do is kind of like--
With this scene...
912
00:51:13,447 --> 00:51:18,535
...was start to sow the seeds
of Uco's ambitions...
913
00:51:18,744 --> 00:51:22,206
...and to present him as somebody
who, you know, wants more in life.
914
00:51:22,414 --> 00:51:25,167
Now, Uco as a character...
915
00:51:27,169 --> 00:51:31,674
...it's difficult for me to describe
because for me, for Uco...
916
00:51:31,882 --> 00:51:36,971
...I have, like, a certain feeling
of, like, sympathy for him...
917
00:51:37,179 --> 00:51:38,514
...in certain respects.
918
00:51:38,722 --> 00:51:40,975
Like, he does have
this vulnerable side of him...
919
00:51:41,183 --> 00:51:44,353
...kind of created from the distance
between him and his father.
920
00:51:44,561 --> 00:51:47,648
And so there is like a sympathy
towards him as well.
921
00:51:47,856 --> 00:51:49,566
But at the same time...
922
00:51:49,775 --> 00:51:53,946
...like, I also kind of hate him too,
which is kind of contradictory, I guess.
923
00:51:54,154 --> 00:51:58,450
But the thing that Uco represents
is this--
924
00:51:58,659 --> 00:52:05,291
This terrible elitist side
of some of the Indonesian upper class.
925
00:52:05,624 --> 00:52:11,297
Like, these sort of spoiled rich kids that
you see just sort of bitching endlessly...
926
00:52:11,505 --> 00:52:15,592
...and moaning about, like, the country
and the way it's run and the way it is...
927
00:52:15,801 --> 00:52:18,721
...and, you know, how much better
other countries are than it.
928
00:52:18,929 --> 00:52:21,056
And then they just don't do anything
about it.
929
00:52:21,265 --> 00:52:24,310
They just continue to bitch and moan.
And they have the resources.
930
00:52:24,518 --> 00:52:26,562
They have the finance,
the connections.
931
00:52:26,770 --> 00:52:29,189
They have so much at their disposal
they could use...
932
00:52:29,398 --> 00:52:31,775
...in order to help out the country,
but they don't.
933
00:52:31,984 --> 00:52:34,486
They choose to just, you know,
do what this guy does...
934
00:52:34,695 --> 00:52:38,365
...which is, you know, get drunk
and then, you know, abuse his power...
935
00:52:38,574 --> 00:52:41,327
...abuse his position and his situation.
936
00:52:41,535 --> 00:52:45,164
So to a certain degree, I guess,
yeah, it's--
937
00:52:45,372 --> 00:52:48,792
It's a love-hate relationship
that I felt with Uco when I was writing him.
938
00:52:57,760 --> 00:52:59,803
Would you like a drink?
939
00:52:59,970 --> 00:53:02,056
No, I'm fine, thanks.
940
00:53:03,599 --> 00:53:07,311
So this was a moment then--
Because previously we had this scene...
941
00:53:07,770 --> 00:53:10,272
...where this was carrying on--
About Uco's character.
942
00:53:10,481 --> 00:53:13,275
But previously we had the scene
with Uco with his father...
943
00:53:13,484 --> 00:53:16,528
...where we kind of got to instill
some sympathy in him.
944
00:53:16,737 --> 00:53:19,323
We got to feel this moment
where he was reaching out...
945
00:53:19,531 --> 00:53:22,409
...and trying to be ambitious,
trying to show his father...
946
00:53:22,618 --> 00:53:25,037
...what he wanted to achieve,
what he wanted to be...
947
00:53:25,245 --> 00:53:29,583
...and to say, like, "I'm ready for this,"
only to be told "no" by his father...
948
00:53:29,792 --> 00:53:32,669
...only to be completely
sort of emasculated by him.
949
00:53:32,878 --> 00:53:37,466
And so then what I wanted to do
is just to give this audience a moment...
950
00:53:37,674 --> 00:53:41,553
...where they have this window into
his character, feel something for him...
951
00:53:41,762 --> 00:53:46,642
...to completely, like, destroy
that sympathy within the next scene.
952
00:53:46,850 --> 00:53:51,105
Because he already is, you know,
instigating this situation.
953
00:53:51,313 --> 00:53:54,775
He's pushing for this moment.
He wants to vent on someone.
954
00:53:54,983 --> 00:53:56,777
And the people he's picking...
955
00:53:56,985 --> 00:54:00,322
...are people that, you know,
can't defend themselves against him...
956
00:54:00,531 --> 00:54:02,533
...that are powerless against him.
957
00:54:02,741 --> 00:54:04,827
And so the-- You know, this--
958
00:54:05,035 --> 00:54:08,664
We-- I know when we did, like,
our first sort of like edit of this and we'd--
959
00:54:08,872 --> 00:54:12,751
And I presented this scene as part
of sort of the rough cut of the film...
960
00:54:13,210 --> 00:54:15,921
...there were a lot of question marks
over it.
961
00:54:16,130 --> 00:54:20,384
Because I know, like, some of the guys,
like, at XYZ were kind of wondering:
962
00:54:20,592 --> 00:54:22,553
"Is it too much? Is it too strong?
963
00:54:22,761 --> 00:54:25,806
Do we need it? Do we need to see
this side of him and--" You know?
964
00:54:26,014 --> 00:54:29,476
I'll be honest. I wanted to push it ahead,
I wanted to push it through...
965
00:54:29,685 --> 00:54:33,647
...because I just felt like it was
so important to have something in there...
966
00:54:33,856 --> 00:54:38,527
...which presented Uco
as, you know, our potential bad guy.
967
00:54:39,528 --> 00:54:42,990
Because he skirts this line of being
someone we can sympathize with...
968
00:54:43,198 --> 00:54:46,452
...and then somebody who's just
absolutely morally reprehensible.
969
00:54:46,660 --> 00:54:50,789
And so this was like that-- Sort of like that
big showcase moment of--
970
00:54:50,998 --> 00:54:53,709
Of that element of him,
that dark side of him...
971
00:54:53,917 --> 00:54:57,004
...that aggression in him,
the demon in him, really.
972
00:54:57,337 --> 00:54:58,630
Don't you fucking dare!
973
00:54:59,131 --> 00:55:02,050
And Patty here is great.
She was so great in this performance.
974
00:55:02,259 --> 00:55:06,054
We wanted to have this moment where
it's like she's been in this situation before.
975
00:55:06,638 --> 00:55:09,308
And the--
Maybe the last time she hesitated...
976
00:55:09,516 --> 00:55:11,059
...and didn't press the button.
977
00:55:11,268 --> 00:55:14,396
And we wanted to kind of have
this, like, little section for her...
978
00:55:14,605 --> 00:55:16,356
...and a subpart of her character...
979
00:55:16,565 --> 00:55:19,193
...where she's not gonna make
that mistake again.
980
00:55:19,651 --> 00:55:21,945
"Oh, I'm sorry, I can't. No, no."
Bullshit!
981
00:55:22,112 --> 00:55:23,405
But not tonight!
982
00:55:23,572 --> 00:55:27,367
So this dialogue was improvised. This is
something that we-- That I came to Uco--
983
00:55:27,534 --> 00:55:30,704
I came to Arifin and said,
"I've written this dialogue for you...
984
00:55:30,913 --> 00:55:34,124
...and this is gonna be that moment
where we start introducing you...
985
00:55:34,333 --> 00:55:38,045
...complaining about sort of, like, you
know, the country on a national level...
986
00:55:38,253 --> 00:55:42,925
...and to sort of start sewing those seeds
of, like, false patriotism."
987
00:55:44,134 --> 00:55:47,012
ls everything okay here, sir?
988
00:55:47,930 --> 00:55:49,932
No, we're all good.
989
00:55:50,766 --> 00:55:54,645
I loved shooting in this place.
This is my favorite day of the shoot...
990
00:55:55,020 --> 00:55:57,814
...because all the cast were so given
to the scene...
991
00:55:58,023 --> 00:56:01,026
...and they all kind of, like, nailed
their performances.
992
00:56:01,235 --> 00:56:05,072
And on top of that, we got this great
sort of, like, looking production design...
993
00:56:05,280 --> 00:56:07,282
...for the actual set itself.
994
00:56:07,491 --> 00:56:12,788
This is a real karaoke place
in Bandung that we shot in.
995
00:56:12,996 --> 00:56:18,043
And if you look closely, you can see,
like, outside of the main door...
996
00:56:18,252 --> 00:56:22,172
...all of the names of the karaoke booths
that are written on the doors.
997
00:56:22,381 --> 00:56:24,675
So they have--
Not on this because we replaced it.
998
00:56:24,883 --> 00:56:27,594
But they all have names of countries...
999
00:56:27,803 --> 00:56:31,056
...and they're all themed
according to different countries.
1000
00:56:31,265 --> 00:56:36,687
Part of the reason why Arifin mentions
about meeting up with Uzbeki girls...
1001
00:56:36,895 --> 00:56:40,190
...is because every time we would
kind of walk down these corridors...
1002
00:56:40,607 --> 00:56:43,819
...you'd see these rooms
themed to do with different countries.
1003
00:56:44,027 --> 00:56:46,113
So there was--
There was Russia, Uzbekistan.
1004
00:56:46,321 --> 00:56:48,490
And that just--
It became one of those things...
1005
00:56:48,699 --> 00:56:50,492
...that I'd hear the crew guys saying.
1006
00:56:50,659 --> 00:56:53,870
And then that became like an element
of the dialogue in the film then.
1007
00:56:54,037 --> 00:56:56,540
I'm fine, I don't care
what some hooker says.
1008
00:56:57,666 --> 00:56:59,376
It's that she had the fucking nerve--
1009
00:56:59,585 --> 00:57:03,880
So here we're having this first opportunity
for Rama and Uco to have like a--
1010
00:57:04,089 --> 00:57:07,634
Have a quiet moment where they're open
and sharing with each other.
1011
00:57:07,843 --> 00:57:10,679
We had a deleted scene
that, you know, was way back...
1012
00:57:10,846 --> 00:57:12,889
...in the prison riot.
After the prison riot.
1013
00:57:13,098 --> 00:57:17,102
Were gonna have a scene of them being
dragged into two confinement cells...
1014
00:57:17,311 --> 00:57:21,315
...and sat next to each other
and, you know, discussing the future...
1015
00:57:21,523 --> 00:57:25,569
...and discussing what they're going to do
now that they would come under attack...
1016
00:57:25,777 --> 00:57:27,738
...in the prison.
And that was designed...
1017
00:57:27,946 --> 00:57:30,657
...to sort of establish their relationship
together.
1018
00:57:30,866 --> 00:57:33,160
But then we cut it
for numerous reasons.
1019
00:57:33,368 --> 00:57:35,746
One of the main ones being pacing.
1020
00:57:35,954 --> 00:57:38,915
And I'm kind of glad we did
because it works so much better...
1021
00:57:39,124 --> 00:57:42,336
...with this being that first moment,
the time when he's vulnerable...
1022
00:57:42,544 --> 00:57:45,631
...and, you know, still within
a certain amount of anger and rage.
1023
00:57:45,839 --> 00:57:48,675
That it was a good opportunity for us
to do that.
1024
00:57:49,635 --> 00:57:51,928
Okay, so I gotta explain that...
1025
00:57:52,137 --> 00:57:53,847
...because it'll come back later on.
1026
00:57:54,056 --> 00:57:56,808
The cold breath in the air.
1027
00:57:58,352 --> 00:58:00,979
This is something
that ties in with the snow later on...
1028
00:58:01,188 --> 00:58:04,274
...in the film,
and, you know, we'll see it later on.
1029
00:58:04,483 --> 00:58:06,652
But I'll kind of give an explanation for it.
1030
00:58:06,860 --> 00:58:10,822
So anytime that Bejo
is involved in this film...
1031
00:58:11,615 --> 00:58:14,451
...I wanted it to feel like
the temperature of the film drops.
1032
00:58:14,660 --> 00:58:18,538
So the very first time we see him
with Donny, with Andi's char--
1033
00:58:18,747 --> 00:58:21,166
Sorry. Denny's character, Andi...
1034
00:58:21,917 --> 00:58:23,210
...Andi is shivering.
1035
00:58:23,418 --> 00:58:26,922
Like, they're all wearing winter coats.
And that's very, like, uncommon...
1036
00:58:27,130 --> 00:58:28,548
...in terms of Indonesia.
1037
00:58:28,757 --> 00:58:33,053
And then, you know,
when Bejo phones up with Uco...
1038
00:58:33,261 --> 00:58:36,682
...his breath comes out.
We see it hanging in the air.
1039
00:58:36,890 --> 00:58:40,143
And so then there's this link then
between the two.
1040
00:58:40,352 --> 00:58:43,522
Later on, we'll see the guys
being pulled out of a freezer.
1041
00:58:43,730 --> 00:58:46,566
There's a sacrifice,
and then they're shivering as well.
1042
00:58:46,775 --> 00:58:50,278
And then the final climax of it
is obviously with Prakoso...
1043
00:58:50,487 --> 00:58:53,699
...is the idea that, you know,
it's reached that tipping point now...
1044
00:58:53,907 --> 00:58:58,870
...where there's snow everywhere
and that it fills the entire landscape.
1045
00:58:59,621 --> 00:59:00,956
To a certain degree...
1046
00:59:01,164 --> 00:59:04,167
...that's a complete bullshit
pretentious little excuse for me...
1047
00:59:04,376 --> 00:59:06,336
...just being able to have snow
in the set.
1048
00:59:06,545 --> 00:59:09,423
And we can't have snow anywhere
near Indonesia.
1049
00:59:09,631 --> 00:59:13,260
But it's a pretentious bullshit answer
that actually does kind of hold...
1050
00:59:13,468 --> 00:59:15,345
...some form of logic to it too.
1051
00:59:15,554 --> 00:59:17,389
So I'm sticking with it...
1052
00:59:17,597 --> 00:59:21,435
...for anyone that just cannot get over
the fact that there's snow in Indonesia.
1053
00:59:21,643 --> 00:59:24,020
But for anyone that's okay
with snow in Indonesia...
1054
00:59:24,229 --> 00:59:26,273
...thank you for being cool about it.
1055
00:59:26,481 --> 00:59:29,526
So I should probably talk
about Yayan Ruhian...
1056
00:59:29,735 --> 00:59:31,278
...who's playing Prakoso here.
1057
00:59:31,486 --> 00:59:34,906
Now, a lot of people recognize him
as Mad Dog from the first movie...
1058
00:59:35,115 --> 00:59:38,660
...and so we went through a lot of effort
to make him feel a lot different...
1059
00:59:38,869 --> 00:59:43,915
...from that previous movie. Obviously,
we, alongside my makeup chief...
1060
00:59:44,124 --> 00:59:47,502
...Kumalasari Tanara,
designed a whole new look for him...
1061
00:59:47,711 --> 00:59:50,756
...where we kind of, like, aged his skin
and gave him a beard.
1062
00:59:50,964 --> 00:59:55,469
And then, you know, his hair, we grew it
out and we kind of dyed it gray.
1063
00:59:55,677 --> 00:59:59,139
And, you know, just comple--
A large part of that transformation...
1064
00:59:59,347 --> 01:00:01,308
...come from Yayan
in terms of performance.
1065
01:00:01,516 --> 01:00:04,519
It's such a, like, 180 in comparison
to what he did as Mad Dog.
1066
01:00:04,728 --> 01:00:09,065
Here it's like-- It's more sort of introverted.
It's more sort of like that lonely guy...
1067
01:00:09,483 --> 01:00:12,569
...as opposed to Mad Dog,
who is kind ofjust this badass...
1068
01:00:12,778 --> 01:00:15,238
...who had all these witty quips
every now and then.
1069
01:00:15,447 --> 01:00:18,867
So, you know, now he's just--
It's just pure work ethic.
1070
01:00:19,075 --> 01:00:23,497
What I wanted to do with this was-- This
is one of the first designs for the film...
1071
01:00:23,705 --> 01:00:27,626
...back about three or four years ago,
was this idea of let's do a fight scene...
1072
01:00:27,834 --> 01:00:29,753
...where we have a hit man
with a machete.
1073
01:00:29,961 --> 01:00:32,047
But he won't use it
on any of the bodyguards.
1074
01:00:32,255 --> 01:00:35,467
So he ends up having to fight
against all these guys one-handed...
1075
01:00:35,675 --> 01:00:40,889
...while he saves that machete for use
only on the person that's the target.
1076
01:00:42,224 --> 01:00:45,602
And so, yeah, it was fun.
We kind of went through everything.
1077
01:00:45,811 --> 01:00:48,396
We kind of, like, got together
in the office...
1078
01:00:48,605 --> 01:00:51,316
...and started to think
of all these things we could do...
1079
01:00:51,525 --> 01:00:53,568
...all these pieces
of choreography design...
1080
01:00:53,860 --> 01:00:58,907
...locks like that one and lock and
the break of the wrist using the chin.
1081
01:00:59,115 --> 01:01:02,786
These fascinating little movements
that we could put into the scene here...
1082
01:01:02,994 --> 01:01:07,999
...and show something we haven't done,
show an element we haven't explored.
1083
01:01:15,590 --> 01:01:18,635
Part of me doesn't like that shot.
I like it in theory.
1084
01:01:18,844 --> 01:01:21,972
I like the idea of doing
that bird's-eye view with the pan...
1085
01:01:22,180 --> 01:01:27,102
...but we had to do it on-- Like, on a--
I think it was on a Jimmy Jib.
1086
01:01:27,310 --> 01:01:29,646
And so we had, like,
sort of a motorized control.
1087
01:01:29,855 --> 01:01:32,440
And you can really feel
that motorized element to it.
1088
01:01:32,649 --> 01:01:33,900
It doesn't stop clean.
1089
01:01:59,718 --> 01:02:01,553
This location...
1090
01:02:01,761 --> 01:02:05,307
Okay, so this is right next to the airport
in Jakarta.
1091
01:02:05,515 --> 01:02:07,350
And I had seen this
over and over again.
1092
01:02:07,559 --> 01:02:11,897
And similarly to-- As I was talking earlier
about there were certain cast members...
1093
01:02:12,105 --> 01:02:15,775
...that I kind of approached about this...
1094
01:02:15,984 --> 01:02:18,987
...when it was in its previous incarnation
about four years ago.
1095
01:02:19,195 --> 01:02:23,116
There are also some locations that I had
seen, you know, about four years ago...
1096
01:02:23,325 --> 01:02:26,453
...that I really wanted to use in the film
that I kind of hung onto.
1097
01:02:26,661 --> 01:02:28,204
This is one of them.
1098
01:02:29,456 --> 01:02:32,751
And, literally, about--
Maybe about a month...
1099
01:02:32,959 --> 01:02:36,296
...before we were about to shoot here,
there was, like, extreme floods.
1100
01:02:36,630 --> 01:02:40,842
And so the government had dug up
all of the grass on here...
1101
01:02:41,051 --> 01:02:43,929
...and then dumped the mud
in order to sort of, you know...
1102
01:02:44,137 --> 01:02:46,514
...help stem the tide on the water
as it was rising.
1103
01:02:46,681 --> 01:02:49,768
And so that's why it's all so kind of like,
you know, dead grass...
1104
01:02:49,976 --> 01:02:53,521
...and dead leaves around the area,
is because it was completely destroyed.
1105
01:02:53,730 --> 01:02:58,693
So it was this beautiful stretch of green
that I had seen for four years...
1106
01:02:58,902 --> 01:03:02,989
...and then, all of a sudden,
this one time the waters rose...
1107
01:03:03,198 --> 01:03:06,534
...that was the time about-- Just
before we were about to shoot there...
1108
01:03:06,743 --> 01:03:09,788
...that completely changed the look
of the landscape for us.
1109
01:03:12,207 --> 01:03:14,084
He won't, sir.
1110
01:03:14,250 --> 01:03:17,170
The time I've known him,
he speaks nothing but highly of you.
1111
01:03:18,713 --> 01:03:25,261
We have these little moments here where
we kind of hint at back-story in Bangun.
1112
01:03:25,720 --> 01:03:27,806
He says about, you know:
1113
01:03:28,014 --> 01:03:30,934
"I don't want my son to, like, lose--
1114
01:03:31,142 --> 01:03:34,020
I don't want my son to learn from the loss
the same way I did."
1115
01:03:34,229 --> 01:03:37,273
And so it's kind of like showing
this element of, like, regret.
1116
01:03:37,482 --> 01:03:40,819
And we've always kind of had Bangun
wearing a wedding ring...
1117
01:03:41,027 --> 01:03:43,321
...but we never see his wife.
It was this idea...
1118
01:03:43,530 --> 01:03:48,201
...that, like, part of his back-story
would be that she was taken from him...
1119
01:03:48,410 --> 01:03:51,538
...when he was the one that was
supposed to be taken from the earth.
1120
01:03:51,746 --> 01:03:55,291
And so I wanted to kind of have
these little--
1121
01:03:55,500 --> 01:03:59,045
Subtle little sort of lines of dialogue
that just hinted at a back-story...
1122
01:03:59,254 --> 01:04:01,297
...that hinted at a sort of life of regret.
1123
01:04:02,674 --> 01:04:05,635
Because, you know, I just--
I wanted to have that--
1124
01:04:05,844 --> 01:04:10,181
That weight over the--
His worry for his son.
1125
01:04:10,390 --> 01:04:13,143
And to kind of have this moment
where, like, he's showing...
1126
01:04:13,351 --> 01:04:16,855
...that he genuinely cares about him,
genuinely wants his son to be okay.
1127
01:04:17,063 --> 01:04:22,277
But he can only do that in front of other
people, never in front of Uco himself.
1128
01:04:24,154 --> 01:04:27,407
The main difference between you and I
can be defined by one word.
1129
01:04:27,907 --> 01:04:29,409
Legacy-
1130
01:04:29,576 --> 01:04:30,952
So this location--
1131
01:04:31,327 --> 01:04:34,164
Okay, so this location
was an absolute nightmare to find...
1132
01:04:34,372 --> 01:04:37,667
...but I'm so glad we found this one
because the layout, structure...
1133
01:04:37,876 --> 01:04:40,378
...the look of it, the lights,
the sort of--
1134
01:04:40,587 --> 01:04:44,215
The staggered ceiling,
that was all there, that was all for real.
1135
01:04:44,424 --> 01:04:48,928
What wasn't there was that stage
and the bar in the background.
1136
01:04:49,721 --> 01:04:51,473
That we had to add ourselves.
1137
01:04:51,681 --> 01:04:54,851
And actually, interestingly,
the stairs leading up to the bar...
1138
01:04:55,060 --> 01:04:56,770
...those are CGI stairs...
1139
01:04:56,978 --> 01:04:59,606
...because we didn't have time
to build the entire set...
1140
01:04:59,814 --> 01:05:03,777
...and then, also, to have it like, you know,
looking as polished as we wanted.
1141
01:05:03,985 --> 01:05:07,030
So we did a lot of little cleanups
every now and then with CG...
1142
01:05:07,238 --> 01:05:11,868
...in order to kind of make the overall feel
of this a lot more high-class...
1143
01:05:12,077 --> 01:05:13,953
...than it actually looked.
1144
01:05:15,705 --> 01:05:20,210
This hotel is actually in Bandung,
a place called Hotel Horison.
1145
01:05:20,418 --> 01:05:23,797
We'd been discussing with a few other
places about using their ballrooms.
1146
01:05:24,005 --> 01:05:30,386
And after a few months of trying,
we were stuck. We had nothing left.
1147
01:05:30,595 --> 01:05:33,640
And then, suddenly,
this place was presented to me...
1148
01:05:33,848 --> 01:05:36,893
...during the middle of the shoot.
So we would literally go off...
1149
01:05:37,102 --> 01:05:42,107
...and then take a look at this other hotel
after we'd wrapped on a shoot.
1150
01:05:42,315 --> 01:05:45,026
And so, yeah,
it was immediately something that I saw...
1151
01:05:45,235 --> 01:05:48,947
...and, you know, wanted to use and felt
that it had, like, a good character...
1152
01:05:49,155 --> 01:05:51,741
...in terms of being able
to be converted into...
1153
01:05:51,950 --> 01:05:55,078
...being something
that would be Bejo's restaurant.
1154
01:05:57,664 --> 01:06:00,416
But no, that's not me.
1155
01:06:00,959 --> 01:06:02,836
Not today at least.
1156
01:06:03,878 --> 01:06:07,966
So this is what I was talking about earlier,
that idea of every time Bejo is involved...
1157
01:06:08,174 --> 01:06:10,510
...we start dropping the temperature
in the film.
1158
01:06:10,969 --> 01:06:14,722
And so, you know, the guys
who are sort of inside that freezer...
1159
01:06:14,931 --> 01:06:19,269
...like, they're being brought now
to be the sacrifice for Uco.
1160
01:06:19,477 --> 01:06:21,604
Because they obviously
were instrumental...
1161
01:06:21,813 --> 01:06:25,775
...in the attack on his life
when he was in prison.
1162
01:06:27,068 --> 01:06:30,446
And, yeah, assuming you guys
have seen this now already...
1163
01:06:30,655 --> 01:06:32,407
...and have to-- But like--
1164
01:06:32,615 --> 01:06:37,120
These guys are part of Bejo's clan.
And that was always the intention...
1165
01:06:37,328 --> 01:06:41,708
...is to kind of have this moment whereby
we show sort of their similar tattoos.
1166
01:06:41,916 --> 01:06:44,169
They all have the same tattoo
on their wrists.
1167
01:06:44,377 --> 01:06:50,175
And, basically, when we reveal
that Bejo shares that tattoo...
1168
01:06:50,383 --> 01:06:54,512
...it makes it all the more creepier for me
then, that idea that these guys were--
1169
01:06:54,721 --> 01:06:57,891
Like because there's this
tribal element in play...
1170
01:06:58,099 --> 01:07:03,771
...when it comes to this gang,
where they will literally give their lives...
1171
01:07:03,980 --> 01:07:07,150
...in order for their boss to establish
himself, for him to become--
1172
01:07:07,358 --> 01:07:11,529
Like, a rise in power
in terms of their organization.
1173
01:07:11,738 --> 01:07:14,657
And so that's something
we play on later on...
1174
01:07:14,866 --> 01:07:18,703
...when there's like this shared look
between Bejo and Zack...
1175
01:07:18,912 --> 01:07:21,623
...where he literally gives himself
in to U00...
1176
01:07:21,831 --> 01:07:23,666
...who's about to out his throat.
1177
01:07:23,875 --> 01:07:26,502
So, yeah, that was like a big
sort of important factor...
1178
01:07:26,711 --> 01:07:29,589
...of the relationship between them.
1179
01:07:30,757 --> 01:07:33,009
I give you the opportunity...
1180
01:07:34,761 --> 01:07:36,971
...to claim revenge.
1181
01:07:49,984 --> 01:07:52,528
One of the things
I wanted to do with this scene--
1182
01:07:52,737 --> 01:07:53,780
Because I'm not--
1183
01:07:53,988 --> 01:07:57,909
Okay, so contrary to popular belief...
1184
01:07:58,117 --> 01:08:04,582
...I'm not really a huge fan of, like,
extreme, extreme violence in a movie.
1185
01:08:04,791 --> 01:08:07,418
Granted we have a number
of big punch line moments...
1186
01:08:07,627 --> 01:08:10,797
...but I've always had this thing
whereby the way my dad raised me...
1187
01:08:11,005 --> 01:08:14,634
...the movies my dad showed me and
the movies that my dad responded to...
1188
01:08:14,842 --> 01:08:18,596
...it was a thing of you can have visceral
moments of violence in your film...
1189
01:08:18,805 --> 01:08:22,475
...you can have elements in there
which are kind of harsh and aggressive...
1190
01:08:22,684 --> 01:08:24,394
...but never let it be something...
1191
01:08:24,602 --> 01:08:27,605
...where you focus on the pain,
where you focus on the torture.
1192
01:08:27,814 --> 01:08:30,692
So, like, I kind of went out of my way
in order to kind of--
1193
01:08:30,900 --> 01:08:34,862
When it came to writing this scene, to try
to kind of soften the blow a little bit...
1194
01:08:35,071 --> 01:08:38,825
...on, you know, all of his concerns
and was to kind of be able to say to him:
1195
01:08:39,033 --> 01:08:41,536
"Look, trust me.
I know how I'm gonna shoot this.
1196
01:08:41,744 --> 01:08:44,247
I'm gonna shoot this
where you're not gonna feel it...
1197
01:08:44,455 --> 01:08:46,749
...as much as you usually would."
1198
01:08:46,958 --> 01:08:50,962
But it's very difficult to kind of, you know,
do a scene like this...
1199
01:08:51,170 --> 01:08:53,798
...where, you know, in the--
For a large part of it...
1200
01:08:54,007 --> 01:08:58,094
...it's all about this
sort of like incredibly violent act...
1201
01:08:58,303 --> 01:09:01,806
...but being ignored by the two of them.
They continue to talk business.
1202
01:09:02,015 --> 01:09:04,475
They don't--
They don't sort of skip a beat even.
1203
01:09:04,684 --> 01:09:08,438
And so, yeah, it was--
There were a few moments--
1204
01:09:08,646 --> 01:09:10,565
There's two moments
coming up later on...
1205
01:09:10,773 --> 01:09:14,027
...where he sort of, like, stops
halfway through on a guy's throat.
1206
01:09:14,235 --> 01:09:17,447
And my approach is always like,
"These are moments in that scene...
1207
01:09:17,655 --> 01:09:21,534
...which could tip it over the edge into
that thing of the suffering and the pain.
1208
01:09:22,118 --> 01:09:24,620
But as long as I keep my camera
wide enough...
1209
01:09:24,829 --> 01:09:27,123
...as long as I stay far away
from him...
1210
01:09:27,332 --> 01:09:33,338
...then, you know, it won't be seen
as exploitative as it would otherwise."
1211
01:09:33,755 --> 01:09:38,509
And it's kind of important for me because,
like, I totally respect, like, my dad.
1212
01:09:38,718 --> 01:09:43,389
He's been a huge sort of guiding force
in terms of, like, everything I've done.
1213
01:09:43,765 --> 01:09:46,559
There's a message for him
at the end, and it's true.
1214
01:09:46,768 --> 01:09:50,146
I mean, he's read every single draft
of every script I've ever written...
1215
01:09:50,355 --> 01:09:53,358
...and he's also watched every cut
of every film I've made...
1216
01:09:53,566 --> 01:09:57,403
...and has given me notes and has
kind of, like, you know, skirted that line...
1217
01:09:57,612 --> 01:10:00,907
...of being the supportive dad,
but also being the critic of it...
1218
01:10:01,115 --> 01:10:03,743
...when something feels wrong,
something feels too much.
1219
01:10:03,951 --> 01:10:06,412
And you know what?
For me it's been a thing of this:
1220
01:10:06,621 --> 01:10:09,207
If he doesn't feel offended by something,
then I'm okay.
1221
01:10:09,415 --> 01:10:14,045
And, you know, he was fine with this.
Like, he felt like the cutaway points...
1222
01:10:14,253 --> 01:10:19,133
...were at the right point, the right time.
And it could have so easily have been...
1223
01:10:19,342 --> 01:10:24,097
...you know, a different focus and a more
dangerous approach to the scene.
1224
01:10:24,263 --> 01:10:25,431
Everyone has their limit.
1225
01:10:25,598 --> 01:10:29,018
One of the things I wanted to do
is establish this thing in this scene.
1226
01:10:29,227 --> 01:10:31,396
It's important,
says a lot about this character.
1227
01:10:31,604 --> 01:10:37,985
It's that idea of, with all the other guys
that he kills, he does it indiscriminately.
1228
01:10:38,194 --> 01:10:40,613
He does it casually
and continues to talk business...
1229
01:10:40,822 --> 01:10:42,407
...throughout the entire process.
1230
01:10:42,615 --> 01:10:45,910
When it comes to Benny, Benny
is kind of like the representation of it...
1231
01:10:46,119 --> 01:10:47,954
...being like the prize.
1232
01:10:48,162 --> 01:10:51,624
He's like-- He's the one
that he really wants to enjoy himself with.
1233
01:10:51,833 --> 01:10:55,169
And, you know, this idea of grabbing him
and then shushing him...
1234
01:10:55,378 --> 01:10:58,840
...and getting him to calm down,
it's just all about that emasculation.
1235
01:10:59,048 --> 01:11:02,176
It's all about the idea
of making him feel small and pathetic...
1236
01:11:02,385 --> 01:11:05,930
...and realizing that, you know,
it doesn't matter how hard he tries...
1237
01:11:06,389 --> 01:11:08,182
...there's only one outcome from this.
1238
01:11:08,850 --> 01:11:13,187
So there's your little signifier
that we use later on in the film...
1239
01:11:13,396 --> 01:11:16,607
...about the tattoo and the idea of it
linking them together.
1240
01:11:16,816 --> 01:11:20,611
And that's that look I talked about earlier
as well, that resignation of defeat.
1241
01:11:20,987 --> 01:11:23,990
And this is, you know,
the ultimate sacrifice for his boss.
1242
01:11:24,198 --> 01:11:26,492
Because, technically,
that's what's happening now.
1243
01:11:26,701 --> 01:11:29,203
We're seeing it
for the first time in the movie...
1244
01:11:29,412 --> 01:11:31,539
...through a different pair of eyes.
1245
01:11:31,747 --> 01:11:34,333
But, yeah, all those things
are inside that performance.
1246
01:11:34,542 --> 01:11:38,588
And we had to kind of, like, find a way
to hint at those without being too obvious.
1247
01:11:38,796 --> 01:11:43,342
So Bejo's reaction,
the look that Bejo gave him back...
1248
01:11:43,551 --> 01:11:46,929
...we had to be so careful with that
not to hint at anything too much.
1249
01:11:47,138 --> 01:11:52,018
But there's a little feeling there
and it's enough to keep us going.
1250
01:11:53,853 --> 01:11:59,775
Now, you know, we're in a point now
where I wanted to kind of come back...
1251
01:11:59,984 --> 01:12:05,406
...to that idea of reinforcing Rama's goal
with his-- In his mission.
1252
01:12:05,615 --> 01:12:06,949
Because, you know, he's--
1253
01:12:07,158 --> 01:12:10,244
At the moment we've got this position
where he doesn't know...
1254
01:12:10,453 --> 01:12:14,457
...that Uco is meeting with Bejo at all.
All he's hearing is voices.
1255
01:12:14,665 --> 01:12:18,002
He doesn't know who owns this place
and who he's talking to...
1256
01:12:18,211 --> 01:12:19,754
...because it's all just audible.
1257
01:12:19,962 --> 01:12:23,716
And so, you know, this is a moment
where we got to show a little bit...
1258
01:12:23,925 --> 01:12:29,305
...of a proactive side of Rama where
he's actually investigating properly.
1259
01:12:29,514 --> 01:12:32,892
And, you know, he's playing,
you know, good cop here.
1260
01:12:33,100 --> 01:12:37,480
But then the idea is just how easily
he gets swayed emotionally...
1261
01:12:37,688 --> 01:12:42,151
...when he realizes that, stood like literally
like a hundred yards away from him...
1262
01:12:42,360 --> 01:12:47,406
...is the person that killed his brother,
is the person that destroyed his family...
1263
01:12:47,615 --> 01:12:51,786
...and, you know, is the person that he
ultimately wants to get revenge against...
1264
01:12:51,994 --> 01:12:53,829
...and that he wants to take out.
1265
01:12:54,038 --> 01:12:57,333
And so it kind of-- It was an interesting
opportunity to play around...
1266
01:12:57,542 --> 01:13:01,337
...with some of those, you know,
motivational issues with the character...
1267
01:13:01,546 --> 01:13:05,800
...and to try to-- The goal was always to
kind of put these things in front of him...
1268
01:13:06,008 --> 01:13:09,136
...which could be stumbling blocks
from him staying professional...
1269
01:13:09,345 --> 01:13:11,222
...and sticking to his investigation.
1270
01:13:11,430 --> 01:13:13,766
And the fact that here
by the end of the scene...
1271
01:13:13,975 --> 01:13:16,852
...that he doesn't pursue it,
that he doesn't go towards him...
1272
01:13:17,061 --> 01:13:19,689
...like, it says enough then about him...
1273
01:13:19,897 --> 01:13:24,610
...that he has managed to maintain some
kind of, you know, professional integrity...
1274
01:13:24,819 --> 01:13:27,071
...no matter how much it hurts him.
1275
01:13:33,160 --> 01:13:38,791
Okay, so a lot of people will question
just how the--
1276
01:13:39,000 --> 01:13:44,255
How--? I mean, how the hell did Prakoso
manage to land this woman as his wife?
1277
01:13:44,463 --> 01:13:48,134
She's a hell of a lot younger than him,
a hell of a lot better-looking than him.
1278
01:13:48,342 --> 01:13:50,177
He's certainly punching
above his weight.
1279
01:13:50,386 --> 01:13:53,264
But-- Likewise,
with most of the other characters...
1280
01:13:53,472 --> 01:13:57,143
...I always had this image in my head,
these ideas of back-story for these guys.
1281
01:13:57,518 --> 01:14:01,063
Like, I didn't wanna go too far
into their back-story within the film.
1282
01:14:01,272 --> 01:14:03,482
But it was always there
in the back of my mind.
1283
01:14:03,649 --> 01:14:05,234
And I'd always tell the actors...
1284
01:14:05,443 --> 01:14:08,863
...about what their life story was
in terms of these characters.
1285
01:14:09,238 --> 01:14:12,783
And for me, Prakoso, like,
I always saw him as this guy who--
1286
01:14:12,992 --> 01:14:16,287
Right now, he's in his sort of, like,
you know, late 50s, early 60s.
1287
01:14:16,495 --> 01:14:20,333
But, you know, back in the day when he
was in his, like, late 30s, early 40s...
1288
01:14:20,541 --> 01:14:23,502
...like, he was this, like, you know,
suave, well-dressed guy...
1289
01:14:23,711 --> 01:14:27,673
...you know, cropped hair,
you know, clean-cut, nice, crisp suits.
1290
01:14:27,882 --> 01:14:30,885
And, you know,
he impressed this young girl...
1291
01:14:31,093 --> 01:14:34,472
...who was like 16, 17 at the time,
was out in the club...
1292
01:14:34,680 --> 01:14:39,143
...and then she became his girlfriend,
and he took her out, romanced her.
1293
01:14:39,352 --> 01:14:41,354
They got married
when she was way too young.
1294
01:14:41,562 --> 01:14:44,065
She's like 2O some--
Twenty-year-old bride to him.
1295
01:14:44,482 --> 01:14:47,610
And then they had this kid together
and then, boom.
1296
01:14:47,818 --> 01:14:52,239
All of a sudden, one night out,
they get attacked when they're in the car.
1297
01:14:52,448 --> 01:14:55,034
And then he flies into a rage
and becomes the killer...
1298
01:14:55,242 --> 01:14:57,244
...that he's been hiding from her
all along.
1299
01:14:57,453 --> 01:15:00,623
And so while she is there in the car
trying to shield their--
1300
01:15:00,831 --> 01:15:04,794
Like, their little son's eyes away from
seeing the father turn into a monster...
1301
01:15:05,002 --> 01:15:06,504
...outside he is that monster...
1302
01:15:06,712 --> 01:15:09,215
...and he's just doing
that instinctive thing...
1303
01:15:09,423 --> 01:15:13,010
...that has been his payment
throughout his entire life.
1304
01:15:13,219 --> 01:15:17,098
And so, yeah, I had this whole back-story
that I was gonna plan to do.
1305
01:15:17,306 --> 01:15:20,434
And we might actually do it
in the end in a comic-book format...
1306
01:15:20,643 --> 01:15:23,020
...but it was-- it's-- It was--
1307
01:15:23,229 --> 01:15:26,273
It was a way to kind of alleviate
some of those question marks...
1308
01:15:26,482 --> 01:15:30,111
...over, you know,
just what is this couple?
1309
01:15:30,319 --> 01:15:33,280
This is a little bit of a piss-take.
This is a little too far.
1310
01:15:33,489 --> 01:15:36,742
Like, we were pushing to kind of make,
like, Prakoso's character...
1311
01:15:36,951 --> 01:15:39,870
...seem totally pathetic
and sort of sympathetic and sad.
1312
01:15:40,079 --> 01:15:43,124
But the fact that he still has
a fucking '80s pager...
1313
01:15:43,332 --> 01:15:46,544
...was a little step too far
for my Art Department for that one.
1314
01:15:46,752 --> 01:15:49,588
But I know it was a personal request.
1315
01:15:49,797 --> 01:15:52,508
Like, he could really afford
to have a phone by now.
1316
01:15:52,717 --> 01:15:56,595
So the pager is kind of pushing it
a little bit too much.
1317
01:15:56,804 --> 01:16:00,808
That's Ami.
He's one of the camera assistants.
1318
01:16:01,016 --> 01:16:04,395
He got to do his little cameo there
on the decks.
1319
01:16:04,645 --> 01:16:06,480
This was out in Bandung.
1320
01:16:06,689 --> 01:16:08,774
We used a couple of locations
in Bandung.
1321
01:16:08,983 --> 01:16:12,695
And I really like it out there.
It's about a two-hour drive from Jakarta.
1322
01:16:12,903 --> 01:16:16,323
And this club was great because
we had an idea of what we wanted...
1323
01:16:16,532 --> 01:16:19,785
...for the night-club scene,
but it didn't look anything like this.
1324
01:16:19,994 --> 01:16:21,996
And then we suddenly get
to this building...
1325
01:16:22,204 --> 01:16:24,749
...and we get to see
this big dance floor.
1326
01:16:24,957 --> 01:16:27,543
And then also more impressive...
1327
01:16:27,752 --> 01:16:31,297
...these sort of tiered seating areas
that kept going up and up and up.
1328
01:16:31,505 --> 01:16:33,674
And I knew we could do
something really cool...
1329
01:16:33,883 --> 01:16:36,761
...with a nice, big, long
sort of like, you know, crane shot...
1330
01:16:36,969 --> 01:16:38,471
...that would go into the drama.
1331
01:16:38,679 --> 01:16:42,725
And so, yeah, I mean, this location
sold itself to us immediately.
1332
01:16:42,933 --> 01:16:46,061
We were, "This is gonna help
not just with our establishing shot...
1333
01:16:46,270 --> 01:16:50,357
...but we get to do something interesting
as we kind come into this conversation."
1334
01:16:50,858 --> 01:16:53,986
But also later on
when we get into the fight sequence...
1335
01:16:54,195 --> 01:16:56,989
...that we would have
something interesting to use...
1336
01:16:57,198 --> 01:17:01,744
...to kind of play around with the
movement and the rhythm of the fight.
1337
01:17:01,952 --> 01:17:04,538
Because initially
we designed it purely...
1338
01:17:04,747 --> 01:17:07,750
...with, like, a sort of a flat
sort of, you know, surface.
1339
01:17:07,958 --> 01:17:10,211
Like a couple of crash mats
we use in the office.
1340
01:17:10,419 --> 01:17:12,588
We didn't have a sense
of perspective or space.
1341
01:17:12,797 --> 01:17:14,924
But once you kind of have
these elements...
1342
01:17:15,132 --> 01:17:18,093
...these locations
with those sort of tiered floors...
1343
01:17:18,302 --> 01:17:20,137
...and tiered sort of private booths...
1344
01:17:20,346 --> 01:17:22,681
...then, you know,
we have this opportunity then...
1345
01:17:22,890 --> 01:17:26,101
...to kind of really explore the set
a lot more...
1346
01:17:26,310 --> 01:17:30,731
...and have him jump and climb
and run and, you know, leap back down...
1347
01:17:30,940 --> 01:17:32,066
...avoid all these guys.
1348
01:17:32,775 --> 01:17:35,903
And, yeah, it just kind of--
it gave so much to the scene.
1349
01:17:36,111 --> 01:17:39,156
So, yeah, very happy that we
kind of got this location in the end.
1350
01:17:40,324 --> 01:17:42,159
One of the things I wanted to do here...
1351
01:17:42,368 --> 01:17:45,704
...is to establish this sense of
the relationship between them...
1352
01:17:45,913 --> 01:17:50,292
...and to kind of have this almost like
an uncle and nephew approach...
1353
01:17:50,501 --> 01:17:53,629
...to how Prakoso and Uco are.
1354
01:17:53,838 --> 01:17:56,340
That it'd have been established
way before he became...
1355
01:17:56,549 --> 01:17:58,551
...this, like, vagabond assassin type.
1356
01:17:58,759 --> 01:18:01,178
And so there's no difference
in their relationship...
1357
01:18:01,387 --> 01:18:03,222
...in the way they talk to each other...
1358
01:18:03,430 --> 01:18:06,517
...regardless of how much
Prakoso's character has fallen.
1359
01:18:06,725 --> 01:18:08,894
I wanted to kind of have
that sense of, like...
1360
01:18:09,103 --> 01:18:11,939
...that he was somebody
who Uco could trust as a child...
1361
01:18:12,147 --> 01:18:15,693
...who he could talk to. There's that idea--
Uco couldn't talk to his father.
1362
01:18:15,901 --> 01:18:18,571
Every time he tried to say something
or be close to him...
1363
01:18:18,779 --> 01:18:21,407
...his father would back away
and not show love...
1364
01:18:21,615 --> 01:18:23,742
...not show any kind
of, you know, opening...
1365
01:18:23,951 --> 01:18:26,245
...for him to be able
to discuss anything.
1366
01:18:26,453 --> 01:18:29,665
And so that complex within him
and his father...
1367
01:18:29,874 --> 01:18:33,586
...has kind of created a stronger bond
between him and Prakoso, his uncle.
1368
01:18:34,253 --> 01:18:37,047
Or as we see now,
and as we're gonna feel and people--
1369
01:18:37,256 --> 01:18:39,675
Audience will hopefully
have felt from the get-go...
1370
01:18:39,884 --> 01:18:42,177
...there's a certain Judas element
at play here.
1371
01:18:42,386 --> 01:18:46,765
And we know that--
You know, that this is Uco's ambition...
1372
01:18:46,974 --> 01:18:50,477
...letting him, you know--
Ucds ambition establishing...
1373
01:18:50,686 --> 01:18:52,771
...that, like, no one
is gonna get in his way.
1374
01:18:52,980 --> 01:18:55,733
Nobody's going to kind of be
important enough to stop him...
1375
01:18:55,941 --> 01:18:57,234
...from achieving his goals.
1376
01:18:57,443 --> 01:19:00,321
And that's taken to the absolute extreme
later on in the movie.
1377
01:19:02,656 --> 01:19:05,993
Notice the cameo there
of the white guy in the gray shirt...
1378
01:19:06,201 --> 01:19:08,037
...the Indonesian guy in the red shirt.
1379
01:19:08,245 --> 01:19:13,417
That is actually Matt Flannery, the DOP,
and Mascot, our lighting gaffer.
1380
01:19:15,544 --> 01:19:17,546
You've never seen two people
more excited...
1381
01:19:17,755 --> 01:19:20,925
...to share screen time together
than those two.
1382
01:19:22,134 --> 01:19:24,887
Okay, so this was, like,
a surreal moment in the film here.
1383
01:19:25,095 --> 01:19:28,807
We have this sequence here when he's
looking at the photograph of his son...
1384
01:19:29,141 --> 01:19:31,644
...and, you know,
he's in this nightclub and then--
1385
01:19:31,852 --> 01:19:34,897
It's packed to the rafters early.
We had, like, people everywhere.
1386
01:19:35,105 --> 01:19:38,442
And I wanted to do this, like,
extremely surreal sort of sound design...
1387
01:19:38,651 --> 01:19:40,027
...and then visual thing...
1388
01:19:40,235 --> 01:19:43,197
...whereby on the cut, we suddenly--
It's completely dead.
1389
01:19:43,405 --> 01:19:46,325
It's completely empty
and everyone is gone.
1390
01:19:46,533 --> 01:19:50,287
And for me, like,
it was always touch and go...
1391
01:19:50,496 --> 01:19:52,748
...and it was gonna live or die
by the sound mix.
1392
01:19:52,957 --> 01:19:55,042
I feel like we kind of fixed that
in the end.
1393
01:19:55,250 --> 01:19:57,920
We really got it to kind of work
and then feel, like...
1394
01:19:58,128 --> 01:20:02,549
You know, it took some of that sort of,
you know, abstract surrealism...
1395
01:20:02,758 --> 01:20:05,386
...about the setup and diluted it...
1396
01:20:05,594 --> 01:20:09,556
...in a way where we could feel
like, okay, it works now.
1397
01:20:09,765 --> 01:20:12,935
But, like, yeah, before we got to that point
in the post-pro...
1398
01:20:13,143 --> 01:20:15,229
...there was a lot of people
with questions...
1399
01:20:15,437 --> 01:20:17,940
...about how that was exactly
going to work.
1400
01:20:28,993 --> 01:20:32,454
I gotta say, I just love watching Yayan
fighting people.
1401
01:20:32,663 --> 01:20:34,957
He always kind of, like,
manages to fill this...
1402
01:20:35,165 --> 01:20:39,670
...especially this scene. Fills it with
so much kind of like desperation and--
1403
01:20:39,878 --> 01:20:43,632
Sort of like every movement feels
like it's the last possible minute...
1404
01:20:43,841 --> 01:20:46,927
...before you can attack, before
somebody else is gonna get to him.
1405
01:20:47,136 --> 01:20:51,724
And he really does sell the
sort of like escalation of the fight here.
1406
01:20:53,308 --> 01:20:54,935
This is an example of, like where--
1407
01:20:55,144 --> 01:20:57,604
When he runs across that balcony,
none of that was in the choreography.
1408
01:20:57,813 --> 01:20:59,440
None was designed or predetermined.
1409
01:20:59,648 --> 01:21:02,151
It was just something
that once we got the location...
1410
01:21:02,359 --> 01:21:04,903
...that we just wanted to do,
we just wanted to add.
1411
01:21:05,112 --> 01:21:09,992
So we have our lp Man homage here,
like...
1412
01:21:10,200 --> 01:21:12,536
I think everyone loved this moment
from lp Man.
1413
01:21:12,745 --> 01:21:15,831
And we thought, fuck it,
let's just pay our respects to them...
1414
01:21:16,040 --> 01:21:18,000
...and just put something in there
from it.
1415
01:21:18,208 --> 01:21:21,545
You know, just to kind of like--
I don't know, it's because we'd never--
1416
01:21:21,754 --> 01:21:24,381
We-- Like, as Indonesian
martial arts filmmakers...
1417
01:21:24,590 --> 01:21:27,760
...we never get to really talk to
or hang outwith anyone that--
1418
01:21:27,968 --> 01:21:30,262
Any of our peers
who are from different countries.
1419
01:21:30,471 --> 01:21:32,431
And it's kind of like sometimes--
1420
01:21:32,639 --> 01:21:35,017
You put these little messages
in your films to say:
1421
01:21:35,225 --> 01:21:38,187
"Yeah, we're watching. We're really
impressed with what you do."
1422
01:21:38,562 --> 01:21:41,774
And that was just an opportunity
to do that with them.
1423
01:21:45,819 --> 01:21:47,654
So the snow.
1424
01:21:49,907 --> 01:21:53,660
I've already explained it
with my pretentious bullshit reasons why.
1425
01:21:53,869 --> 01:21:56,705
So, yeah, it's just--
Enjoy the beauty of it...
1426
01:21:56,914 --> 01:22:00,709
...because it just looks so good
with all the action going on.
1427
01:22:00,918 --> 01:22:03,796
And the blood contrasts so strongly
with the white of the snow.
1428
01:22:04,671 --> 01:22:06,882
It just looks so great like--
1429
01:22:07,091 --> 01:22:09,426
We had to combine
a lot of different things...
1430
01:22:09,635 --> 01:22:13,972
...because we didn't have,
you know, snow falling in the shot.
1431
01:22:14,181 --> 01:22:18,435
All of this are all sort of CG snow then
from Andi, my online guy.
1432
01:22:18,644 --> 01:22:22,189
This guy who's about to have his head
smashed, I gotta give credit to him...
1433
01:22:22,397 --> 01:22:26,860
...because he is one of the most fearless
stuntmen we've ever worked with...
1434
01:22:27,069 --> 01:22:28,529
...and has done so much for us.
1435
01:22:28,737 --> 01:22:31,949
That's Yandi,
and he was in the first Raid.
1436
01:22:32,157 --> 01:22:34,243
He was the guy
that reached under the table...
1437
01:22:34,451 --> 01:22:36,203
...to pull the machete out.
1438
01:22:36,411 --> 01:22:39,331
And in this film,
he stunt-doubled for Epy...
1439
01:22:39,540 --> 01:22:42,376
...he stunt-doubled
for the Assassin, Cecep...
1440
01:22:42,584 --> 01:22:44,419
...he stunt-doubled for so many people.
1441
01:22:44,628 --> 01:22:47,297
He stunt-doubled for Yayan
when he jumped off the balcony.
1442
01:22:47,506 --> 01:22:51,468
And he's been one of those guys
that will just do anything for you.
1443
01:22:51,677 --> 01:22:54,763
And so he wanted
a small moment in the film.
1444
01:22:54,972 --> 01:22:56,640
And so I thought, "We'll kill you...
1445
01:22:56,849 --> 01:23:00,227
...but it's gonna be the most nasty,
violent way that we could kill you."
1446
01:23:00,394 --> 01:23:03,355
And so he's always been a sport
and always been somebody...
1447
01:23:03,564 --> 01:23:06,400
...who's like, you know,
very close to us and Merantau Films.
1448
01:23:06,608 --> 01:23:09,319
And, yeah, we're looking forward
to working with him again.
1449
01:23:09,528 --> 01:23:13,282
Yeah, in the next couple of months
actually for Night Comes For Us.
1450
01:23:14,241 --> 01:23:18,704
So the use of Handel, "Sarabande,"
the song...
1451
01:23:18,912 --> 01:23:21,165
...I spent a long time
searching for songs.
1452
01:23:21,373 --> 01:23:23,458
To be honest,
I've always been a Kubrick fan.
1453
01:23:23,667 --> 01:23:26,295
Massive fan of Kubrick.
I've seen everything he's done...
1454
01:23:26,503 --> 01:23:27,754
...except for Barry Lyndon.
1455
01:23:27,963 --> 01:23:30,215
And so, like,
I stumbled upon this track...
1456
01:23:30,424 --> 01:23:33,760
...when I was searching for
classical pieces and operatic music.
1457
01:23:33,969 --> 01:23:37,556
I figured if we're gonna go
to this extreme of having this snow fall...
1458
01:23:37,764 --> 01:23:40,684
...and we're gonna go to this extreme
of having the betrayal...
1459
01:23:40,893 --> 01:23:44,771
...that sort of Judas betrayal
between, you know, Uco and Prakoso...
1460
01:23:44,980 --> 01:23:48,150
...and then the introduction
of the Assassin, I wanted it to be big.
1461
01:23:48,358 --> 01:23:52,946
I wanted it to feel like there was this huge
sort of like emotional element to it.
1462
01:23:53,155 --> 01:23:55,157
And so, like--
You know, it just made sense.
1463
01:23:55,365 --> 01:23:59,411
It just felt like, okay, this song came along
and I played it a bunch of times.
1464
01:23:59,620 --> 01:24:01,163
I cut it into Final Cut Pro...
1465
01:24:01,371 --> 01:24:05,417
...and the timing of it just fit.
It just fit so well.
1466
01:24:05,626 --> 01:24:07,753
And so it was a no-brainer for me.
1467
01:24:07,961 --> 01:24:10,756
So we had Aria Prayogi
and Andreas Arianto...
1468
01:24:11,506 --> 01:24:16,511
...do a rearrangement based off a version
that I had kind of found on a CD.
1469
01:24:17,387 --> 01:24:20,557
And then they went ahead and then
did a rearrangement of the piece...
1470
01:24:20,766 --> 01:24:24,061
...and then recorded it and--
Like, to be honest, you know...
1471
01:24:24,269 --> 01:24:29,900
...as much as I love the whole, you know,
scoring sessions with the music...
1472
01:24:30,108 --> 01:24:33,320
...and with the electronic stuff
and how great that fits...
1473
01:24:33,528 --> 01:24:36,573
...the adrenaline-packed
action sequences...
1474
01:24:36,782 --> 01:24:40,452
...sitting there, watching them record
this music was just beautiful.
1475
01:24:40,661 --> 01:24:43,497
It was like-- It was something
I had never experienced before.
1476
01:24:43,705 --> 01:24:46,416
It's definitely something
that I'm looking forward...
1477
01:24:46,625 --> 01:24:48,961
...to kind of maybe trying out
in a larger scale...
1478
01:24:49,169 --> 01:24:51,588
...on one of my next projects and--
It was just...
1479
01:24:51,797 --> 01:24:54,132
It was so much fun
to kind ofjust sit down...
1480
01:24:54,341 --> 01:24:56,426
...listen to these
super talented musicians...
1481
01:24:56,635 --> 01:24:59,263
...come in and record
layer after layer after layer...
1482
01:24:59,471 --> 01:25:01,431
...ofjust classical music.
1483
01:25:01,640 --> 01:25:05,686
It was just--
Yeah, it was a joy to be there that day.
1484
01:25:06,770 --> 01:25:08,647
Prakoso's line of work
made him enemies.
1485
01:25:08,814 --> 01:25:11,775
Not just the Gotos.
Hell, even the Chinese wanted his head.
1486
01:25:12,276 --> 01:25:14,695
This wasn't the first time
he'd been under attack.
1487
01:25:15,570 --> 01:25:17,072
Sadly it was the last.
1488
01:25:19,658 --> 01:25:22,077
- Where the fuck have you been?
- What happened?
1489
01:25:22,244 --> 01:25:25,497
So this is one thing
that kind of occasionally...
1490
01:25:26,498 --> 01:25:29,960
It crops up as a criticism,
and I do get it...
1491
01:25:30,168 --> 01:25:35,340
...but it's like, people talk about
how Rama's investigation...
1492
01:25:35,549 --> 01:25:36,591
...gets pushed back...
1493
01:25:36,800 --> 01:25:39,886
...and it gets pushed into the distance
in terms of the story line.
1494
01:25:40,095 --> 01:25:43,807
And then it becomes more about,
like, Uco and his ambitions.
1495
01:25:44,016 --> 01:25:47,060
But, like, for me, like,
that was always the intention.
1496
01:25:47,269 --> 01:25:48,687
I didn't wanna go into this...
1497
01:25:49,146 --> 01:25:52,899
...making the traditional
undercover cop investigation story.
1498
01:25:53,108 --> 01:25:56,778
Like, you know-- I kind of-- We kind
of plant these seeds in it throughout...
1499
01:25:56,987 --> 01:26:00,407
...where we have little moments where
Bunawar will say directly to Rama...
1500
01:26:00,615 --> 01:26:04,244
...you know, like, "You're not the spider.
You're just part of the web."
1501
01:26:04,453 --> 01:26:08,165
Like, you know-- Like
in the traditional sort of like, you know...
1502
01:26:08,373 --> 01:26:11,043
...Hollywood version
of an undercover cop story...
1503
01:26:11,251 --> 01:26:14,796
...he'd be the guy that finds
that one key piece of evidence...
1504
01:26:15,005 --> 01:26:17,716
...that puts away all these bad guys
and solves the case...
1505
01:26:17,924 --> 01:26:20,177
...everything's done,
wrapped up in a little bow.
1506
01:26:20,385 --> 01:26:21,470
But for me, like...
1507
01:26:21,678 --> 01:26:25,724
...I wanted to have this ultimate version
where we confound those expectations...
1508
01:26:25,932 --> 01:26:27,768
...do something different,
something new.
1509
01:26:27,976 --> 01:26:30,145
So it was more important
and more interesting...
1510
01:26:30,354 --> 01:26:34,775
...to be able to have this thing of, like,
he starts off with his investigation...
1511
01:26:34,983 --> 01:26:36,693
...we see him do his investigation...
1512
01:26:36,902 --> 01:26:39,529
...we see him planting the wire
in Uco's wallet...
1513
01:26:39,738 --> 01:26:42,741
...we see him monitoring what he's doing,
his daily activities...
1514
01:26:42,949 --> 01:26:45,702
...we see him establishing
a good rapport with the father...
1515
01:26:45,911 --> 01:26:50,665
...and trying to kind of work his way
up the power chain...
1516
01:26:50,874 --> 01:26:54,920
...the chain of command, so he can listen
to more of those conversations...
1517
01:26:55,128 --> 01:26:57,089
...and find out
where that money's going.
1518
01:26:57,297 --> 01:26:59,925
But then all of a sudden,
a gang war kicks off.
1519
01:27:00,133 --> 01:27:02,928
And then all of a sudden,
like, the ambitions of the son...
1520
01:27:03,136 --> 01:27:05,263
...overwhelm his investigation...
1521
01:27:05,472 --> 01:27:08,308
...it overwhelms his role
and what he's supposed to be doing.
1522
01:27:08,517 --> 01:27:12,270
And as a result of that, for sure,
his story is gonna fall by the wayside...
1523
01:27:12,479 --> 01:27:14,773
...because now
we have a stronger driving force...
1524
01:27:14,981 --> 01:27:16,817
...that's pushing us towards that chaos.
1525
01:27:17,025 --> 01:27:19,611
The whole film is about,
you know, characters...
1526
01:27:19,820 --> 01:27:21,363
...that don't get what they want.
1527
01:27:21,571 --> 01:27:24,533
They don't get to have
the satisfaction of being able...
1528
01:27:24,741 --> 01:27:26,910
...to achieve what their goals are.
1529
01:27:27,119 --> 01:27:31,706
Rama, you know, beyond protecting
his own family, he wants revenge.
1530
01:27:31,915 --> 01:27:34,167
He wants to kill the guy
that killed his brother.
1531
01:27:34,376 --> 01:27:35,752
That gets taken away from him.
1532
01:27:35,961 --> 01:27:39,256
He doesn't get to pull the trigger on that.
Somebody else does.
1533
01:27:39,464 --> 01:27:41,466
Like, Uco wants to be king.
1534
01:27:41,675 --> 01:27:43,844
But in order to be king,
he has to do this...
1535
01:27:44,052 --> 01:27:47,681
...you know, inexplicable extreme act
later on in the movie.
1536
01:27:47,889 --> 01:27:52,602
It's temporary. It lasts a few hours,
and it's not the dream he'd hoped for.
1537
01:27:52,811 --> 01:27:56,898
And, you know, Bunawar wants to arrest
all of the corrupt oops...
1538
01:27:57,107 --> 01:27:59,860
...and put all these corrupt cops
and politicians in prison.
1539
01:28:00,068 --> 01:28:01,111
That doesn't happen.
1540
01:28:01,319 --> 01:28:04,281
They all get bumped off,
and that's not the way he wants it.
1541
01:28:04,489 --> 01:28:08,326
And so, yeah, it's all about
dissatisfaction amongst these guys...
1542
01:28:08,535 --> 01:28:11,705
...who have these, like, outrageously
big ambitions in life.
1543
01:28:11,913 --> 01:28:14,791
But then those ambitions
get taken away from them.
1544
01:28:15,792 --> 01:28:18,503
- Did we get the okay?
- Fuck the okay.
1545
01:28:20,297 --> 01:28:24,384
So we're about to introduce
Hammer Girl and Baseball Bat Man...
1546
01:28:24,593 --> 01:28:27,512
...and the whole host of assassins
that work for Bejo.
1547
01:28:28,013 --> 01:28:31,141
And this was just, like,
so much fun to shoot...
1548
01:28:31,349 --> 01:28:35,103
...and this is a great opportunity
as well for us to play around with...
1549
01:28:35,312 --> 01:28:36,980
...you know, character designs...
1550
01:28:37,189 --> 01:28:38,315
...and to play around...
1551
01:28:38,523 --> 01:28:41,860
...with, you know, the more
comic-bookish elements of the film.
1552
01:28:42,068 --> 01:28:44,821
Because, you know,
we're dealing with characters here...
1553
01:28:45,030 --> 01:28:46,740
...which are not from the real world.
1554
01:28:46,948 --> 01:28:49,451
They're sort of pop icon images,
they're--
1555
01:28:49,659 --> 01:28:52,704
You know, they're designed,
you know, specifically...
1556
01:28:52,913 --> 01:28:54,664
...to not be like you and I.
1557
01:28:54,873 --> 01:28:56,541
They're larger than life.
1558
01:28:56,750 --> 01:29:00,545
And so it was kind of a challenge
in a way to kind of figure out...
1559
01:29:00,754 --> 01:29:02,297
...okay, well, how far can we go?
1560
01:29:02,506 --> 01:29:05,717
How far can we push this
and for it still to work...
1561
01:29:05,926 --> 01:29:09,221
...and for it to still feel like,
at least in terms of the action...
1562
01:29:09,429 --> 01:29:14,059
...that happens on screen,
that we're not breaking those logic laws...
1563
01:29:14,267 --> 01:29:17,312
...that we had sort of, like, established
in the first few movies?
1564
01:29:17,521 --> 01:29:20,857
So I guess I'll talk now a little bit
about the origin story...
1565
01:29:21,066 --> 01:29:24,903
...for Hammer Girl and Baseball Bat Man,
seeing as we're watching this coin spin...
1566
01:29:25,070 --> 01:29:28,907
...because it actually relates
to what I wanted to do for their origin.
1567
01:29:29,115 --> 01:29:32,160
The coin spinning
is actually significant.
1568
01:29:32,452 --> 01:29:36,581
And basically the whole setup of it was
the idea that when they were children...
1569
01:29:36,790 --> 01:29:40,252
...the father would sit them down
at a table and then spin a coin.
1570
01:29:40,460 --> 01:29:45,006
And if the coin landed on a head or a tail,
that would be the deciding factor...
1571
01:29:45,215 --> 01:29:49,261
...for which one he would be aggressive
towards, violently abusive towards.
1572
01:29:50,136 --> 01:29:53,932
And so they were born and raised
in this-- Like, this house...
1573
01:29:54,140 --> 01:29:57,018
...of, like, domestic violence,
you know, led by their father.
1574
01:29:57,227 --> 01:29:58,562
And the idea was that...
1575
01:29:58,770 --> 01:30:03,108
...like, one day, Baseball Bat Kid,
like, he couldn't take it anymore...
1576
01:30:03,316 --> 01:30:06,069
...and then when the coin landed
on his sister...
1577
01:30:06,278 --> 01:30:08,530
...he took the coin,
then tried to turn it over.
1578
01:30:08,738 --> 01:30:10,156
Like the wrong move to make...
1579
01:30:10,365 --> 01:30:13,827
...and the father kind of took it out
even more so on Hammer Girl then.
1580
01:30:14,035 --> 01:30:17,372
And basically,
like, a switch went off in his head...
1581
01:30:17,581 --> 01:30:20,083
...and Baseball Bat Man
started to attack the father...
1582
01:30:20,292 --> 01:30:22,377
...and Hammer Girl joined the attack.
1583
01:30:22,586 --> 01:30:26,631
The idea is that they both,
you know, collectively killed the father.
1584
01:30:26,840 --> 01:30:29,426
And if you know anything
about, like, the Kampung Aer...
1585
01:30:29,634 --> 01:30:33,597
...the small village areas in Indonesia,
like, you know, talk spreads fast...
1586
01:30:33,805 --> 01:30:37,225
...but maybe the cops don't listen
quickly enough.
1587
01:30:37,434 --> 01:30:40,312
And so the idea is that
while this sort of chaos is going on...
1588
01:30:40,520 --> 01:30:42,564
...and this curse is ensuing,
word spreads...
1589
01:30:42,772 --> 01:30:45,734
...and then this young 20-year-old
sort of upstart Bejo...
1590
01:30:45,942 --> 01:30:49,237
...sends his men and his guys
to collect the two kids.
1591
01:30:49,446 --> 01:30:52,949
And so then they've grown up
as part of Bejo's life...
1592
01:30:53,158 --> 01:30:56,536
...as part of Bejo's sort of like children...
1593
01:30:56,703 --> 01:30:58,663
...that've kind of been raised
to become...
1594
01:30:58,872 --> 01:31:02,042
...these, like, violent sort of killers
that work on his behalf.
1595
01:31:02,250 --> 01:31:04,544
And so in the characters then
we've established...
1596
01:31:04,753 --> 01:31:07,047
...little sort of like
immature details in them.
1597
01:31:07,255 --> 01:31:10,342
We introduce these elements
which are kind of childlike about them.
1598
01:31:10,550 --> 01:31:13,136
Baseball Bat Man,
when he hits the guys with the ball...
1599
01:31:13,345 --> 01:31:15,472
...then says,
"Give me the ball back, please."
1600
01:31:15,680 --> 01:31:17,599
Like a kid
that's knocked his ball over...
1601
01:31:17,807 --> 01:31:21,645
...into the backyard of some neighbor's
house and then asks for it back.
1602
01:31:21,936 --> 01:31:25,482
When they sat at the bar, he's got,
like, a glass of milk in front of him.
1603
01:31:25,690 --> 01:31:27,651
There's tiny details along the way...
1604
01:31:27,859 --> 01:31:30,862
...and then later on
when they get told to take out Rama...
1605
01:31:31,071 --> 01:31:32,614
...and, you know, Hammer Girl--
1606
01:31:32,822 --> 01:31:35,659
She's deaf and mute,
doesn't hear anything that's going on...
1607
01:31:36,284 --> 01:31:39,037
...all of a sudden,
Baseball Bat Man grabs her by the arm...
1608
01:31:39,245 --> 01:31:42,415
...to pull her like a child would,
like a brother and sister thing.
1609
01:31:42,624 --> 01:31:43,667
She stumbles out of her chair...
1610
01:31:43,875 --> 01:31:46,461
...reaches back like a child
just to grab her hammers.
1611
01:31:46,670 --> 01:31:48,755
It's this kind of like contradiction
really--
1612
01:31:48,963 --> 01:31:52,884
You know, the sheer extreme
and brutality of what they do and--
1613
01:31:53,343 --> 01:31:55,887
Mixed in with these childlike elements
along the way.
1614
01:31:56,096 --> 01:31:58,848
Like they--
It's like it's playtime to them.
1615
01:31:59,057 --> 01:32:01,309
I should talk about the characters,
the actors...
1616
01:32:01,518 --> 01:32:03,937
...playing these roles.
Julie Estelle is Hammer Girl.
1617
01:32:04,270 --> 01:32:07,524
She's like a very well-respected actress
in her own right...
1618
01:32:07,732 --> 01:32:10,568
...and she's been the lead actress
for a number of films.
1619
01:32:10,777 --> 01:32:14,823
She was in Rumah Dara again,
the Mo Brothers' film.
1620
01:32:15,031 --> 01:32:17,909
So you really do know now
I am stealing pretty much everyone...
1621
01:32:18,118 --> 01:32:21,538
...that Timo and Kimo
have ever cast before for my movies.
1622
01:32:21,746 --> 01:32:25,250
And so, yeah, so she was in that
and I was impressed with her.
1623
01:32:25,458 --> 01:32:28,795
Again, she was one of those ones
we contacted three or four years ago.
1624
01:32:29,003 --> 01:32:32,590
Had to wait, come back, re-audition.
And she trained so hard for this role.
1625
01:32:32,799 --> 01:32:34,300
She's not a martial artist.
1626
01:32:34,509 --> 01:32:37,262
She wasn't somebody
who had any basic training in fighting.
1627
01:32:37,470 --> 01:32:40,056
But she came in and she trained
for like six months...
1628
01:32:40,265 --> 01:32:42,267
...to play this role. For her to do that...
1629
01:32:42,726 --> 01:32:46,646
...for a role made up of two scenes
of fighting and one scene of drama...
1630
01:32:46,855 --> 01:32:49,691
...to give up all of her time for that,
I was so impressed.
1631
01:32:49,899 --> 01:32:52,569
And so I'm desperate
to work with her again on something.
1632
01:32:53,570 --> 01:32:56,865
I feel she's got the potential.
She could go big now in terms of this.
1633
01:32:57,073 --> 01:33:00,452
And if she wants to make this
a serious career, she's got the ability.
1634
01:33:01,411 --> 01:33:06,499
Then Very Tri Yulisman
as the Baseball Bat Man...
1635
01:33:07,083 --> 01:33:08,293
...he's incredible.
1636
01:33:08,501 --> 01:33:10,545
I just love watching this guy fight.
1637
01:33:10,754 --> 01:33:12,714
He's from lko's school as well...
1638
01:33:12,922 --> 01:33:15,258
...and he actually had a small role
in The Raid 1.
1639
01:33:15,467 --> 01:33:18,303
He was one of the fighters
that lko took out in the drugs lab.
1640
01:33:18,511 --> 01:33:21,347
He came on board to help out
with some of the choreography...
1641
01:33:21,556 --> 01:33:23,516
...and was training with Julie
for a while.
1642
01:33:23,725 --> 01:33:26,186
And so they just developed
this great chemistry...
1643
01:33:26,394 --> 01:33:29,439
...this great, kind of like, you know,
working relationship...
1644
01:33:29,647 --> 01:33:32,525
...where it seemed to fit.
One of those things where I was:
1645
01:33:32,734 --> 01:33:34,778
"Well, maybe we just try them out."
1646
01:33:34,986 --> 01:33:37,280
And we just fluked out.
We got so lucky...
1647
01:33:37,489 --> 01:33:40,825
...because, you know,
I found lko and Yayan...
1648
01:33:41,034 --> 01:33:42,952
...as, you know, silat guys, experts...
1649
01:33:43,161 --> 01:33:46,206
...that managed to also handle
the performance really well.
1650
01:33:46,414 --> 01:33:47,582
And now we had it again.
1651
01:33:47,791 --> 01:33:49,667
Not just with Very
as Baseball Bat Man...
1652
01:33:49,876 --> 01:33:53,755
...but here we go,
Cecep Arif Rahman as the Assassin.
1653
01:33:53,963 --> 01:33:56,216
I don't know what it is.
I just keep lucking out.
1654
01:33:56,424 --> 01:33:58,968
I keep finding these guys
who have extremely cool...
1655
01:33:59,177 --> 01:34:00,512
...sort of like personas...
1656
01:34:00,720 --> 01:34:03,473
...like, very expressive performances.
1657
01:34:03,681 --> 01:34:06,976
And, you know,
all from almost zero experience...
1658
01:34:07,185 --> 01:34:09,020
...of being in front of a camera before.
1659
01:34:09,229 --> 01:34:13,149
So, yeah, they're memorable characters,
each and every one of them.
1660
01:34:13,358 --> 01:34:18,071
And so this whole sequence
was just a blast to put together.
1661
01:34:18,279 --> 01:34:19,739
It was pretty tough actually...
1662
01:34:19,948 --> 01:34:23,618
...kind of, like, in terms of the balancing
of time between each one...
1663
01:34:23,827 --> 01:34:26,788
...because, like, obviously
Hammer Girl's fight is very long.
1664
01:34:26,996 --> 01:34:28,998
You know,
it's a longer process...
1665
01:34:29,207 --> 01:34:33,169
...with the amount of opponents she has
compared to something like Ceoep's...
1666
01:34:33,378 --> 01:34:36,506
...where there's just one guy
and it's almost over immediately.
1667
01:34:36,714 --> 01:34:38,925
It was quite a struggle
to kind of figure out...
1668
01:34:39,133 --> 01:34:41,386
...where we would put these cuts in
and--
1669
01:34:41,594 --> 01:34:43,596
Like, you know,
intercut between each one...
1670
01:34:43,805 --> 01:34:45,640
...without it feeling too imbalanced.
1671
01:34:47,725 --> 01:34:51,604
So here's the moment
where we almost step over the line...
1672
01:34:51,813 --> 01:34:57,652
...in terms of what we can get away with
as a real, you know, fighting discipline.
1673
01:34:57,861 --> 01:35:01,614
It's the Babe Ruth moment
coming up here.
1674
01:35:02,740 --> 01:35:05,493
We had a lot of questions
in the scripting of this.
1675
01:35:05,702 --> 01:35:07,662
Like, the guys at XYZ
were sort of like...
1676
01:35:07,871 --> 01:35:09,956
...you know, uncertain about it...
1677
01:35:10,164 --> 01:35:13,084
...and very worried about,
like, how would it play.
1678
01:35:13,293 --> 01:35:15,753
But my approach is always like,
look, it is absurd.
1679
01:35:15,920 --> 01:35:18,423
Absolutely ridiculous
that he would be able to do this.
1680
01:35:19,215 --> 01:35:21,426
But, you know,
let's present it in a way...
1681
01:35:21,634 --> 01:35:25,013
...where I'll shoot it so that I make it feel
like it's a matter-of-fact.
1682
01:35:25,513 --> 01:35:28,349
And I'll shoot it in a way
where it doesn't feel absurd.
1683
01:35:28,558 --> 01:35:32,687
And then, you know,
you get this odd combination then...
1684
01:35:32,896 --> 01:35:35,815
...of, like, this surreal action design...
1685
01:35:36,024 --> 01:35:38,443
...but present it so matter-of-fact
you can't help...
1686
01:35:38,651 --> 01:35:40,862
...but either take it seriously
or laugh at it.
1687
01:35:41,070 --> 01:35:43,990
And either option is fine.
1688
01:35:44,574 --> 01:35:46,784
So Julie in this scene--
1689
01:35:46,993 --> 01:35:49,579
Okay, so this--
Actually this set, this train station...
1690
01:35:49,787 --> 01:35:53,082
...this subway train set,
we had to build it ourselves.
1691
01:35:53,291 --> 01:35:56,252
We tried to get a real one,
but it proved almost impossible.
1692
01:35:56,461 --> 01:36:00,423
Like, the budget was just ridiculous
for renting a real train.
1693
01:36:00,632 --> 01:36:03,760
So we built it entirely
on a sound studio...
1694
01:36:03,968 --> 01:36:06,054
...with like suspension springs
underneath...
1695
01:36:06,262 --> 01:36:10,350
...so we could rock the entire carriage
and get all the handles to rock with it.
1696
01:36:10,558 --> 01:36:12,769
We saw the sense of movement
with the lights...
1697
01:36:12,977 --> 01:36:17,857
...by having a bunch of sort of scaffolding
set up along the side of the train...
1698
01:36:18,066 --> 01:36:21,361
...with big lights
pointing at these rotating mirrors...
1699
01:36:21,527 --> 01:36:23,446
...that would send
the light in streams...
1700
01:36:23,655 --> 01:36:26,532
...going down to the subway train
to help sell the effect then.
1701
01:36:32,705 --> 01:36:36,709
Okay, so there you go.
Those are the three assassins.
1702
01:36:36,918 --> 01:36:41,506
And that was a very extreme
sequence there.
1703
01:36:41,714 --> 01:36:42,924
And it was originally--
1704
01:36:43,132 --> 01:36:46,177
Initially, we were gonna cut back
to the festival.
1705
01:36:46,386 --> 01:36:48,262
The festival was like
a Reog performance.
1706
01:36:48,471 --> 01:36:50,807
That's like a traditional
Indonesian festival.
1707
01:36:51,015 --> 01:36:52,642
I wanted to cut back into that...
1708
01:36:52,850 --> 01:36:56,229
...to have another, you know, gun battle
between the two rival groups...
1709
01:36:56,437 --> 01:36:59,899
...to show the escalation of the gang war.
We cut it in the end for pacing.
1710
01:37:00,108 --> 01:37:03,194
Because we were staying way away
from Rama for too long.
1711
01:37:03,403 --> 01:37:05,947
So then we cut to this scene instead
to kind of like--
1712
01:37:06,155 --> 01:37:08,992
We could still have that sense
of escalation of a gang war...
1713
01:37:09,200 --> 01:37:11,327
...and then also introduce, like, the--
1714
01:37:11,536 --> 01:37:12,829
What we later discovered...
1715
01:37:13,037 --> 01:37:16,165
...is that he's coming under attack
from the cops.
1716
01:37:16,624 --> 01:37:21,754
Yeah, it was-- That other scene had to go
and this kind of took its place then.
1717
01:37:22,547 --> 01:37:26,384
This setup though, the idea of a guy
being attacked in a car like that...
1718
01:37:26,592 --> 01:37:28,845
...it's actually based on a true story.
1719
01:37:29,053 --> 01:37:32,640
I'd heard about a friend of mine
who was, like, a member of the police...
1720
01:37:32,849 --> 01:37:36,769
...and during the London riots,
a friend of his was on patrol...
1721
01:37:36,978 --> 01:37:40,940
...in a police car, and then when he came
to a traffic light...
1722
01:37:41,149 --> 01:37:43,735
...as he stopped at the traffic lights
and it hit red...
1723
01:37:43,943 --> 01:37:45,945
...all of a sudden,
a bunch of teens came...
1724
01:37:46,154 --> 01:37:48,990
...running out of the alleyways
with scaffolding bars...
1725
01:37:49,198 --> 01:37:51,576
...and smashed the windows in,
hit him in the face.
1726
01:37:51,784 --> 01:37:54,620
As he looked up from the floor,
he could see knives coming...
1727
01:37:54,829 --> 01:37:57,665
...trying to hit him. He ended up
having to do the same thing.
1728
01:37:57,874 --> 01:38:01,294
Push down on the gas pedal with
his hand and get himself out of there.
1729
01:38:01,502 --> 01:38:03,546
Thankfully he was okay,
but, like, it's the--
1730
01:38:03,755 --> 01:38:07,633
For me, like, once I'd kind of heard that,
it was that thing of instant fear...
1731
01:38:07,842 --> 01:38:09,010
...because this is like--
1732
01:38:09,218 --> 01:38:11,596
It's such a terrifying
claustrophobic space...
1733
01:38:11,804 --> 01:38:15,224
...and so I thought, like, you know,
it's like a nightmarish situation.
1734
01:38:15,433 --> 01:38:17,101
It gave me an opportunity to jump...
1735
01:38:17,310 --> 01:38:21,189
...into that horror genre aspect
that we had in the first film again...
1736
01:38:21,397 --> 01:38:23,816
...but with another action sequence.
1737
01:38:25,777 --> 01:38:31,491
This was a very important moment for me
in terms of the character for Rama.
1738
01:38:32,325 --> 01:38:33,367
We have this--
1739
01:38:33,576 --> 01:38:36,579
Until now it was all kind of like
playful with the choreography.
1740
01:38:36,788 --> 01:38:38,790
That usual thing we do
with the punch lines.
1741
01:38:38,998 --> 01:38:41,501
But now what we do here
is we have an element...
1742
01:38:41,709 --> 01:38:43,795
...where it's pushing the boundaries...
1743
01:38:44,003 --> 01:38:47,423
...of, like, you know, what we're allowing
him as a protagonist to do.
1744
01:38:47,632 --> 01:38:49,342
Are we gonna follow him
this far down?
1745
01:38:49,550 --> 01:38:53,763
He starts to kind of show this side of him
where he's getting more sadistic...
1746
01:38:53,971 --> 01:38:57,016
...getting more drawn into the violence
of the world around him.
1747
01:38:57,225 --> 01:39:01,062
And, like, he holds that guy's head
on the hot plate for so long...
1748
01:39:01,270 --> 01:39:04,023
...that I wanted it to be a moment
in the audience's mind...
1749
01:39:04,232 --> 01:39:07,360
...where they're starting to question,
well, can I still follow him?
1750
01:39:07,568 --> 01:39:09,821
Can I still call him my hero of my film...
1751
01:39:10,029 --> 01:39:12,406
...when, you know,
he's taken us down this route...
1752
01:39:12,615 --> 01:39:14,992
...that maybe we don't want to follow?
1753
01:39:15,326 --> 01:39:18,454
And again, like, the kind of, like,
to hark back to that thing...
1754
01:39:18,663 --> 01:39:20,498
...of, like, not focusing on the pain...
1755
01:39:20,706 --> 01:39:24,669
...like when it came to that sequence,
it was a very conscious decision...
1756
01:39:24,877 --> 01:39:27,338
...to kind of show
almost the entire sequence...
1757
01:39:27,547 --> 01:39:31,008
...showing his expression,
not showing the guy on the hot plate.
1758
01:39:31,217 --> 01:39:36,639
We show a little insert here and there,
but it's on Rama's expression...
1759
01:39:36,848 --> 01:39:39,517
...to kind of sell that conflict
within him...
1760
01:39:39,725 --> 01:39:42,562
...that sort of anger
building within himself...
1761
01:39:42,770 --> 01:39:46,482
...about what he's willing
to go through...
1762
01:39:46,691 --> 01:39:48,985
...and how much he's fighting
against that rage...
1763
01:39:49,193 --> 01:39:50,820
...to kind of get over the fact...
1764
01:39:51,028 --> 01:39:53,447
...that he got suddenly attacked
by these guys...
1765
01:39:53,656 --> 01:39:56,117
...in such a brutal
and nightmarish fashion.
1766
01:39:56,325 --> 01:39:58,744
I wanna talk a little bit
about Kazuki Kitamura...
1767
01:39:58,953 --> 01:40:02,874
...because he was another element
of the Japanese gang...
1768
01:40:03,082 --> 01:40:04,292
...that we cast as well.
1769
01:40:04,500 --> 01:40:08,713
He'd worked on a film that I produced
for the Mo Brothers to make, Killers.
1770
01:40:08,921 --> 01:40:12,842
And in that film
he was cast alongside Oka Antara...
1771
01:40:13,050 --> 01:40:14,719
...also in this film, in this scene.
1772
01:40:14,927 --> 01:40:16,971
They're both playing
opposite numbers here.
1773
01:40:17,180 --> 01:40:18,931
So it was an interesting opportunity.
1774
01:40:19,390 --> 01:40:21,559
Kazuki had come over to Jakarta
for Killers.
1775
01:40:21,767 --> 01:40:23,311
And we talked to him and we said:
1776
01:40:23,519 --> 01:40:26,355
"Okay, well, we do have a role,
but it's small.
1777
01:40:26,564 --> 01:40:28,733
If you're interested in coming
and doing this...
1778
01:40:28,941 --> 01:40:31,277
...we can try to find something cool
for you to do.
1779
01:40:31,485 --> 01:40:34,655
And so fair play to him, I mean,
he came on board...
1780
01:40:34,864 --> 01:40:37,158
...and these guys got on so well.
1781
01:40:37,366 --> 01:40:39,744
The three Japanese actors
got on so well together.
1782
01:40:39,952 --> 01:40:42,788
I think this was the first time
actually the three of them...
1783
01:40:42,997 --> 01:40:44,457
...had been in a film together.
1784
01:40:44,665 --> 01:40:48,336
It was kind of like a milestone for them
and they're so well-established now...
1785
01:40:48,544 --> 01:40:51,756
...that it was just a dream for me
to be able to work with them on it.
1786
01:40:51,964 --> 01:40:53,799
And besides, like, the Japanese cast...
1787
01:40:54,008 --> 01:40:56,761
...we also had the benefit
of working with, you know...
1788
01:40:56,969 --> 01:40:58,804
...a number of senior actors.
Here's one.
1789
01:40:59,013 --> 01:41:01,307
It's Deddy Sutomo,
who plays the mediator...
1790
01:41:01,515 --> 01:41:02,892
...for this scene in the film.
1791
01:41:04,727 --> 01:41:06,312
He was a joy to work with as well.
1792
01:41:06,520 --> 01:41:08,981
It's one of these things
where we were lucky on this.
1793
01:41:09,190 --> 01:41:12,109
We had, like, a lot of
experienced actors...
1794
01:41:12,318 --> 01:41:15,529
...that brought a lot of sort of,
you know, character to the film.
1795
01:41:15,738 --> 01:41:17,114
They were a joy to work with.
1796
01:41:17,323 --> 01:41:19,992
They seemed to really respond
to what we were doing...
1797
01:41:20,201 --> 01:41:23,079
...and I guess they see
that what we're trying to do--
1798
01:41:23,287 --> 01:41:26,666
Especially in terms of for
the Indonesian film industry is important.
1799
01:41:26,874 --> 01:41:30,378
Like, we're not sort of like
making the job easy for ourselves.
1800
01:41:30,586 --> 01:41:32,922
We're trying to push,
stretch these projects out...
1801
01:41:33,130 --> 01:41:36,092
...and make them as ambitious
as we possibly can.
1802
01:41:36,300 --> 01:41:38,386
And so, like, you know, Deddy...
1803
01:41:39,470 --> 01:41:41,722
...Pong Harjatmo
and then Roy Marten...
1804
01:41:41,931 --> 01:41:45,559
...who we'll meet later on again
as well, alongside Cok and Tio...
1805
01:41:45,768 --> 01:41:47,937
...these guys have supported us
massively.
1806
01:41:48,145 --> 01:41:50,439
They've always
been complimentary...
1807
01:41:50,648 --> 01:41:54,819
...of our work ethic,
and the passion and the hard work...
1808
01:41:55,027 --> 01:41:56,529
...that went into the crew.
1809
01:41:56,737 --> 01:41:58,990
So, yeah,
it's been a great experience...
1810
01:41:59,198 --> 01:42:01,367
...to kind of work with those guys,
and, like--
1811
01:42:01,575 --> 01:42:04,287
Yeah, a lot of them
I can't wait to work with again.
1812
01:42:18,551 --> 01:42:22,805
So we touched on a little something
earlier on in the film where--
1813
01:42:23,014 --> 01:42:25,308
This kind of comes back,
and I'm not sure, like...
1814
01:42:25,516 --> 01:42:28,102
...how much clarity there is to this.
There was always--
1815
01:42:28,311 --> 01:42:31,188
I have this thing, whereby,
there are certain things you guys--
1816
01:42:31,397 --> 01:42:33,566
You see first time around,
you'll pick up on...
1817
01:42:33,774 --> 01:42:35,651
...some things you probably won't.
1818
01:42:36,277 --> 01:42:38,446
One thing I don't like to do
is kind ofjust--
1819
01:42:38,654 --> 01:42:41,615
ls to spoon-feed too much
in terms of the information.
1820
01:42:41,824 --> 01:42:43,117
So earlier on in the film...
1821
01:42:43,326 --> 01:42:46,078
...when we saw him
switching the SIM cards around...
1822
01:42:46,287 --> 01:42:50,041
...it was kind of clear in a way
that, you know, he would use one...
1823
01:42:50,249 --> 01:42:53,336
...in order to be able to call,
like, Bunawar or his wife...
1824
01:42:53,544 --> 01:42:55,004
...or anyone close to him.
1825
01:42:55,212 --> 01:42:57,923
The other one was purely
for any communication he had...
1826
01:42:58,132 --> 01:43:00,051
...with the people he was investigating.
1827
01:43:00,259 --> 01:43:02,720
You know, Eka, Bangun or Uco.
1828
01:43:02,928 --> 01:43:05,222
And so, like,
this is one of those moments...
1829
01:43:05,431 --> 01:43:09,894
...where as we start to kind of focus
on this entire conversation...
1830
01:43:10,102 --> 01:43:11,729
...between him and Bunawar...
1831
01:43:13,230 --> 01:43:15,232
...when he does hang up eventually...
1832
01:43:15,441 --> 01:43:18,652
...that we realize that, you know,
this SIM card hadn't been changed.
1833
01:43:18,861 --> 01:43:22,114
And so when he gets the call from Eka,
the intent is there...
1834
01:43:22,323 --> 01:43:26,285
...that he's made a call to Bunawar
from the SIM...
1835
01:43:26,494 --> 01:43:28,621
...that was provided to him
by the mob family.
1836
01:43:28,829 --> 01:43:31,874
So if they are keeping tabs on him,
if they are looking up the--
1837
01:43:32,083 --> 01:43:33,918
His itemized billing,
whatever the hell.
1838
01:43:34,126 --> 01:43:37,922
They'd know he made a call to someone.
They'd be able to trace that, figure out...
1839
01:43:38,130 --> 01:43:40,800
...he had a connection to someone,
who is that person.
1840
01:43:41,008 --> 01:43:43,844
Would they be able to figure out
he was an undercover cop...
1841
01:43:44,053 --> 01:43:46,305
...based off that information?
1842
01:43:46,514 --> 01:43:48,224
It is kind of a stretch in a way...
1843
01:43:48,432 --> 01:43:51,060
...because we don't give
that much away...
1844
01:43:51,268 --> 01:43:54,605
...in terms of hinting at it too much,
but, like--
1845
01:43:54,814 --> 01:43:57,900
I don't know, maybe it's something
that you guys pick up on.
1846
01:44:00,736 --> 01:44:04,448
Another aspect was that thing of, like--
This was in the original script...
1847
01:44:04,657 --> 01:44:07,618
...and this was kind of something
that carried over into here...
1848
01:44:07,827 --> 01:44:12,248
to show maybe like a sense of, like,
strength and resolve in his character...
1849
01:44:12,456 --> 01:44:15,292
...the idea that, you know,
he was preparing himself to leave.
1850
01:44:15,501 --> 01:44:19,797
He was getting ready to kind of like, you
know, disappear from the underworld...
1851
01:44:20,005 --> 01:44:23,467
...even though, you know,
his responsibility as an undercover cop...
1852
01:44:23,676 --> 01:44:25,511
...is to see it through to the end.
1853
01:44:25,719 --> 01:44:28,681
But, you know, it was the idea
of planting those seeds of doubt.
1854
01:44:28,889 --> 01:44:31,767
That idea that, you know,
when we get to the end of the film...
1855
01:44:31,976 --> 01:44:34,854
...we understand where he reaches.
We understand where he is...
1856
01:44:35,062 --> 01:44:38,607
...when he wants to get out of this life
and just be done with it.
1857
01:44:40,192 --> 01:44:44,447
So this sequence here,
I'm so proud of Arif and Tio here...
1858
01:44:44,655 --> 01:44:46,365
...because they nailed this sequence.
1859
01:44:46,574 --> 01:44:50,786
And the whole slapping idea...
1860
01:44:50,995 --> 01:44:54,248
...it came from a Takeshi Kitano film
called Violent Cop.
1861
01:44:54,457 --> 01:44:56,625
There's a superb
sort of interrogation scene...
1862
01:44:56,834 --> 01:44:59,962
...where Kitano pretty much slaps
this guy about 40 to 5O times...
1863
01:45:00,171 --> 01:45:01,672
...like really full-on.
1864
01:45:01,881 --> 01:45:03,299
But I wanted to do that...
1865
01:45:03,507 --> 01:45:08,095
...but in a way where it would work more
for the emotional drama of the scene...
1866
01:45:08,304 --> 01:45:12,266
...that it would kind of wind up Uco
to the point where he would explode.
1867
01:45:12,475 --> 01:45:14,143
And so, yeah, it was--
1868
01:45:14,351 --> 01:45:17,855
There was a moment between Arifin
and Tio when they discussed it...
1869
01:45:18,063 --> 01:45:21,567
...and they kind of, you know,
did a couple of mild hits at first...
1870
01:45:21,775 --> 01:45:23,611
...and when it came to the take, it was:
1871
01:45:23,819 --> 01:45:26,906
"Okay, you go full-on now,
and then let's just do this in one go."
1872
01:45:27,114 --> 01:45:30,826
And so I held on it.
We held this shot entirely for one take...
1873
01:45:31,035 --> 01:45:34,038
...all the way through till the end
of the drama here.
1874
01:45:34,246 --> 01:45:39,502
So I was very, very happy
and actually very happy with what I got.
1875
01:45:40,044 --> 01:45:43,297
The range of emotions here from Arifin
is so strong.
1876
01:45:43,506 --> 01:45:45,966
Even when there's a line
that he kind of half laughs.
1877
01:45:46,175 --> 01:45:49,762
It just feels natural.
It feels like it's part of it all.
1878
01:45:51,138 --> 01:45:53,641
You've destroyed us.
1879
01:45:53,807 --> 01:45:55,476
You've destroyed everything.
1880
01:45:55,643 --> 01:45:59,730
One of the things I liked about this scene,
especially in terms of Arifin's delivery...
1881
01:45:59,939 --> 01:46:03,567
...because, like, we are trying
to sort of hide the fact that...
1882
01:46:03,776 --> 01:46:07,863
...you know, this is all still a setup,
that this is all, you know, pre-designed...
1883
01:46:08,072 --> 01:46:10,491
...that the idea is that
Bejo's men are on their way.
1884
01:46:10,699 --> 01:46:13,285
They're about to arrive in that building
at this moment.
1885
01:46:13,494 --> 01:46:15,371
And here, there's like a genuine look...
1886
01:46:15,579 --> 01:46:18,415
...of, like, worry and nervousness
in Arifin's face.
1887
01:46:18,624 --> 01:46:21,710
You know, he-- And that was all
about the idea of, you know...
1888
01:46:21,919 --> 01:46:24,296
...it's like the last throw of the dice
for him.
1889
01:46:24,505 --> 01:46:28,342
So when his father punches him,
that's the deciding moment for Arifin then.
1890
01:46:28,551 --> 01:46:30,386
For Uco's character, sorry.
1891
01:46:30,594 --> 01:46:33,806
Everything before that,
that sort of desperation of "I can fix this...
1892
01:46:34,014 --> 01:46:36,767
...we can fix this,"
it's almost like I believe him.
1893
01:46:36,976 --> 01:46:39,478
I believe that he does believe
that he can fix this...
1894
01:46:39,687 --> 01:46:42,273
...and he's almost wanting his father
to kind of just--
1895
01:46:42,481 --> 01:46:45,401
To embrace him
and to take on board like, you know...
1896
01:46:45,609 --> 01:46:47,903
...and to say,
"Okay. We will work together."
1897
01:46:48,112 --> 01:46:52,324
It's like a desperate moment that before
he knows that Bejo is about to come in...
1898
01:46:52,533 --> 01:46:55,869
...because the moment that Bejo
comes in, that's it, decision made then.
1899
01:46:56,078 --> 01:46:59,832
And we know, you know,
what's about to happen to the father.
1900
01:47:00,040 --> 01:47:03,669
So, yeah, it was an interesting little
sort of like exchange between them...
1901
01:47:03,877 --> 01:47:07,172
...where it's almost like
if he hadn't punched him...
1902
01:47:07,756 --> 01:47:10,634
...maybe Uco
could have done something...
1903
01:47:10,843 --> 01:47:13,012
...could have stopped this
from happening.
1904
01:47:13,220 --> 01:47:15,681
But now, of course, it's too late.
1905
01:47:17,057 --> 01:47:19,059
Forgive me.
1906
01:47:21,937 --> 01:47:25,524
We made a conscious decision here...
1907
01:47:27,192 --> 01:47:30,446
...to not have the sound effect
of the gun.
1908
01:47:30,654 --> 01:47:33,449
We just felt
that it kind of played a lot stronger...
1909
01:47:33,657 --> 01:47:37,202
...to the actual impact of the moment.
1910
01:47:37,411 --> 01:47:40,789
It kind of gave it a subtlety to it
that we felt was more important...
1911
01:47:40,998 --> 01:47:44,335
...than the kind of-- You know,
the sudden crash of something...
1912
01:47:44,543 --> 01:47:46,962
...that was gonna be more visceral.
1913
01:47:47,504 --> 01:47:51,383
And, you know, that whole process
was a major part of the sound mix...
1914
01:47:51,592 --> 01:47:56,972
...and the sound design that we did
in Skywalker Sound in San Francisco.
1915
01:47:57,181 --> 01:48:00,934
Now, they came on board
to help us outwith the postproduction...
1916
01:48:01,894 --> 01:48:04,521
...through our connection
with Joe Trapanese.
1917
01:48:04,730 --> 01:48:07,024
Joe Trapanese had worked
on Oblivion, the score...
1918
01:48:07,232 --> 01:48:11,820
...and they did a lot of the mixing there
in the sound mixing studios...
1919
01:48:12,029 --> 01:48:13,072
...at Skywalker Ranch.
1920
01:48:13,280 --> 01:48:16,033
And so I was put in touch
with Jonathan Greber...
1921
01:48:16,241 --> 01:48:21,080
...who's, like, pretty much the greatest
guy I've worked with in terms of sound.
1922
01:48:21,288 --> 01:48:25,125
And he took a look at our project
and he was like a fan of the first film...
1923
01:48:25,334 --> 01:48:28,545
...and just, you know, I always had
that kind of expectation of:
1924
01:48:28,754 --> 01:48:32,091
There's no way we can afford him.
There's no way we can do that there...
1925
01:48:32,299 --> 01:48:34,551
...because it's such, you know,
a big company.
1926
01:48:34,718 --> 01:48:36,512
Like, you associate it with Star Wars.
1927
01:48:36,679 --> 01:48:39,390
You associate it with that legacy
of what they've achieved.
1928
01:48:39,598 --> 01:48:41,767
I'm thinking,
"They're not gonna wanna touch...
1929
01:48:41,975 --> 01:48:44,353
...this little Indonesian movie
that we're making."
1930
01:48:44,561 --> 01:48:47,231
But in all fairness to him,
and he came through...
1931
01:48:47,439 --> 01:48:49,692
...and asked us what we wanted,
what we needed...
1932
01:48:50,109 --> 01:48:52,277
...what we could afford,
what our budget was...
1933
01:48:52,486 --> 01:48:54,822
...and then, you know, found a way
to make it work.
1934
01:48:55,030 --> 01:48:58,701
So we had the best time working there.
It was such an incredible experience.
1935
01:48:58,909 --> 01:49:01,787
But what was great about it
was the fact that they were open...
1936
01:49:01,995 --> 01:49:04,373
...to, like, you know, my ideas
for how I wanted...
1937
01:49:04,581 --> 01:49:06,834
...to, you know, stylize
some of the sound mix...
1938
01:49:07,042 --> 01:49:10,921
...and play around with the idea
of when to go big, when to go loud...
1939
01:49:11,130 --> 01:49:13,507
...but also when to come down
to complete silence...
1940
01:49:13,716 --> 01:49:16,427
...and play in that kind of dynamic range
a lot more.
1941
01:49:16,635 --> 01:49:18,929
And, you know,
they were all open to that.
1942
01:49:19,138 --> 01:49:21,098
And also, the great side of it was that...
1943
01:49:21,306 --> 01:49:24,435
...through the guys there,
like Zach, Brandon, Doug...
1944
01:49:24,643 --> 01:49:25,811
...there was so much--
1945
01:49:26,019 --> 01:49:29,148
And Danielle, they all kind of brought
so many ideas to the plate...
1946
01:49:29,356 --> 01:49:31,900
...and we had so much fun
working together on it.
1947
01:49:32,109 --> 01:49:34,194
Like, it was hard.
It was, like, long hours...
1948
01:49:34,403 --> 01:49:39,450
...but if I had an idea, there was sort of
like a straightforward approach to it.
1949
01:49:39,658 --> 01:49:43,620
Like, if something was a bad idea,
they'd tell me it was a bad idea.
1950
01:49:43,829 --> 01:49:46,498
But then they would throw in
about four or five ideas...
1951
01:49:46,707 --> 01:49:48,500
...to kind of compensate for that.
1952
01:49:48,709 --> 01:49:51,462
And it was just
a real good, creative process and--
1953
01:49:51,670 --> 01:49:55,174
And great for Ogi and Fajar
to come on board as well...
1954
01:49:55,382 --> 01:49:57,676
...because they were working
as sound designers...
1955
01:49:57,885 --> 01:50:01,430
...and they got to come in and experience
that whole side of it as well.
1956
01:50:01,638 --> 01:50:04,057
And so the idea of us
working on these projects...
1957
01:50:04,266 --> 01:50:07,770
...and being able to bring elements
of postproduction or production...
1958
01:50:07,978 --> 01:50:10,314
...to another country, it's great for us...
1959
01:50:10,522 --> 01:50:12,983
...because we can train ourselves,
learn from it...
1960
01:50:13,192 --> 01:50:16,445
...get these experiences,
so that when we go back to Indonesia...
1961
01:50:16,653 --> 01:50:19,156
...we've got a new approach
on how to work on things.
1962
01:50:19,364 --> 01:50:23,368
And so, yeah,
it's been a great process.
1963
01:50:24,077 --> 01:50:26,830
And speaking of learning
from other people...
1964
01:50:27,039 --> 01:50:31,168
...we reach our car chase,
our big car chase for the film.
1965
01:50:31,376 --> 01:50:34,713
This was, like, without doubt,
the biggest undertaking...
1966
01:50:34,922 --> 01:50:37,508
...that I have ever had
in terms of an action sequence.
1967
01:50:37,716 --> 01:50:39,593
It was our first time to ever do this...
1968
01:50:39,802 --> 01:50:44,681
...and we couldn't have done this
without the help of Mike Leeder...
1969
01:50:44,890 --> 01:50:48,018
...a good friend of mine
who's worked in the casting--
1970
01:50:48,227 --> 01:50:51,438
The casting of many, many
Hong Kong films, and like finding talent...
1971
01:50:51,647 --> 01:50:56,109
...for movies that are being produced
in Hong Kong or outside of there.
1972
01:50:56,318 --> 01:50:57,736
And he put me in touch...
1973
01:50:57,945 --> 01:51:02,783
...with the incredibly skillful and crazy
Bruce Law and his stunt team.
1974
01:51:02,991 --> 01:51:05,452
Bruce has had credits
on so many films...
1975
01:51:05,661 --> 01:51:07,621
...I have geeked out over
over the years...
1976
01:51:07,830 --> 01:51:09,832
...working with John Woo
and Jackie Chan...
1977
01:51:10,040 --> 01:51:12,668
...on Police Story and The Killer
and Hard Boiled.
1978
01:51:12,876 --> 01:51:16,713
All of these films that have been like
milestone films in terms of action cinema...
1979
01:51:16,880 --> 01:51:20,175
...for me and part of my generation
growing up watching them.
1980
01:51:20,384 --> 01:51:23,387
So to have him on board
helping us execute these sequences...
1981
01:51:23,595 --> 01:51:27,266
...and executing these stunts was just
like a-- It was a dream come true.
1982
01:51:27,474 --> 01:51:30,727
So, yeah,
we've worked together on this...
1983
01:51:30,936 --> 01:51:35,816
...and we spent about a month or two
maybe just designing the sequence.
1984
01:51:36,024 --> 01:51:39,736
And I came to him already
with a pre-designed sequence...
1985
01:51:39,945 --> 01:51:42,906
...and what I wanted to achieve with it,
and I gave him...
1986
01:51:43,115 --> 01:51:46,827
...like, very specific, detailed shot lists...
1987
01:51:47,035 --> 01:51:50,163
...and video storyboards
of where I want to put the camera...
1988
01:51:50,372 --> 01:51:53,750
...where I want to move it,
and he would take all that and then say:
1989
01:51:53,959 --> 01:51:56,962
"Okay. We can do that,
but then let's add a few cameras here"...
1990
01:51:57,170 --> 01:52:00,465
...and then give me, like, a bunch
of other options that I could use...
1991
01:52:00,674 --> 01:52:03,468
...in order to, you know,
really make the scene pop.
1992
01:52:03,677 --> 01:52:06,805
And so it was invaluable
to have him and his team on board...
1993
01:52:07,014 --> 01:52:10,893
...to make sure that, like, this entire
sequence went by without a hitch.
1994
01:52:11,101 --> 01:52:14,980
And so, yeah, this was--
This was just ferocious.
1995
01:52:16,148 --> 01:52:19,443
Real hard-- Hard graft on this.
1996
01:52:19,776 --> 01:52:23,947
These are, like, four or five
different locations throughout Jakarta.
1997
01:52:24,156 --> 01:52:25,407
This one is Sunter.
1998
01:52:25,616 --> 01:52:26,992
This road is always closed...
1999
01:52:27,451 --> 01:52:30,954
...but it is the most busy area
for traffic...
2000
01:52:31,163 --> 01:52:33,248
...in Jakarta I have been to
for a long time.
2001
01:52:33,457 --> 01:52:35,208
So when we were shooting there...
2002
01:52:35,417 --> 01:52:38,253
...we were breathing the fumes
of so many different cars...
2003
01:52:38,462 --> 01:52:42,966
...and then, also, having to listen
to numerous people...
2004
01:52:43,175 --> 01:52:46,637
...teach me the many, many ways
to swear at you in Indonesian.
2005
01:52:48,847 --> 01:52:51,850
We were not the best friends
of the people of Indonesia...
2006
01:52:52,059 --> 01:52:54,186
...when we were shooting
these sequences.
2007
01:52:54,394 --> 01:53:00,359
The delays in the traffic actually made
the news broadcasts in Indonesia.
2008
01:53:00,567 --> 01:53:02,486
Talking about,
"What is this production...
2009
01:53:02,694 --> 01:53:05,530
...that is, you know,
causing this traffic pileup?"
2010
01:53:05,739 --> 01:53:08,200
And we all knew who it was,
but we kept quiet.
2011
01:53:08,659 --> 01:53:10,702
We needed
to keep finishing our shoot first.
2012
01:53:12,454 --> 01:53:16,208
One of the things I wanted to do here
in this car chase--
2013
01:53:16,416 --> 01:53:18,418
Because we couldn't afford
to do things...
2014
01:53:18,627 --> 01:53:20,796
...that you can do
in a Fast & Furious movie...
2015
01:53:21,004 --> 01:53:23,966
...where you throw different oars
through the same building...
2016
01:53:24,383 --> 01:53:27,886
...and then go for a flat-out spectacle.
I knew we had to be more careful...
2017
01:53:28,095 --> 01:53:30,347
...about how we used cars,
we didn't have many.
2018
01:53:30,555 --> 01:53:33,976
So previously, like, we started to focus
on things that we could make...
2019
01:53:34,184 --> 01:53:37,354
...which were unique to Indonesia
or unique to this type of film...
2020
01:53:37,562 --> 01:53:40,440
...that we wanted to make.
So, for me, was that thing of like--
2021
01:53:40,649 --> 01:53:43,527
Toro, my producer suggested
we should use the bus way...
2022
01:53:43,735 --> 01:53:46,029
...which is a very unique thing
in Indonesia...
2023
01:53:46,238 --> 01:53:49,032
...that big sort of glass,
metal complex earlier.
2024
01:53:49,241 --> 01:53:53,704
That would be one of our punch lines.
The other thing is this punch line here.
2025
01:53:55,622 --> 01:53:57,791
You never normally see the body
fly out the car.
2026
01:53:58,000 --> 01:54:00,711
That was one thing I realized
when watching action films...
2027
01:54:00,919 --> 01:54:04,631
...is that whenever they do a car chase,
it's the car, it's the metal...
2028
01:54:04,840 --> 01:54:07,009
...and the glass
that flies across the road.
2029
01:54:07,217 --> 01:54:08,802
It's never the person inside it.
2030
01:54:09,011 --> 01:54:11,930
So you almost get this, like, you know,
not irresponsible...
2031
01:54:12,139 --> 01:54:15,600
...you almost get this sense of "these
cars can smash all over the place...
2032
01:54:15,767 --> 01:54:17,310
...it doesn't change anything."
2033
01:54:17,519 --> 01:54:21,189
What I wanted to do was to be like,
"Let's see what happens to that guy."
2034
01:54:21,398 --> 01:54:23,859
So the construction of that shot
was done in a way...
2035
01:54:24,067 --> 01:54:26,069
...where we keep it all
from the top shot...
2036
01:54:26,278 --> 01:54:28,447
...all from a bird's-eye view,
not out away...
2037
01:54:28,655 --> 01:54:31,700
...and just show the actual impact
of that car hitting the wall...
2038
01:54:31,908 --> 01:54:35,829
...and then comp in,
like, the image of the fighter...
2039
01:54:36,038 --> 01:54:37,664
...flying through the windscreen...
2040
01:54:37,873 --> 01:54:42,127
...so that you get it all in one take and you
get this sense of it being sort of like--
2041
01:54:42,335 --> 01:54:44,463
Like a gonzo moment in the film.
2042
01:54:44,671 --> 01:54:48,842
So all of a sudden, you know,
you've got this thing that feels so real...
2043
01:54:49,051 --> 01:54:51,845
...and then people hopefully will start
to question:
2044
01:54:52,054 --> 01:54:55,223
"What do they do to the stuntmen?
How do they execute these shots?"
2045
01:54:55,432 --> 01:54:58,310
When in reality,
it's so, so safe the way we did it.
2046
01:55:01,688 --> 01:55:04,691
I guess one of the things
I wanted to play around with then--
2047
01:55:04,900 --> 01:55:06,860
And here you go, this is another one.
2048
01:55:07,069 --> 01:55:10,197
--Is like referencing the first movie.
So in the first movie...
2049
01:55:10,405 --> 01:55:14,534
...we had the sequence where Jaka
did the triple tap to the guy's face.
2050
01:55:14,743 --> 01:55:18,955
I was thinking, "How can we top that?"
Well, I was a big fan of Dobermann...
2051
01:55:19,164 --> 01:55:23,043
...and there's a scene where they
were shooting at this biker, let's top that...
2052
01:55:23,251 --> 01:55:27,798
...and then in the process of doing that,
let's top our Raid 1 triple-tap moment.
2053
01:55:28,006 --> 01:55:30,175
And I have, like, a mad respect
for Dobermann...
2054
01:55:30,383 --> 01:55:33,220
...because I absolutely love that film
on a stylistic level.
2055
01:55:33,428 --> 01:55:36,014
But I really wanted
to kind of push and push and push...
2056
01:55:36,223 --> 01:55:38,558
...and then see
what we could come up with.
2057
01:55:38,850 --> 01:55:41,770
And again, you know,
using this opportunity...
2058
01:55:41,978 --> 01:55:46,274
...to showcase an action sequence
inside the back of the car...
2059
01:55:46,483 --> 01:55:48,443
...where it's completely
claustrophobic...
2060
01:55:48,652 --> 01:55:51,071
...and intercut with moments
where we jump out wide.
2061
01:55:51,279 --> 01:55:55,325
So it's a case of playing around
with the spatial diversity of this scene...
2062
01:55:55,534 --> 01:55:57,869
...where we're allowed
to go epic, to go big...
2063
01:55:58,078 --> 01:56:01,081
...we're allowed to have a moment here
like, you know...
2064
01:56:01,289 --> 01:56:04,751
...who can load the gun the fastest
in a sort of little Mexican standoff...
2065
01:56:04,960 --> 01:56:08,380
...while they're driving cars
down this speeding motorway...
2066
01:56:08,588 --> 01:56:13,927
...and then combine this with these
big, big, big set-piece moments...
2067
01:56:14,136 --> 01:56:16,763
...with this, like, super tight,
claustrophobic fight...
2068
01:56:16,972 --> 01:56:19,057
...when we get back into that other car.
2069
01:56:19,266 --> 01:56:20,976
And that seemed to be the key.
2070
01:56:21,184 --> 01:56:24,146
Like, let's treat it like everything's
a piece of choreography.
2071
01:56:24,354 --> 01:56:26,314
Let's treat every bump of every car...
2072
01:56:26,523 --> 01:56:28,733
...like it's a construct
of the choreography...
2073
01:56:28,942 --> 01:56:32,279
...the same way that these blocks
and punches are made to be designed...
2074
01:56:32,487 --> 01:56:36,158
...to kind of play out like a certain rhythm
and a percussive element.
2075
01:56:36,366 --> 01:56:41,163
So too should the bumps of the car,
the metal hitting the car...
2076
01:56:41,371 --> 01:56:43,832
...and the glass
smashing in the windows.
2077
01:56:44,040 --> 01:56:47,210
It was just a big, huge
sort of like design process.
2078
01:56:47,419 --> 01:56:49,963
It took a long time to get going.
2079
01:56:50,338 --> 01:56:54,843
We shot for about 12 days, 13 days
to get this stuff done.
2080
01:56:55,468 --> 01:56:59,890
But, yeah, thankfully,
a combination of the final product...
2081
01:57:00,098 --> 01:57:04,311
...and then also, I gotta say, one
of the most exciting pieces of music...
2082
01:57:04,519 --> 01:57:07,689
...that I've had play
on anything I've done with film.
2083
01:57:07,898 --> 01:57:10,317
It just elevated the whole scene
so much more.
2084
01:57:10,525 --> 01:57:14,196
And, like, I'm really proud of the work
that my crew put in...
2085
01:57:14,404 --> 01:57:17,532
...in order to kind of get the scene done
the way we did it.
2086
01:57:22,329 --> 01:57:24,706
Okay, we can cool down
a little bit now.
2087
01:57:24,915 --> 01:57:26,958
So this is the-- Goto's office...
2088
01:57:27,167 --> 01:57:30,879
...and this was actually designed--
We based our design here...
2089
01:57:31,087 --> 01:57:35,592
...on the very sort of like archetypal
sort of Japanese Yakuza bosses...
2090
01:57:35,800 --> 01:57:38,803
...administration offices,
like you'd see in the films there.
2091
01:57:39,012 --> 01:57:41,139
So everything
down from the color scheme...
2092
01:57:41,348 --> 01:57:46,186
...the furniture, the table, the low tables,
the safe in the corner and everything...
2093
01:57:46,394 --> 01:57:48,980
...and then sort of the family emblem
on the wall...
2094
01:57:49,189 --> 01:57:51,858
...it's all kind of like, you know--
2095
01:57:52,525 --> 01:57:55,028
Like a reference
and like a stereotype in a way...
2096
01:57:55,237 --> 01:57:59,658
...from the Japanese Yakuza films I used
to watch from the '70s and '80s and '90s.
2097
01:57:59,866 --> 01:58:02,035
So we're playing to archetypes here.
2098
01:58:02,244 --> 01:58:04,371
We're playing to that kind of--
2099
01:58:04,955 --> 01:58:09,167
That stylized sort of Yakuza element
I've always loved watching as a kid.
2100
01:58:10,085 --> 01:58:12,963
Even down to the way we shot it too,
like, you know...
2101
01:58:13,171 --> 01:58:17,592
...there's these very slow, purposeful
sort of like dolly track shots.
2102
01:58:17,801 --> 01:58:20,845
The camera angles,
I wanted to keep it kind of low...
2103
01:58:21,054 --> 01:58:24,891
...and, you know, never above Goto,
and always kind of--
2104
01:58:25,100 --> 01:58:27,018
You know, the sort of stillness to it.
2105
01:58:27,227 --> 01:58:31,982
There's never a shot where the camera
is kind of like floating or hand-held.
2106
01:58:32,190 --> 01:58:35,610
It's always kind of static on tripod.
I wanted to kind of reflect that...
2107
01:58:35,819 --> 01:58:38,446
...because I've always been a big fan
of Japanese cinema.
2108
01:58:38,655 --> 01:58:44,077
So to have a visual style, I was able
to kind of, you know, fit my sort of--
2109
01:58:44,452 --> 01:58:47,497
My geeky approach
to Japanese cinema...
2110
01:58:47,706 --> 01:58:50,166
...was a nice sort of refreshing change
to us.
2111
01:58:50,375 --> 01:58:53,795
All throughout the rest of the film,
whenever there was an action scene...
2112
01:58:54,004 --> 01:58:57,090
...we were going so hard
with the aggressiveness...
2113
01:58:57,299 --> 01:58:58,967
...and the movement of the camera.
2114
01:58:59,175 --> 01:59:00,677
I think both Matt and Dimas...
2115
01:59:00,885 --> 01:59:04,306
...my two DOPs who have worked
with me on the last three films...
2116
01:59:04,514 --> 01:59:06,516
...I think they relished
this opportunity...
2117
01:59:06,725 --> 01:59:10,603
...to just take a breath and just, like,
you know, let the camera rest...
2118
01:59:10,812 --> 01:59:13,732
...and just let the performances
play through.
2119
01:59:15,066 --> 01:59:16,818
One thing about the performance...
2120
01:59:17,027 --> 01:59:19,029
...is there's such consistency
between them.
2121
01:59:19,237 --> 01:59:21,614
When it came
to the Japanese cast--
2122
01:59:21,823 --> 01:59:23,908
We noticed
a lot of the Indonesian cast...
2123
01:59:24,117 --> 01:59:27,787
...they would kind of improvise a little bit
between take to take.
2124
01:59:27,996 --> 01:59:30,290
But the Japanese cast,
they would lock in...
2125
01:59:30,498 --> 01:59:32,792
...and then they would--
They would figure out...
2126
01:59:33,001 --> 01:59:35,503
...how they wanted to play that scene
in rehearsals...
2127
01:59:35,712 --> 01:59:38,214
...and then just do it take for take
the same.
2128
01:59:38,423 --> 01:59:41,384
Gestures would be the same,
timing of movement, the same...
2129
01:59:41,593 --> 01:59:44,054
...and it made my life easier then
in the edit...
2130
01:59:44,262 --> 01:59:46,931
...because I could use any take
of any shot...
2131
01:59:47,140 --> 01:59:50,268
...and I know that it would connect
to whatever else we had of them.
2132
01:59:50,477 --> 01:59:53,521
So it was kind of an interesting process
for that.
2133
01:59:55,148 --> 01:59:59,402
This location sadly does not exist
in Indonesia.
2134
01:59:59,611 --> 02:00:02,530
We just created a matte painting
in CG...
2135
02:00:02,739 --> 02:00:05,367
...in order to kind of have
this huge, big landscape...
2136
02:00:05,575 --> 02:00:08,787
...of, like, a rundown building complex.
2137
02:00:12,082 --> 02:00:14,292
We had a location for it booked in.
2138
02:00:14,501 --> 02:00:17,921
We'd found this construction site
which would have been perfect for us...
2139
02:00:18,129 --> 02:00:19,923
...and would have fit so nicely...
2140
02:00:20,131 --> 02:00:24,969
...but when it came time to start shooting,
they'd sold the land to a construction--
2141
02:00:25,178 --> 02:00:28,473
Another construction, sorry,
that was actually doing something with it.
2142
02:00:28,681 --> 02:00:32,227
So by the time we were ready to shoot
then, that whole area had gone.
2143
02:00:32,435 --> 02:00:34,896
So this place where we shot...
2144
02:00:35,105 --> 02:00:39,150
...we actually used it for the exterior
of Bejo's restaurant as well.
2145
02:00:39,359 --> 02:00:43,238
So when Rama goes
to drive in through those metal doors...
2146
02:00:43,446 --> 02:00:47,534
...to get into the delivery area of the
restaurant, this is all the same location.
2147
02:00:47,742 --> 02:00:50,203
It's the same area.
So we shot this in the day...
2148
02:00:50,412 --> 02:00:52,497
...waited for nightfall,
and shot the rest...
2149
02:00:52,705 --> 02:00:55,667
...with Rama driving in through the door
at night.
2150
02:00:56,126 --> 02:00:58,878
And so basically, yeah,
for the wide shot...
2151
02:00:59,087 --> 02:01:00,380
...we would end up...
2152
02:01:00,588 --> 02:01:03,633
...you know, painting out all of the set
that we had there...
2153
02:01:03,842 --> 02:01:07,137
...and then, you know,
extending the whole look of the thing...
2154
02:01:07,345 --> 02:01:11,558
...to kind of be
this rundown, dilapidated area.
2155
02:01:12,559 --> 02:01:14,269
If you want out...
2156
02:01:16,729 --> 02:01:18,731
So this was the reinforcement then
as well.
2157
02:01:18,940 --> 02:01:22,402
This was kind of the revelation of lko's
character being an undercover cop.
2158
02:01:22,569 --> 02:01:23,570
All of them.
2159
02:01:23,736 --> 02:01:27,282
And, you know, the idea that he'd
been hung out to dry by his superiors...
2160
02:01:27,490 --> 02:01:31,953
...then it's like he knows that this is the
last person that's gonna see him alive.
2161
02:01:32,328 --> 02:01:36,374
He's had these things he's wanted to say
for so many years, and gets to say them.
2162
02:01:36,583 --> 02:01:39,127
He gets to, you know, clear the air
on his character...
2163
02:01:39,335 --> 02:01:41,087
...and who he is and what he was...
2164
02:01:41,296 --> 02:01:45,300
...moments before he's about to kind of--
To pass on.
2165
02:01:46,009 --> 02:01:48,553
And it also served that idea
of kind of, you know...
2166
02:01:48,761 --> 02:01:50,805
...giving Rama that incentive
in a way...
2167
02:01:51,014 --> 02:01:55,101
...that idea that, like, he can't just go back
and pick up his bag and leave.
2168
02:01:55,310 --> 02:01:57,520
He can't just get out that easily.
2169
02:01:57,729 --> 02:02:01,858
That something has to be done
in order for him to leave this world...
2170
02:02:02,066 --> 02:02:06,321
...and still be able to live his life
with his wife, with his kid.
2171
02:02:06,529 --> 02:02:10,950
And so that idea of, you know,
taking them all out...
2172
02:02:11,159 --> 02:02:15,705
...that's basically, you know, Martial Arts
Action Film 101 motivation there...
2173
02:02:15,914 --> 02:02:19,000
...where, you know,
you give your hero a task...
2174
02:02:19,209 --> 02:02:21,544
...and he knows that all it is,
is a pure carnage.
2175
02:02:21,753 --> 02:02:24,923
So it's kind of like a nod of the hat
to the audience as well...
2176
02:02:25,131 --> 02:02:27,592
...to know that, like,
just because we've just had...
2177
02:02:27,800 --> 02:02:31,679
...like, a huge assassin
montage sequence...
2178
02:02:31,888 --> 02:02:36,226
...and a big car-chase sequence,
like, we're definitely not done yet.
2179
02:02:38,686 --> 02:02:42,106
Okay, so this is the exterior
of the warehouse location.
2180
02:02:42,315 --> 02:02:45,777
This was actually shot in exactly
the same location as the previous scene.
2181
02:02:45,985 --> 02:02:48,530
When we shot this,
we didn't have, like, anything...
2182
02:02:48,738 --> 02:02:50,865
...like, real and tangible to use as a set.
2183
02:02:51,074 --> 02:02:53,785
So all we had really
was sort of the steel shutter doors...
2184
02:02:53,993 --> 02:02:56,496
...and some, like, you know, props
laying around.
2185
02:02:56,704 --> 02:02:59,082
And everything was kind of created then
in CG.
2186
02:02:59,290 --> 02:03:03,211
So the whole extension of the set
was done by Andi, my online guy.
2187
02:03:03,419 --> 02:03:06,381
What I wanted to do here was to like--
This is sort of papered over.
2188
02:03:06,589 --> 02:03:09,467
We shot the-- This is just the aftermath
of a crime scene...
2189
02:03:09,676 --> 02:03:14,097
...but we shot three police lieutenants
being bumped off by the Goto gang.
2190
02:03:14,305 --> 02:03:18,351
Some of that featured in the teaser trailer,
but we ended up cutting it for pacing...
2191
02:03:18,560 --> 02:03:21,020
...because we'd done
our montage sequence before...
2192
02:03:21,229 --> 02:03:22,772
...with Hammer Girl,
Baseball Bat and the Assassin.
2193
02:03:22,981 --> 02:03:24,983
I figured it was gonna get, like, overkill.
2194
02:03:25,191 --> 02:03:28,444
Some could argue
that we already overkilled this anyway.
2195
02:03:28,653 --> 02:03:31,698
So we cut those out.
They're featured in the teaser trailer...
2196
02:03:31,906 --> 02:03:35,493
...but, like, I cut that teaser trailer
way back in sort of November.
2197
02:03:35,702 --> 02:03:37,662
Then when we
were finishing up the film--
2198
02:03:37,870 --> 02:03:40,415
We were still editing this
up until December time.
2199
02:03:40,623 --> 02:03:43,334
So some of that stuff ended up,
you know, disappearing...
2200
02:03:43,543 --> 02:03:47,213
...and becoming, you know,
available now as deleted scenes.
2201
02:03:47,422 --> 02:03:49,924
So here we've just established
when lko says:
2202
02:03:50,883 --> 02:03:53,970
Like, "Watch over me,"
he's basically talking to his brother...
2203
02:03:54,178 --> 02:03:56,222
...and I wanted to maintain that idea...
2204
02:03:56,431 --> 02:03:59,767
...of there being some element
of revenge motivating him.
2205
02:03:59,976 --> 02:04:04,397
I didn't want to lose sight of that because
his ulterior motive is to protect his family.
2206
02:04:04,606 --> 02:04:08,276
But deep down what he wants to do
is basically get revenge for his brother...
2207
02:04:08,484 --> 02:04:12,280
...which later on we find out is that
something that gets taken away from him.
2208
02:04:12,864 --> 02:04:15,116
Bridging with that idea
of the dissatisfaction...
2209
02:04:15,325 --> 02:04:18,202
...in terms of all the characters
not getting what they want.
2210
02:04:18,411 --> 02:04:22,123
That wall earlier, actually, when the guy
gets sort of crushed into the wall--
2211
02:04:22,332 --> 02:04:24,709
We-- That wall wasn't supposed to break,
actually.
2212
02:04:24,917 --> 02:04:28,463
The whole plan for that shot was that
we were gonna have the guy's body...
2213
02:04:28,671 --> 02:04:31,382
...just crushed against this wall
and pinned up against it.
2214
02:04:31,591 --> 02:04:35,094
But our Art Department forgot
to put the sort of cinder blocks...
2215
02:04:35,303 --> 02:04:38,306
...on the other side of that brick wall
that we'd built for it.
2216
02:04:38,514 --> 02:04:41,559
When the car went through,
it smashed through the brick wall...
2217
02:04:41,768 --> 02:04:44,896
...but also the main structure wall
of the warehouse behind.
2218
02:04:45,104 --> 02:04:48,316
So then we ended up having
to fix that really quickly then...
2219
02:04:48,524 --> 02:04:50,151
...so we could carry on shooting...
2220
02:04:50,360 --> 02:04:54,322
...and make sure that the structure was
safe and sound for us to carry on filming.
2221
02:04:54,530 --> 02:04:57,325
The choreography here,
we wanted to have this feeling...
2222
02:04:57,533 --> 02:05:00,119
...of, like, chaos and freneticism to it.
2223
02:05:00,328 --> 02:05:03,247
We ended up having to have lko
running up that ramp then...
2224
02:05:03,456 --> 02:05:07,502
...because when we got to the location,
the actual space is so big and so large.
2225
02:05:07,710 --> 02:05:11,172
When we were designing the fight
scenes, we're in a small office space.
2226
02:05:11,381 --> 02:05:14,592
So we design these movements,
and then we get to this real space...
2227
02:05:14,801 --> 02:05:18,179
...and it's so big and so vast,
we have to figure out how to position it.
2228
02:05:18,346 --> 02:05:21,599
So we always do like a walkthrough
of the whole choreography...
2229
02:05:21,808 --> 02:05:25,228
...while on location to figure out
this happens here, this happens there.
2230
02:05:25,436 --> 02:05:27,397
Sometimes our choreography,
we design it...
2231
02:05:27,605 --> 02:05:31,609
...without actually looking at the--
You know, the location beforehand.
2232
02:05:31,818 --> 02:05:36,155
So that stunt area, the stunt guy being
sort of thrown head first into a beam...
2233
02:05:36,364 --> 02:05:38,533
...we had to build that ramp,
build that beam...
2234
02:05:38,741 --> 02:05:40,910
...and then obviously put rubber
around that...
2235
02:05:41,119 --> 02:05:43,871
...for the protection
of the stunt guy doing the stunt...
2236
02:05:44,080 --> 02:05:47,166
...so that we could get away
with having our choreography exact.
2237
02:05:47,375 --> 02:05:50,670
And then my poor Art Department
and my poor Locations guy...
2238
02:05:50,878 --> 02:05:55,633
...have to follow suit in terms of what we
wanna do in our choreography then.
2239
02:05:59,178 --> 02:06:02,598
This scene here
with Uco sort of washing his hands...
2240
02:06:02,807 --> 02:06:04,851
...and sort of regrouping himself...
2241
02:06:05,059 --> 02:06:07,186
...we shot this very, very early
in the shoot.
2242
02:06:07,395 --> 02:06:10,982
This was probably around about
three days to four days into the shoot...
2243
02:06:11,190 --> 02:06:15,445
...and we shot this on location
inside a mall called Grand Indonesia.
2244
02:06:15,653 --> 02:06:17,196
There was a bathroom stall there.
2245
02:06:17,405 --> 02:06:21,075
And one of the things that me and Arifin
are kind of both frustrated by...
2246
02:06:21,284 --> 02:06:23,035
...is that we did shoot this early.
2247
02:06:23,244 --> 02:06:26,706
Although his performance is--
You know, I can't fault it, it's really--
2248
02:06:26,914 --> 02:06:31,043
He has a strong performance in terms
of carrying the weight and the emotion.
2249
02:06:31,252 --> 02:06:33,504
The downside
is we made a conscious decision...
2250
02:06:33,713 --> 02:06:37,508
...later on in the shoot for everything
following him killing his father...
2251
02:06:37,717 --> 02:06:40,470
...we wouldn't have dialogue from Uco,
he would be silent...
2252
02:06:40,678 --> 02:06:45,224
...he would be in this, like, catatonic state
ofjust, like, observation and reflection.
2253
02:06:45,433 --> 02:06:49,228
And obviously, you can see here,
like, he actually speaks to this character.
2254
02:06:49,437 --> 02:06:52,648
So every other scene that we shot
post Bangun's death...
2255
02:06:52,857 --> 02:06:54,859
...was silent from him,
no dialogue at all.
2256
02:06:55,067 --> 02:06:57,612
Just all about expression,
except for this one...
2257
02:06:57,820 --> 02:07:02,116
...which is literally just because
we'd shot it so early on in the production.
2258
02:07:03,951 --> 02:07:07,789
I'm probably gonna hold my hands up
and say that this wire...
2259
02:07:07,997 --> 02:07:11,834
...is pretty fucking big, really,
to not be noticed at all inside the wallet.
2260
02:07:12,043 --> 02:07:13,920
One of those things
where you turn up...
2261
02:07:14,128 --> 02:07:17,548
...then you've got your props lined up,
you show them the design of it...
2262
02:07:17,757 --> 02:07:21,344
...and suddenly, you're about to shoot
and you see the size of the thing.
2263
02:07:21,552 --> 02:07:24,180
So we didn't really have much say
in that.
2264
02:07:24,388 --> 02:07:28,226
And ideally, really, I'd love
to have had something a lot smaller...
2265
02:07:28,434 --> 02:07:30,645
...and a lot more
sort of realistic-looking...
2266
02:07:30,853 --> 02:07:36,442
...in terms of a wire tap inside of a wallet,
but, hey, ho.
2267
02:07:36,651 --> 02:07:39,111
So here we have Reza
returning to the fray.
2268
02:07:39,320 --> 02:07:42,949
So this is back to Roy Marten,
who is just a fantastic actor.
2269
02:07:43,157 --> 02:07:45,159
There's such a lot of respect for him.
2270
02:07:45,368 --> 02:07:48,246
Because he's a senior actor,
a senior performer in Indonesia...
2271
02:07:48,454 --> 02:07:51,249
...and, you know, he was just such a joy
to work with.
2272
02:07:51,457 --> 02:07:53,251
He brought a lot to the character...
2273
02:07:53,459 --> 02:07:56,587
...even though it's only
a very limited amount of screen time.
2274
02:07:56,796 --> 02:08:00,258
He just nails the tone of the character.
He nails that kind of attitude.
2275
02:08:00,466 --> 02:08:05,388
And, you know, the way he goads Arifin
later on is one of my favorite moments...
2276
02:08:05,596 --> 02:08:09,058
...of the character
throughout the entire film.
2277
02:08:09,725 --> 02:08:12,103
Hey, sidekick.
2278
02:08:13,646 --> 02:08:15,982
You're talkative.
2279
02:08:16,315 --> 02:08:18,651
So we're playing on that idea
of the paranoia here.
2280
02:08:18,860 --> 02:08:21,279
One of the things
that not everyone picks up on...
2281
02:08:21,487 --> 02:08:25,032
...is that idea
of, like, when Uco sees the wire...
2282
02:08:25,241 --> 02:08:28,327
...the thing about the wire
is that it makes him feel suspicious...
2283
02:08:28,536 --> 02:08:31,205
...he's being set up,
whether this has been something...
2284
02:08:31,414 --> 02:08:35,459
...that Bejo and Reza have kind of set up
from the get-go.
2285
02:08:35,668 --> 02:08:39,797
At the moment, he's suspicious of Reza,
and that's why he shoots him that look.
2286
02:08:40,006 --> 02:08:42,008
But when we do the reveal
of the tattoo...
2287
02:08:42,216 --> 02:08:45,344
...it's pretty much
all about Uco's paranoia...
2288
02:08:45,553 --> 02:08:47,638
...telling him
there's two and two together...
2289
02:08:47,847 --> 02:08:50,600
...that wire was put by Reza,
that they're monitoring him...
2290
02:08:50,808 --> 02:08:52,476
...that they're manipulating him...
2291
02:08:52,685 --> 02:08:55,313
...and seeing the tattoo
and linking it to Benny...
2292
02:08:55,521 --> 02:08:58,190
...who was, like, executed earlier on
in the restaurant...
2293
02:08:58,357 --> 02:09:00,651
...it's almost
that sort of a crushing feeling...
2294
02:09:00,860 --> 02:09:04,238
...of being completely,
you know, manipulated...
2295
02:09:04,447 --> 02:09:08,993
...made to feel like a puppet at the hands
of Reza and Bejo, which, you know...
2296
02:09:09,201 --> 02:09:13,331
...although there's a partial truth there,
Reza has, like, no involvement in this.
2297
02:09:13,539 --> 02:09:16,334
Like, he wasn't involved
in any way, shape or form.
2298
02:09:16,542 --> 02:09:19,045
And so it's all about
that sort of seething paranoia...
2299
02:09:19,253 --> 02:09:21,505
...that ends up resulting
later on in the film...
2300
02:09:21,714 --> 02:09:26,761
...with Uco kind of taking care of business
in a way on behalf of Rama...
2301
02:09:26,969 --> 02:09:29,180
...and taking away his ability...
2302
02:09:29,388 --> 02:09:35,519
...to sort of get revenge for himself,
to protect his family for himself.
2303
02:09:37,313 --> 02:09:42,568
Earlier, we saw a shot of Hammer Girl
grabbing at her hammers...
2304
02:09:42,777 --> 02:09:46,155
...and that was basically designed
in a way to play up to the idea...
2305
02:09:46,364 --> 02:09:49,325
...of these characters having a sense
of childhood about them...
2306
02:09:49,533 --> 02:09:50,826
...an immaturity about them.
2307
02:09:51,035 --> 02:09:53,788
And so, for me,
it was always this case of, you know--
2308
02:09:53,996 --> 02:09:56,540
That was a last-minute thing
that we added to the film.
2309
02:09:56,749 --> 02:10:00,419
That was like an improvisational moment
where we were shooting that scene...
2310
02:10:00,628 --> 02:10:02,463
...and I wanted something else
in there.
2311
02:10:02,672 --> 02:10:05,508
I wanted something different
to kind of reinforce...
2312
02:10:05,716 --> 02:10:08,678
...that sort of immaturity
of Baseball Bat and Hammer Girl.
2313
02:10:08,886 --> 02:10:11,430
And so I kind of spoke to Julie
and told her, I said:
2314
02:10:11,639 --> 02:10:14,934
"Keep your back to them. Don't listen
to a single word they're saying.
2315
02:10:15,142 --> 02:10:17,311
You're deaf anyway,
you're not gonna respond...
2316
02:10:17,520 --> 02:10:19,271
...to when Bejo sends you guys out."
2317
02:10:19,480 --> 02:10:22,733
And so basically, yeah,
it was this opportunity for us...
2318
02:10:22,942 --> 02:10:27,238
...to, you know, play on those themes
of, like, the lost innocence of them...
2319
02:10:27,446 --> 02:10:30,992
...the sort of childhood element
of the characters.
2320
02:10:31,242 --> 02:10:32,827
And here they are again.
2321
02:10:33,035 --> 02:10:36,080
This is all the setup ready
for them to face off against Rama...
2322
02:10:36,288 --> 02:10:38,249
...in this big showdown.
2323
02:10:38,457 --> 02:10:41,335
The look of this location actually
with the red glass walls...
2324
02:10:41,544 --> 02:10:44,171
...was based on a restaurant
that exists in Jakarta.
2325
02:10:44,380 --> 02:10:46,549
It's a really beautiful
Chinese restaurant.
2326
02:10:46,757 --> 02:10:49,510
And so whenever I would go there
I would take photographs...
2327
02:10:49,719 --> 02:10:52,930
...and video reference of the look
of the place, these, you know--
2328
02:10:53,139 --> 02:10:56,267
These red patent glass walls
in this corridor space...
2329
02:10:56,475 --> 02:10:59,562
...so that my Art Department could go
and make it for them first...
2330
02:10:59,770 --> 02:11:02,732
...to kind of use then
in terms of the shoot.
2331
02:11:02,940 --> 02:11:05,276
So the glass was--
I think we had a few panels...
2332
02:11:05,484 --> 02:11:08,904
...that were made out of protective,
kind of like strengthened plastic...
2333
02:11:09,113 --> 02:11:13,367
...and then glass for anywhere where we
needed to make it shatter for real.
2334
02:11:14,618 --> 02:11:17,830
This choreography was pretty complex
for us to design because, like--
2335
02:11:18,039 --> 02:11:20,166
Especially hardest for lko to perform.
2336
02:11:20,833 --> 02:11:25,129
Iko and Very, who plays Baseball Bat
Man, they're from the same silat school.
2337
02:11:25,337 --> 02:11:28,466
So his comfort level
at kicking and punching Very...
2338
02:11:28,674 --> 02:11:31,677
...is very sort of like, you know--
He can go full-on.
2339
02:11:31,886 --> 02:11:34,305
Like, they trust each other entirely
to go full-on.
2340
02:11:34,513 --> 02:11:36,640
Iko kept telling me
that he struggled a lot...
2341
02:11:36,849 --> 02:11:39,852
...whenever it came to doing the punches
and kicks at Julie...
2342
02:11:40,061 --> 02:11:43,022
...plays Hammer Girl, because
although she had proven herself...
2343
02:11:43,230 --> 02:11:45,483
...there was this awkward
psychological thing...
2344
02:11:45,691 --> 02:11:49,278
...where he couldn't quite get into
that mode of literally picking her up...
2345
02:11:49,487 --> 02:11:51,280
...and throwing her
against the window.
2346
02:11:51,489 --> 02:11:53,657
So that shot of her
hitting against the glass...
2347
02:11:53,866 --> 02:11:56,410
...we did that
about eight times, nine times...
2348
02:11:56,619 --> 02:11:59,580
...because each time
lko kept kind of trying to overprotect her.
2349
02:11:59,789 --> 02:12:03,084
He would slam her against the glass
and almost lower her to the ground.
2350
02:12:03,292 --> 02:12:05,878
Suddenly, I'm telling him,
"No, you've gotta go for it."
2351
02:12:06,087 --> 02:12:08,422
At this point,
Julie's done seven of those falls...
2352
02:12:08,631 --> 02:12:11,092
...and each fall,
although cushioned and protected...
2353
02:12:11,300 --> 02:12:13,594
...it's still-- It's gonna soften you up.
2354
02:12:14,053 --> 02:12:17,681
At that point then, it was-- He finally
did the one where he let go of her...
2355
02:12:17,890 --> 02:12:21,477
...and then that one hurt a lot more,
like she'd already been tenderized...
2356
02:12:21,685 --> 02:12:23,479
...for want of a better word.
2357
02:12:24,814 --> 02:12:28,859
So the moment that Baseball Bat goes
into a rage and all the way up to this kill...
2358
02:12:29,068 --> 02:12:31,362
...I wanted to play
on the emotional part of it.
2359
02:12:31,570 --> 02:12:34,323
So-- I didn't want you
to hate Baseball Bat and Hammer Girl.
2360
02:12:34,532 --> 02:12:36,534
I wanted you to almost like them
in a way...
2361
02:12:36,742 --> 02:12:40,204
...that you can kind of share
in the fact that they have this bond.
2362
02:12:40,412 --> 02:12:42,957
And again, this kill then,
this final moment...
2363
02:12:43,165 --> 02:12:47,294
...with the baseball bat stuck inside his
mouth, that was another improvisation.
2364
02:12:47,503 --> 02:12:48,879
We didn't really know how to--
2365
02:12:49,088 --> 02:12:52,716
I didn't know how I was gonna finish
this scene off until we were on set.
2366
02:12:52,925 --> 02:12:56,679
And so when-- I knew that the final blow
would be, like, this huge heavy blast...
2367
02:12:56,887 --> 02:12:58,931
...of the baseball bat into the mouth...
2368
02:12:59,140 --> 02:13:01,892
...I had no idea
about how to finish on a punch line.
2369
02:13:02,101 --> 02:13:06,272
And so, literally, we were on set, and then
I'm telling my Art Department to kind of:
2370
02:13:06,480 --> 02:13:09,525
"All right, can you prepare
this baseball bat with me...
2371
02:13:09,733 --> 02:13:11,819
...so that we can cut a chunk out of it...
2372
02:13:12,027 --> 02:13:16,073
...and put, like, a bite moment
for Very to be able to chew on?"
2373
02:13:16,448 --> 02:13:19,618
And then we zip-tied it
around his head then and kind of--
2374
02:13:19,827 --> 02:13:24,039
Yeah, he sat there very uncomfortably
for about, like, three hours...
2375
02:13:24,248 --> 02:13:27,334
...with this baseball bat
just strapped to his head.
2376
02:13:27,543 --> 02:13:29,670
And, yeah, it seems to have paid off.
2377
02:13:29,879 --> 02:13:33,215
So far, everyone's sort of had
a big response to that.
2378
02:13:33,674 --> 02:13:36,051
Now, I'm just gonna watch
this shuffle here.
2379
02:13:36,260 --> 02:13:39,513
This was sort of like-- The whole stunt
right here with the hands...
2380
02:13:39,722 --> 02:13:43,142
...the back of the hands, the back
of the hand, it's a direct reference...
2381
02:13:43,350 --> 02:13:46,770
...and like an homage in a way
to, for me, Enter the Dragon...
2382
02:13:46,979 --> 02:13:51,192
...for the sort of competition fights
that Bruce Lee has in that film.
2383
02:13:51,734 --> 02:13:56,071
But when it comes to the sort of
specific characteristics of silat...
2384
02:13:56,280 --> 02:13:58,949
"especially from Cecep here,
the way his eyes are...
2385
02:13:59,158 --> 02:14:01,535
...the way his looks are,
gestures and mannerisms...
2386
02:14:02,161 --> 02:14:06,332
...like, I wish I could take credit for this,
but truthfully it all came from him.
2387
02:14:06,540 --> 02:14:10,002
So all of those mannerisms, gestures,
it was completely undirected.
2388
02:14:10,211 --> 02:14:13,339
It was like a joy to see these things
come through in the camera...
2389
02:14:13,547 --> 02:14:17,509
...and just be sort of taken away by it,
which when you consider the fact that...
2390
02:14:17,718 --> 02:14:22,014
...Cecep was not like an experienced
actor, he's purely a martial arts fighter...
2391
02:14:22,473 --> 02:14:25,935
...it's such an incredible thing
to kind of have these guys and face off...
2392
02:14:26,143 --> 02:14:28,312
...with not just
a complex fighting style...
2393
02:14:28,520 --> 02:14:32,274
...but also with the charisma involved
in terms of the character as well.
2394
02:14:32,650 --> 02:14:36,445
So this fight scene, actually,
this is a pretty long fight scene.
2395
02:14:36,654 --> 02:14:39,740
This is something we spent
a hell of a long time sort of designing.
2396
02:14:40,282 --> 02:14:42,785
We worked on it
for about a month and a half...
2397
02:14:42,993 --> 02:14:46,372
...to design the actual movements
and get all the structure in there.
2398
02:14:46,580 --> 02:14:48,749
The way we would do that,
we would go through...
2399
02:14:48,958 --> 02:14:52,002
...and create these bite-sized pieces
of choreography...
2400
02:14:52,211 --> 02:14:55,673
...that the guys would present to me
and I would end up going through it...
2401
02:14:55,881 --> 02:14:58,008
...saying, "Put this here, put this there."
2402
02:14:58,217 --> 02:15:01,220
Like a jigsaw piece.
You start stacking everything together...
2403
02:15:01,428 --> 02:15:04,390
...and figuring out
how the fight is gonna play out.
2404
02:15:04,598 --> 02:15:08,852
Once we had that structure sorted and
started thinking about different props...
2405
02:15:09,061 --> 02:15:11,021
...like I wanted this set in the kitchen--
2406
02:15:11,230 --> 02:15:14,566
Like, especially this shot here
with this sort of-- Sort of angle...
2407
02:15:14,775 --> 02:15:16,777
...a turn of the camera
to the work surface.
2408
02:15:16,986 --> 02:15:18,821
Something I wanted from the get-go...
2409
02:15:19,029 --> 02:15:21,615
...the fact we're gonna set it
in the kitchen space.
2410
02:15:21,824 --> 02:15:25,327
We could use that metal pang
of the work surface in the sound design.
2411
02:15:25,536 --> 02:15:28,497
So we would end up going off
and doing our video storyboard.
2412
02:15:28,706 --> 02:15:31,917
The video storyboard for this one--
This one actually took about...
2413
02:15:32,126 --> 02:15:35,963
...probably about a month and a half, on
top of that, where we'd shoot each day.
2414
02:15:36,171 --> 02:15:39,341
For every single shot-- Every single
movement in the choreography...
2415
02:15:39,550 --> 02:15:42,553
...we would do about five different
alternative angles for it...
2416
02:15:43,262 --> 02:15:46,223
...trying to find
which one felt like the right one to use.
2417
02:15:47,141 --> 02:15:49,435
Before we carry on,
a shout-out to Yandi there.
2418
02:15:49,643 --> 02:15:51,645
That's our stunt guy filling in
for Cecep.
2419
02:15:51,854 --> 02:15:53,480
Yandi did all of the glass work.
2420
02:15:53,689 --> 02:15:56,191
He doubled for Epy earlier on
in the porn den.
2421
02:15:56,400 --> 02:15:59,028
That's him again, being kicked out
through the window.
2422
02:15:59,236 --> 02:16:00,988
And poor Yandi, man.
I mean, he took--
2423
02:16:01,196 --> 02:16:04,033
Like, even though it's tempered glass
and it's made to be...
2424
02:16:04,241 --> 02:16:06,076
...safer than real glass, it still cuts.
2425
02:16:06,285 --> 02:16:08,537
You still get nicks and marks
every now and then.
2426
02:16:08,746 --> 02:16:11,540
And on that cut,
when he got kicked through the window...
2427
02:16:11,749 --> 02:16:14,835
...he had a pretty nasty gash
going down the back of his ear.
2428
02:16:15,044 --> 02:16:18,547
But he's a trouper and he's one
of those guys that's constantly kind of--
2429
02:16:18,756 --> 02:16:21,133
Everything we've thrown at him,
he's done for us.
2430
02:16:21,342 --> 02:16:22,926
So he's an incredible stunt guy.
2431
02:16:23,135 --> 02:16:25,220
So I'm gonna give massive props
to him here.
2432
02:16:25,429 --> 02:16:27,973
So basically after Merantau...
2433
02:16:28,182 --> 02:16:32,895
...we had a few people comment,
like, about Ike's karambit weapon.
2434
02:16:33,103 --> 02:16:35,064
Apologies if I'm repeating myself...
2435
02:16:35,272 --> 02:16:39,151
...but we've been recording
this commentary through a period of time.
2436
02:16:39,360 --> 02:16:43,113
So, yeah, with the karambit, like,
everyone wanted to see it in combat.
2437
02:16:43,322 --> 02:16:45,449
And I knew I was gonna use it
in this film...
2438
02:16:45,657 --> 02:16:48,744
...and the tone for this film
would allow me to go pretty brutal...
2439
02:16:48,952 --> 02:16:51,538
...and aggressive
in terms of the use of the knife.
2440
02:16:51,747 --> 02:16:52,873
What I love about it...
2441
02:16:53,082 --> 02:16:55,918
...and what I loved about using it here
in this space is...
2442
02:16:56,126 --> 02:17:00,381
...we have a pretty decent sized location.
I mean, it's not, like, very claustrophobic.
2443
02:17:00,589 --> 02:17:01,673
There's space around.
2444
02:17:01,882 --> 02:17:04,635
But the nature of that weapon,
because it's a short blade...
2445
02:17:04,843 --> 02:17:06,887
...it forces the fighters to be close...
2446
02:17:07,096 --> 02:17:09,890
...in order for that weapon
to become an impactful weapon.
2447
02:17:10,099 --> 02:17:12,476
And so then you end up
in this situation...
2448
02:17:12,684 --> 02:17:16,397
...where suddenly, even in this space,
the fight ends up having the feeling...
2449
02:17:16,605 --> 02:17:19,233
...of claustrophobia
because they're at each other.
2450
02:17:19,441 --> 02:17:22,361
The speed and the use of the weapon
is so brutal and so fast...
2451
02:17:22,569 --> 02:17:25,280
...but so close,
that you lose sight of the fact...
2452
02:17:25,489 --> 02:17:27,908
...that, you know,
it's such a wide-open space.
2453
02:17:28,117 --> 02:17:30,452
And that's, like, attributed
to the fact that...
2454
02:17:30,661 --> 02:17:33,580
...that weapon is just so short
and so brutal.
2455
02:17:37,626 --> 02:17:39,169
This is one of my favorite kicks.
2456
02:17:39,378 --> 02:17:42,214
That sort of sequence of kicks
is one of my favorite things.
2457
02:17:42,423 --> 02:17:45,676
And one of the things
we tended to do a lot of, it's--
2458
02:17:45,884 --> 02:17:50,013
It's kind of like something I've realized
now as I kind of make film after film now.
2459
02:17:50,222 --> 02:17:54,101
I'm starting to see little sort of recurring
shots and little recurring movements.
2460
02:17:54,309 --> 02:17:56,979
And one of those things
is the idea of using top shots.
2461
02:17:57,187 --> 02:18:00,274
I tend to use bird's-eye view shots,
especially in fight sequences.
2462
02:18:00,482 --> 02:18:02,818
And it helps me be able to--
2463
02:18:03,026 --> 02:18:06,530
The reason why I use top shots
usually in the fight sequence is, one...
2464
02:18:06,738 --> 02:18:09,241
...gives you an opportunity
to see the action in full.
2465
02:18:09,908 --> 02:18:13,787
At the same time, it allows me to reset
my position as well for the next scene.
2466
02:18:13,996 --> 02:18:16,206
So-- The next shot. Sorry.
So basically you go--
2467
02:18:16,748 --> 02:18:19,835
If you're on the right-hand side
of someone's shoulder...
2468
02:18:20,043 --> 02:18:23,255
...then suddenly you need to go over
to the left of somebody else's...
2469
02:18:23,464 --> 02:18:25,924
...without breaking
the 180 degree rule line...
2470
02:18:26,133 --> 02:18:29,553
...I'll throw in a top shot wherever I can
to help redress the balance.
2471
02:18:29,761 --> 02:18:31,805
So it's kind of a useful tool,
while also...
2472
02:18:32,014 --> 02:18:34,057
...looking very sort of,
like, striking...
2473
02:18:34,266 --> 02:18:37,269
...and visually interesting
for the fight sequences.
2474
02:18:37,728 --> 02:18:40,856
So this sequence here then
is where we started..
2475
02:18:41,064 --> 02:18:44,234
...to go a bit more crazy now.
At the beginning, we structure it...
2476
02:18:44,443 --> 02:18:48,155
...in a way where it'd be pure silat
and, like, a lot of sort of technique...
2477
02:18:48,363 --> 02:18:51,408
...and a lot of crisp choreography
which will end up making way...
2478
02:18:51,617 --> 02:18:54,411
...into this more brutal state
of the choreography...
2479
02:18:54,620 --> 02:18:57,623
...where it's much more hack and slash
and start to lose focus...
2480
02:18:58,040 --> 02:19:00,918
...as they start ripping
each other apart.
2481
02:19:01,126 --> 02:19:03,170
Earlier I mentioned about
our condom technique...
2482
02:19:03,378 --> 02:19:06,089
...and this is where
it really, really came into play.
2483
02:19:06,548 --> 02:19:08,926
So a lot of these shots,
a lot of these setups...
2484
02:19:09,134 --> 02:19:10,594
...were designed in that way...
2485
02:19:10,802 --> 02:19:13,722
...where we could maximize
the use of, like, practical blood.
2486
02:19:13,931 --> 02:19:15,974
I didn't wanna do much
with the CG on this.
2487
02:19:16,183 --> 02:19:17,809
There is CG in there...
2488
02:19:18,018 --> 02:19:21,897
...but if we added that practical element
by having those condom bursts...
2489
02:19:22,314 --> 02:19:24,775
...using the string technique
that we designed...
2490
02:19:24,983 --> 02:19:27,110
...then it would mean
that it would kind of...
2491
02:19:27,319 --> 02:19:30,322
...make it easier to sort of
sell those CG elements as well.
2492
02:19:30,531 --> 02:19:34,952
The big benefit of having that practical
blood is that it sticks to the clothing.
2493
02:19:35,160 --> 02:19:37,246
It sticks to everyone
and the floor as well.
2494
02:19:38,205 --> 02:19:41,875
So, yeah, the only things
like this with the throat...
2495
02:19:42,084 --> 02:19:45,420
...those were the kind of elements
where we did a lot of CG work on it.
2496
02:19:45,629 --> 02:19:48,882
Everything else
was kind of real and practical then.
2497
02:20:04,273 --> 02:20:07,943
So now we're back into the restaurant
and one thing I wanted to play on...
2498
02:20:08,151 --> 02:20:09,945
...was this idea that Rama is--
2499
02:20:10,153 --> 02:20:13,782
Obviously, he's been through so much
now, his body's almost breaking down.
2500
02:20:13,991 --> 02:20:16,827
And so when we were doing
the choreography for this scene...
2501
02:20:17,035 --> 02:20:19,580
...we're shooting this on set,
I started telling lko...
2502
02:20:19,788 --> 02:20:23,625
...that every time you do a movement,
it's like you're about to lose your balance.
2503
02:20:23,834 --> 02:20:26,587
Every time you slash someone,
you're falling to the ground.
2504
02:20:26,795 --> 02:20:29,590
So it really helped sell
that sort of exhaustion of him...
2505
02:20:29,798 --> 02:20:32,718
...whereby every slash he does
has to be, like, you know...
2506
02:20:32,926 --> 02:20:34,344
...strong and powerful.
2507
02:20:34,553 --> 02:20:38,390
But then as soon as there's--
As soon as it's over, the release of it...
2508
02:20:38,599 --> 02:20:40,475
...is bringing him back down to earth.
2509
02:20:40,684 --> 02:20:43,353
It's realizing just how broken
his body is at this point.
2510
02:20:43,562 --> 02:20:47,065
He no longer is sort of, like, that
sort of sharp, focused fighter anymore.
2511
02:20:47,274 --> 02:20:50,402
He's lost a lot of blood
and he's lost a lot of energy now.
2512
02:20:50,611 --> 02:20:52,321
So he is vulnerable at this point...
2513
02:20:52,529 --> 02:20:55,282
...which is something
that's been an importance to us...
2514
02:20:55,490 --> 02:20:57,826
...whenever we make
any of these movies.
2515
02:20:58,035 --> 02:20:59,661
Quick side point though...
2516
02:20:59,870 --> 02:21:02,331
...the glass panels
that we shot out earlier...
2517
02:21:02,539 --> 02:21:04,499
...all glass panels were done with CG.
2518
02:21:05,334 --> 02:21:08,712
We had real glass panels put in there
and real squibs put in there...
2519
02:21:08,920 --> 02:21:12,424
...but there was a technical issue
which made it incredibly dangerous...
2520
02:21:12,633 --> 02:21:15,218
...for us to do,
so we ended up having to shoot that...
2521
02:21:15,427 --> 02:21:18,722
...completely clean with no glass in there,
and then later on...
2522
02:21:18,930 --> 02:21:23,101
...put in the CG glass elements then
for the actual stunt itself.
2523
02:21:23,310 --> 02:21:27,105
So here we go.
We're coming up to the head shot.
2524
02:21:27,314 --> 02:21:29,399
I'll give you a bit of detail on this one.
2525
02:21:29,608 --> 02:21:32,277
So for the head shot,
what we did in the end...
2526
02:21:32,486 --> 02:21:37,908
...was we basically made a replica
of Alex's face...
2527
02:21:38,116 --> 02:21:40,661
...and we had this camera
locked off here.
2528
02:21:40,869 --> 02:21:44,748
And so we ended up having to shoot
the version first of all with Alex reacting...
2529
02:21:44,956 --> 02:21:47,292
...and so you get his arm
and his body movement.
2530
02:21:47,501 --> 02:21:50,504
And then later on then,
we would position the body...
2531
02:21:50,712 --> 02:21:53,298
...just the body by itself
in the same position as him.
2532
02:21:53,507 --> 02:21:55,175
We would do this frame match...
2533
02:21:55,384 --> 02:21:58,512
...where we could position the head
in exactly the same spot...
2534
02:21:58,720 --> 02:22:00,097
...and then we would, like--
2535
02:22:00,305 --> 02:22:03,684
We'd put squibs inside his fake head
and just blow it up.
2536
02:22:03,892 --> 02:22:07,604
But in terms of making sure that the body
wouldn't shift or move too much...
2537
02:22:07,813 --> 02:22:11,274
...we ended up having to put, like,
about maybe six or seven sandbags...
2538
02:22:11,483 --> 02:22:13,985
...all over the body of the dummy...
2539
02:22:14,194 --> 02:22:18,323
...so that the head wouldn't kind of,
like, spring off or go anywhere too far.
2540
02:22:18,532 --> 02:22:22,035
It was a combination of that practical
element where we would match frame...
2541
02:22:22,244 --> 02:22:25,122
...and then also, like, some CGI
just to touch it up then.
2542
02:22:27,582 --> 02:22:31,962
One of the things that was important to
me when it came to this final sequence...
2543
02:22:32,170 --> 02:22:35,257
...the sort of-- The killing of Uco.
2544
02:22:35,465 --> 02:22:38,552
I didn't want it to feel the same way
as any deaths in the film.
2545
02:22:38,760 --> 02:22:42,305
I didn't want it to feel like a hero moment
for lko, for Rama even.
2546
02:22:42,514 --> 02:22:45,016
And so when it came to, you know,
the Assassin fight...
2547
02:22:45,225 --> 02:22:49,146
...Baseball Bat, Hammer Girl fight, the
way they're structured, they're designed...
2548
02:22:49,354 --> 02:22:53,483
...that intensity is designed to make the
audience have this visceral reaction to it.
2549
02:22:53,692 --> 02:22:57,738
But here, I wanted to play on
the sadness of it, the tragedy of it.
2550
02:22:57,946 --> 02:23:00,031
And so when we were working
on this scene...
2551
02:23:00,240 --> 02:23:03,326
...me and Arifin, we were both
works-hopping how he should respond.
2552
02:23:03,535 --> 02:23:07,539
The way we wanted him to respond,
the way to convey it was that idea of--
2553
02:23:07,748 --> 02:23:10,834
When he gets stabbed,
that there's a genuine fear in him.
2554
02:23:11,042 --> 02:23:13,712
That there's like a childlike fear in him.
2555
02:23:13,920 --> 02:23:17,299
You know, he's terrified of death
and he's scared at this point.
2556
02:23:17,507 --> 02:23:18,759
And it kind of-- it's--
2557
02:23:18,967 --> 02:23:21,511
It's been a tricky thing for us
to balance that idea...
2558
02:23:21,720 --> 02:23:25,056
...of playing with the audience in terms
of how they respond to Uco.
2559
02:23:25,265 --> 02:23:29,186
Because, like, deep down, like,
you know, he's a product of his father.
2560
02:23:29,394 --> 02:23:31,688
He's a product of the society
he's been raised in.
2561
02:23:31,897 --> 02:23:34,483
And he's kind of like a tragic figure
in a way...
2562
02:23:34,691 --> 02:23:37,444
...because there's a certain vulnerability
to him at times.
2563
02:23:37,652 --> 02:23:40,280
But at other times,
there's an intense cruelty to him.
2564
02:23:40,489 --> 02:23:43,450
There was this thing
where I wanted to make it feel conflicted.
2565
02:23:43,658 --> 02:23:45,952
So there's not like a celebration
of his death.
2566
02:23:46,161 --> 02:23:48,455
It's almost like sad.
It's almost that thing of...
2567
02:23:48,663 --> 02:23:51,291
...what if they had met
in other circumstances?
2568
02:23:51,500 --> 02:23:52,834
Could they have been friends?
2569
02:23:53,043 --> 02:23:56,338
Could they have been
like a normal person in society?
2570
02:23:56,546 --> 02:23:58,965
And so we wanted to make
that final death...
2571
02:23:59,174 --> 02:24:01,968
...more emotional
and for it to mean more.
2572
02:24:03,303 --> 02:24:05,597
So I'm gonna comment now
on this piece of music...
2573
02:24:05,806 --> 02:24:11,770
...which is "Ghost 13" from the album
Ghost by Nine Inch Nails.
2574
02:24:11,978 --> 02:24:14,856
I was so fortunate
to be able to meet with Trent Reznor...
2575
02:24:15,065 --> 02:24:18,401
...and talk about this project
and he was a fan of the first film...
2576
02:24:18,610 --> 02:24:22,155
...and then the V/H/S/2 short
that me and Timo had codirected.
2577
02:24:22,364 --> 02:24:25,242
And so I was desperate
to use this track.
2578
02:24:25,450 --> 02:24:28,453
I really wanted to have this feature
in the film.
2579
02:24:28,662 --> 02:24:30,914
And in actual fact, this shot here...
2580
02:24:31,122 --> 02:24:33,917
...when we were recording this shot--
Doing this take...
2581
02:24:34,125 --> 02:24:37,921
...I would listen to the piece of music
on my iPhone...
2582
02:24:38,129 --> 02:24:41,299
...and listening with my headphones
to make sure the timing is right.
2583
02:24:41,508 --> 02:24:44,094
I knew at one point
I wanted to cut to this shot.
2584
02:24:44,302 --> 02:24:48,390
And so it was one of those things
when we were making the film...
2585
02:24:48,598 --> 02:24:50,350
...I was editing and used the song.
2586
02:24:50,559 --> 02:24:54,104
And usually it's like a nightmare
when you put in some temp track music...
2587
02:24:54,312 --> 02:24:56,648
...to cut a scene
because you fall in love with it.
2588
02:24:56,857 --> 02:25:00,527
But then when it comes down
to clearing rights, you can't actually get it.
2589
02:25:00,944 --> 02:25:04,364
But, yeah, very fortunate enough
to be able to get Trent...
2590
02:25:04,573 --> 02:25:08,159
...to okay us on this
and I'm so grateful to him for that...
2591
02:25:08,368 --> 02:25:12,455
...because this piece of music for me,
it just ties up the whole ending together.
2592
02:25:12,664 --> 02:25:17,627
It gives it this sense of this stronger
sort of, like, emotional value to it as well.
2593
02:25:17,836 --> 02:25:22,215
It was actual a stylistic choice not to have
any of the dialogue play out in this scene.
2594
02:25:22,424 --> 02:25:23,925
We did shoot it with it...
2595
02:25:24,134 --> 02:25:28,513
...and it just felt wrong to kind of
incorporate that because it just sort of--
2596
02:25:28,722 --> 02:25:31,600
Music was so beautiful,
I felt it was getting in the way of it.
2597
02:25:31,766 --> 02:25:34,185
It was like--
It was creating these stumbling blocks.
2598
02:25:34,394 --> 02:25:38,231
Once you put the audio or the dialogue in,
you have to bring the atmosphere in too.
2599
02:25:38,398 --> 02:25:41,109
So I just felt it made more sense really
to let it hang...
2600
02:25:41,318 --> 02:25:43,945
...until those final two words
come out from his mouth.
2601
02:25:44,154 --> 02:25:47,532
Just for me then, that was the perfect
way to kind of end this film then.
2602
02:25:47,699 --> 02:25:48,742
--I'm done.
2603
02:25:50,327 --> 02:25:52,954
Thank you so much
for listening to this audio commentary.
2604
02:25:53,163 --> 02:25:55,373
I hope that it's been informative
in some way.
2605
02:25:55,582 --> 02:25:59,002
I hope I haven't been too repetitive.
2606
02:25:59,544 --> 02:26:03,506
Yeah, it's been quite the adventure
making this film.
2607
02:26:03,715 --> 02:26:05,926
And, you know,
we're very appreciative...
2608
02:26:06,134 --> 02:26:08,553
...of all the support
we've managed to have so far...
2609
02:26:08,762 --> 02:26:11,556
...since Merantau through to The Raid 1,
and now The Raid 2.
2610
02:26:11,765 --> 02:26:13,892
So, yeah,
I hope you guys have enjoyed it...
2611
02:26:14,100 --> 02:26:16,478
...and I'll see you on the next film.
Thank you.