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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 of jumped
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 Iko...
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...we show him praying,
and so Iko'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,
Iko'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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00:12:27,122 --> 00:12:30,292
...that we had to bring in
for the new version of the script.
216
00:12:30,500 --> 00:12:34,087
And it was just having to kind of establish
that undercover cop element...
217
00:12:34,296 --> 00:12:36,965
...and the investigative side
of his character then.
218
00:12:37,299 --> 00:12:40,469
Okay, this guy here, this--
The prison warden is Pak Adi.
219
00:12:40,677 --> 00:12:42,095
And he's actually the--
220
00:12:42,304 --> 00:12:45,015
One of the company chairmen
for Merantau Films.
221
00:12:45,223 --> 00:12:48,560
And he was also, like,
a sort of well-respected man...
222
00:12:48,769 --> 00:12:52,939
...in terms of, like--
One of the silat organizations, IPSI.
223
00:12:53,482 --> 00:12:54,816
So, yeah, we brought him in.
224
00:12:55,025 --> 00:12:57,444
He was a pop star
in the 70s and '80s as well...
225
00:12:57,653 --> 00:13:01,448
...so we kind of brought him in to kind
of play a role in this film as the warden.
226
00:13:01,657 --> 00:13:04,576
And, yeah, it was just a pleasure
to work with him.
227
00:13:05,035 --> 00:13:06,662
I need more than that.
228
00:13:07,329 --> 00:13:09,539
He's the asshole son
of an asshole politician.
229
00:13:09,706 --> 00:13:11,541
So we had a kind of....
230
00:13:11,750 --> 00:13:13,919
There's a scene here that we cut.
231
00:13:14,920 --> 00:13:16,463
This was one of those moments--
232
00:13:16,672 --> 00:13:19,299
One of the really hard scenes
for us to decide to cut...
233
00:13:19,508 --> 00:13:23,136
...because we actually showed
the moment leading up to him...
234
00:13:23,345 --> 00:13:25,305
...beating up the politician's son.
235
00:13:25,514 --> 00:13:28,183
So here, like, later on,
when Rama says, like, you know:
236
00:13:28,392 --> 00:13:31,645
"Where is he," we were gonna cut
straight to this nightclub.
237
00:13:31,853 --> 00:13:34,856
And we did this whole sequence,
it's about maybe four minutes...
238
00:13:35,065 --> 00:13:39,236
...five minutes long, and it was just one
Steadicam shot going through this club...
239
00:13:39,444 --> 00:13:42,572
...following the conversation
between Rama...
240
00:13:42,781 --> 00:13:45,659
...and then these, like, two guys,
one is an undercover cop...
241
00:13:45,867 --> 00:13:49,579
...that sort of introduced him
to these low-level thugs.
242
00:13:50,080 --> 00:13:53,208
And the idea was, is that, like,
in that scene was this thing of:
243
00:13:53,834 --> 00:13:56,253
He would be under the pretense
of going up...
244
00:13:56,461 --> 00:14:00,298
...to meet with these, like, low-level thugs
to start working for them.
245
00:14:00,507 --> 00:14:02,300
But in the process of doing that...
246
00:14:02,509 --> 00:14:05,846
...would lose his shit
and then come after the politician's son...
247
00:14:06,054 --> 00:14:10,308
...and then beat him in front of them
so that they would bear witness to this--
248
00:14:10,517 --> 00:14:14,062
You know, this crazy, psycho,
like, you know, country-boy kid...
249
00:14:14,271 --> 00:14:17,107
...that was wanting to make
waves in this sort of underworld.
250
00:14:17,566 --> 00:14:21,695
And ended up being too much of
a crazy psychopath for them to hire him.
251
00:14:21,903 --> 00:14:24,990
And so then that would be
his, you know, gateway into prison.
252
00:14:25,198 --> 00:14:28,410
But his gateway into prison
with a story that would corroborate...
253
00:14:28,618 --> 00:14:31,913
...everything he wanted to set up
in terms of not being a policeman...
254
00:14:32,122 --> 00:14:34,583
...but being part of this world.
255
00:14:35,500 --> 00:14:39,254
This is the first fight of the film.
This is the first big fight in the toilet.
256
00:14:39,463 --> 00:14:40,797
And these shots here...
257
00:14:41,006 --> 00:14:44,801
...are actually almost directly the same
as the things we did...
258
00:14:45,010 --> 00:14:48,555
...for a very early
investors' teaser promo...
259
00:14:48,764 --> 00:14:51,266
...we shot in order to try and get money
for the film.
260
00:14:51,600 --> 00:14:54,019
It didn't work,
but we still kept the same shots.
261
00:14:54,436 --> 00:14:57,981
I don't know what that says about me.
My stubbornness I guess as a filmmaker.
262
00:14:58,774 --> 00:15:05,322
So this was, like, a big fight sequence
for us to shoot and to start off with.
263
00:15:05,530 --> 00:15:08,950
We had about three--
You can kind of tell if you really look for it.
264
00:15:09,159 --> 00:15:13,038
But we had about two different
sort of sizes for the toilet cubicles.
265
00:15:13,246 --> 00:15:16,792
Some were kind of narrow
and some were kind of wider then...
266
00:15:17,000 --> 00:15:18,794
...so we could have more space.
267
00:15:19,669 --> 00:15:23,173
And then we also had a certain design
in place...
268
00:15:23,381 --> 00:15:26,343
...where we would have the walls
on a hinge mechanism.
269
00:15:26,551 --> 00:15:30,680
So that our Art Department could end up
sort of swinging the walls left and right...
270
00:15:30,889 --> 00:15:33,183
...opening up the entire thing...
271
00:15:33,391 --> 00:15:36,478
...so we could get our camera in,
we could kind of spin around...
272
00:15:36,686 --> 00:15:39,856
...and do 360s inside that toilet cubicle
with Iko as he's fighting.
273
00:15:40,023 --> 00:15:43,401
Here's the shot as we come along to
it. So we're going in there with him.
274
00:15:43,568 --> 00:15:46,822
They're opening the walls so we can
get wide and come up to a profile.
275
00:15:46,988 --> 00:15:48,615
And then here they close it again.
276
00:15:48,824 --> 00:15:53,328
So it was like a combination
of, you know, art design, set design...
277
00:15:53,537 --> 00:15:56,039
...and then also good timing.
278
00:15:57,207 --> 00:16:00,085
And at this point,
I just feel sorry for every single person...
279
00:16:00,293 --> 00:16:03,922
...that was at the bottom of that pile,
because that was not a comfortable--
280
00:16:04,130 --> 00:16:06,967
Not a comfortable shot
for any of them to do.
281
00:16:11,680 --> 00:16:16,184
It was kind of important for me to make
sure that Iko would lose his first fight.
282
00:16:17,102 --> 00:16:20,188
I didn't wanna kind of have this thing
of, like, you know...
283
00:16:20,397 --> 00:16:22,482
...this incredibly invincible hero guy...
284
00:16:22,691 --> 00:16:25,735
...who could beat them up
and take out every person that comes in.
285
00:16:25,944 --> 00:16:29,698
We'd established there was significant
amount of people behind that door...
286
00:16:29,906 --> 00:16:33,034
...wanting to get to him.
In my eyes, it was always that thing of...
287
00:16:33,243 --> 00:16:36,162
...we would play up the idea
of there being some strategy...
288
00:16:36,371 --> 00:16:38,874
...in order for him
to keep the numbers down low...
289
00:16:39,082 --> 00:16:41,835
...by pulling in two
and slamming the door shut...
290
00:16:42,043 --> 00:16:44,796
...or always throwing bodies
in the direction...
291
00:16:45,005 --> 00:16:48,091
...of where they would wanna come in
so he would block their path.
292
00:16:48,300 --> 00:16:51,511
But it was always the thing of,
"Okay, it's just biding their time.
293
00:16:51,720 --> 00:16:53,555
It's never gonna be the solution to it.
294
00:16:53,763 --> 00:16:56,641
Like, he's going to be,
like, hurt by them...
295
00:16:56,850 --> 00:17:00,312
...and he's going to be the one
that loses that fight eventually."
296
00:17:00,770 --> 00:17:04,149
And this setup here with the wall,
this was....
297
00:17:04,357 --> 00:17:08,153
I wanted to create this kind of symmetry
between the first film and the sequel...
298
00:17:08,361 --> 00:17:10,989
...where this choreography,
these punches...
299
00:17:11,198 --> 00:17:14,075
...are very, very close,
if not exactly the same...
300
00:17:14,284 --> 00:17:18,455
...to the sort of exercise that he did
with the punch bag in part one.
301
00:17:18,663 --> 00:17:20,957
Difference is in part one,
it was all about him...
302
00:17:21,166 --> 00:17:24,252
...mentally preparing himself ready
for what he was about to do...
303
00:17:24,461 --> 00:17:26,838
...spiritually ready
for what he was about to do.
304
00:17:27,047 --> 00:17:28,673
But as we see in Iko's expression--
305
00:17:28,882 --> 00:17:31,134
I love his expression here.
He just nailed it.
306
00:17:31,343 --> 00:17:34,930
It's all about regret, about sadness,
and it's all about him realizing...
307
00:17:35,138 --> 00:17:38,892
...just how much he's had to give up now
in order to kind of be where he is...
308
00:17:39,100 --> 00:17:42,437
...in order to kind of do what he wants--
What he has to do.
309
00:17:42,646 --> 00:17:43,688
There's a difference...
310
00:17:43,897 --> 00:17:46,483
...because in The Raid 1,
it's something he wants to do.
311
00:17:46,691 --> 00:17:50,028
He wants to go in there
to take his brother out of that building.
312
00:17:50,236 --> 00:17:54,032
It's all part of his-- You know, his desire.
He needs to be able to do that.
313
00:17:54,240 --> 00:17:57,577
But here, it's more of a torment
for him...
314
00:17:57,786 --> 00:18:01,122
...because, you know, he has to do it
in order to keep his family safe.
315
00:18:01,331 --> 00:18:05,126
And the only part of him that wants
to get involved in this capacity...
316
00:18:05,335 --> 00:18:10,840
...is purely that idea of revenge
for the people who took out his brother.
317
00:18:11,049 --> 00:18:14,594
But he knows that the entire time
that he is in this prison...
318
00:18:14,803 --> 00:18:16,721
...he's not going to be able to do that.
319
00:18:16,930 --> 00:18:20,684
So it was all about, like, that frustration
of not being able to fulfill...
320
00:18:20,892 --> 00:18:24,062
...you know,
the vengeance inside of him as well.
321
00:18:25,647 --> 00:18:30,902
So now we're about to introduce
Arifin Putra, who plays Uco...
322
00:18:31,111 --> 00:18:34,114
...and Benny actually sat next to him,
played by Zack Lee.
323
00:18:35,532 --> 00:18:41,037
So Arifin, I'd seen him
in the Mo Brothers film Rumah Dara...
324
00:18:41,246 --> 00:18:42,455
...where he played Adam...
325
00:18:42,664 --> 00:18:48,211
...like, this sort of psychopathic guy who
was part of, like, a slasher film family.
326
00:18:48,795 --> 00:18:51,131
And I'd always wanted to cast him
since then and--
327
00:18:51,339 --> 00:18:54,509
Yeah, similarly to, like, Alex,
who played Bejo earlier...
328
00:18:54,718 --> 00:18:56,720
...I'd already spoken to him
about the role.
329
00:18:56,928 --> 00:18:59,848
I'd already talked to him
about bringing him in on the project.
330
00:19:00,056 --> 00:19:04,019
And so, yeah, he was another one
of those actors that kind of had to wait...
331
00:19:04,227 --> 00:19:07,897
...sit and wait for two or three years
before I was able to give him the call...
332
00:19:08,106 --> 00:19:11,401
...to say we were gonna go ahead
and go into preproduction on it.
333
00:19:12,444 --> 00:19:14,404
But, yeah, I loved working with him.
334
00:19:14,612 --> 00:19:18,116
It was fun to work with him because
he was always game for improvisation...
335
00:19:19,617 --> 00:19:21,369
...and very committed to the role.
336
00:19:21,578 --> 00:19:24,080
A lot of younger actors,
they're very hungry for it.
337
00:19:24,289 --> 00:19:26,332
They wanna be doing
these genre films...
338
00:19:26,708 --> 00:19:30,086
...they wanna have an opportunity
to kind of stretch out and not play...
339
00:19:30,295 --> 00:19:32,088
...the pretty boy romance role
anymore.
340
00:19:32,297 --> 00:19:35,258
And to actually have someone
with a little bit of a bite to him.
341
00:19:35,467 --> 00:19:38,595
And he certainly has that
in scenes later on in the film as well.
342
00:19:39,345 --> 00:19:40,638
This?
343
00:19:42,098 --> 00:19:43,391
This location, actually--
344
00:19:43,600 --> 00:19:46,394
I'll talk a little bit about locations here
because the....
345
00:19:46,603 --> 00:19:48,772
I love these buildings,
these old buildings.
346
00:19:48,980 --> 00:19:51,649
It's in an area called Kota in Jakarta.
347
00:19:51,858 --> 00:19:53,360
And they're all kind of old...
348
00:19:53,568 --> 00:19:57,530
...sort of Dutch-influenced architecture
in terms of the design of the buildings.
349
00:19:57,739 --> 00:20:01,242
Now, none of them have been, like,
taken care of or looked after properly.
350
00:20:01,451 --> 00:20:03,036
And so-- You know, when you--
351
00:20:03,244 --> 00:20:06,664
When you see the grime on the wall,
it's all real, it's all from there.
352
00:20:06,873 --> 00:20:09,000
But there's so much texture to them.
So much--
353
00:20:09,209 --> 00:20:10,919
And so many interesting spaces there.
354
00:20:11,127 --> 00:20:14,547
And one of these buildings, basically,
would've provided us...
355
00:20:14,756 --> 00:20:18,802
...with about four or five different locations
we could use throughout that building.
356
00:20:19,010 --> 00:20:23,264
So you go from one floor to the next,
you go next door to another building.
357
00:20:23,473 --> 00:20:25,558
And suddenly,
we'd have shot the porn den...
358
00:20:25,767 --> 00:20:30,855
...we'd have shot the prison canteen
scene, which we're watching right now.
359
00:20:31,064 --> 00:20:33,608
We've also shot the visitor room here.
360
00:20:33,817 --> 00:20:36,069
We shot different scenes
in this one building...
361
00:20:36,277 --> 00:20:39,781
...where it was just like, you know,
so many different spaces...
362
00:20:39,989 --> 00:20:44,035
...so many different architectural designs,
all within one roof, basically.
363
00:20:48,206 --> 00:20:50,125
This initially was going to lead off...
364
00:20:50,333 --> 00:20:52,752
...into another one of those scenes
that we deleted.
365
00:20:52,961 --> 00:20:59,092
We deleted it for pacing issues, where--
We were gonna do, like, a flashback.
366
00:20:59,300 --> 00:21:04,305
And the flashback was gonna be
Iko kind of leaving an elevator...
367
00:21:05,265 --> 00:21:09,519
...going back to his apartment
only to be met by Andi, his brother.
368
00:21:09,727 --> 00:21:12,605
And we had this whole element
of, you know, back-story...
369
00:21:12,814 --> 00:21:15,316
...for, like, a flashback element
with his brother.
370
00:21:15,525 --> 00:21:18,403
How he'd given him money
and helping him out with his kid...
371
00:21:18,611 --> 00:21:21,239
...because the idea
was that the baby was sick...
372
00:21:21,447 --> 00:21:23,533
...and that they needed
some kind of support.
373
00:21:23,741 --> 00:21:29,956
And, you know, since Rama had retired
from being a police officer at that point...
374
00:21:30,165 --> 00:21:33,042
...in order to kind of
keep his head down and keep low...
375
00:21:33,209 --> 00:21:35,295
...he needed money,
that's where it came from.
376
00:21:35,462 --> 00:21:37,964
It was the idea of, like,
the shades of gray...
377
00:21:38,173 --> 00:21:41,843
...in terms of, like, the moral implications
of taking money from his brother...
378
00:21:42,051 --> 00:21:44,804
...who he knows is a criminal.
379
00:21:45,430 --> 00:21:48,391
And there was, like--
There were strong reasons why we cut it.
380
00:21:48,600 --> 00:21:50,894
To be honest,
I think the scene wasn't necessary.
381
00:21:51,102 --> 00:21:52,812
It kind of dragged the plot forward.
382
00:21:53,021 --> 00:21:56,566
It kind of, like-- It kind of didn't really
kind of move anything forward...
383
00:21:56,774 --> 00:21:58,860
...at a pace that we needed to
in this movie.
384
00:21:59,068 --> 00:22:03,072
But also, I just felt
it was kind of a cheap shot in a way.
385
00:22:03,281 --> 00:22:07,076
We were trying to do it to play on the
emotional thing about the brother dying.
386
00:22:07,535 --> 00:22:11,998
But I kind of liked to kind of keep
this sort of more coldhearted...
387
00:22:12,207 --> 00:22:15,877
...distanced view of that--
Of that sort of grieving process for him...
388
00:22:16,085 --> 00:22:21,382
...and not kind of, you know, get too much
within that headspace right now.
389
00:22:21,591 --> 00:22:24,469
It would overwhelm what we were trying
to do with the scenes...
390
00:22:24,677 --> 00:22:26,804
...which is to establish more
about Uco...
391
00:22:27,180 --> 00:22:29,807
...establish more
about what his investigation is...
392
00:22:30,016 --> 00:22:32,519
...establish more about
what his mission has to become.
393
00:22:32,727 --> 00:22:35,271
And to confuse that
with emotional elements...
394
00:22:35,480 --> 00:22:38,942
...about somebody who'd been killed
within the first two, three minutes...
395
00:22:39,150 --> 00:22:43,321
...it felt like the wrong place and time and
the wrong decision to put that scene in.
396
00:22:43,529 --> 00:22:45,823
So that's why we lost it in the end.
397
00:22:46,324 --> 00:22:48,243
I'm the guy gifting you
five years of my graft....
398
00:22:48,409 --> 00:22:53,915
This is Mike Lucock, another Indonesian
actor from the film Rumah Dara.
399
00:22:54,123 --> 00:22:56,000
You might notice a pattern here...
400
00:22:56,209 --> 00:22:59,754
...which is basically that I steal
cast members from the Mo Brothers.
401
00:22:59,963 --> 00:23:02,131
And they end up stealing cast members
from me.
402
00:23:03,299 --> 00:23:06,970
We kind of-- Me and Timo have been,
like, good friends for a long time now.
403
00:23:07,178 --> 00:23:10,014
Timo Tjahjanto is, like,
one of the directors of Rumah Dara...
404
00:23:10,223 --> 00:23:11,599
...alongside Kimo Stamboel.
405
00:23:11,808 --> 00:23:13,893
And so I've become good friends
with them.
406
00:23:14,102 --> 00:23:17,647
Then we watch their movies together,
we talk about their projects together.
407
00:23:17,855 --> 00:23:20,275
So we're always kind of spitballing ideas
about like:
408
00:23:20,483 --> 00:23:23,194
"Who you wanna cast for this?
Who you wanna cast for that?"
409
00:23:23,403 --> 00:23:26,239
Always spoken highly about Mike,
so we wanted to bring him in.
410
00:23:26,447 --> 00:23:28,825
Only a small role,
but the guy was professional.
411
00:23:29,033 --> 00:23:31,619
He came in
and then nailed it immediately.
412
00:23:31,828 --> 00:23:35,582
And he presents, like, this opportunity
for us to kind of just give...
413
00:23:35,790 --> 00:23:39,585
...like, a little more hint
into that investigative undercover role...
414
00:23:39,794 --> 00:23:43,631
...for Rama, just to kind of,
you know, give that sense.
415
00:23:43,840 --> 00:23:46,509
And it kind of helps us in a way
on an exposition level...
416
00:23:46,718 --> 00:23:49,971
...give that sense of the amount of time
that's gonna pass now...
417
00:23:50,179 --> 00:23:55,601
...and the idea of the amount of damage
that Rama did to that politician's son...
418
00:23:55,810 --> 00:23:59,480
...has put him in prison for a lot longer
than he was ever supposed to be.
419
00:23:59,689 --> 00:24:02,108
He was supposed to get himself in
for a few months...
420
00:24:02,275 --> 00:24:04,444
...and then make a name for himself,
you know...
421
00:24:04,652 --> 00:24:07,947
...make himself known to Uco,
and then get out.
422
00:24:08,156 --> 00:24:12,410
But, you know, he-- Obviously, as a result
of his overwhelming aggression...
423
00:24:12,618 --> 00:24:15,413
...about the situation with his brother
and with Bejo...
424
00:24:15,622 --> 00:24:19,459
...yeah, he's created this problem
for himself.
425
00:24:20,084 --> 00:24:23,838
So now this is
the big prison riot scene.
426
00:24:24,047 --> 00:24:27,508
This was the bane of my life
for about eight days.
427
00:24:27,717 --> 00:24:31,346
And it was in this incredible location
in Gombong...
428
00:24:31,554 --> 00:24:36,184
...which is about a 12-hour bus ride
from Jakarta.
429
00:24:36,559 --> 00:24:38,061
Yeah, as soon as we got there...
430
00:24:38,269 --> 00:24:41,272
...we booked out every single hotel room
we could possibly get...
431
00:24:41,481 --> 00:24:45,360
...because we were having to kind of look
after not just the cast and the crew...
432
00:24:45,568 --> 00:24:48,029
...but all the extras
and all the fighters as well.
433
00:24:48,237 --> 00:24:50,239
A lot of people involved in this shoot.
434
00:24:50,448 --> 00:24:53,493
There's a-- This is, like, a big, heavy load
on the production...
435
00:24:53,701 --> 00:24:56,120
...in terms of, like,
what we were trying to achieve.
436
00:24:56,329 --> 00:24:59,957
So, yes, this was Gombong,
in a place called Benteng Van Der Wijk...
437
00:25:00,166 --> 00:25:02,627
...which was, like, an old Dutch fort.
438
00:25:03,294 --> 00:25:04,837
We obviously modified it a lot.
439
00:25:05,046 --> 00:25:07,924
I mean, it was basically just a structure,
just a layout.
440
00:25:08,132 --> 00:25:11,344
It was basically like a pentagon shape
of red brick walls.
441
00:25:11,803 --> 00:25:15,807
And then we came in and added,
you know, fencing, barbed wires...
442
00:25:16,557 --> 00:25:19,977
...shelters, concrete and tiles...
443
00:25:20,186 --> 00:25:24,732
...and then we also had to add,
like, tons and tons of mud...
444
00:25:24,941 --> 00:25:27,443
...that we had to actually import
to bring there...
445
00:25:27,652 --> 00:25:31,447
...because we just couldn't get the mud
from anywhere local nearby.
446
00:25:31,656 --> 00:25:36,953
And then, of course, my producer, Toro,
said that I had a maximum...
447
00:25:37,161 --> 00:25:39,789
...of two to three days
when I was allowed to have rain.
448
00:25:39,997 --> 00:25:41,833
Hence, why when we end up cutting...
449
00:25:42,041 --> 00:25:45,712
...to that sort of pivotal moment of them
walking, then the slo-mo kicks in...
450
00:25:45,920 --> 00:25:49,924
...that we start to lose the rain,
we start to make it dry out a little bit.
451
00:25:50,133 --> 00:25:53,845
And so we just have small droplets of rain
then, because we were done.
452
00:25:54,053 --> 00:25:56,806
We had no more rain bars
we were allowed to use anymore...
453
00:25:57,014 --> 00:25:58,891
...from that point on.
454
00:25:59,267 --> 00:26:01,477
Yeah, it was--
It was an ambitious shoot.
455
00:26:01,936 --> 00:26:06,858
It was a big, big project for us to do.
Filled with lots of logistical errors...
456
00:26:07,066 --> 00:26:11,571
...which I will kind of, like, highlight
in a second, once the fight gets started.
457
00:26:12,113 --> 00:26:15,241
One of the things I wanted to do
with fight scenes in this film...
458
00:26:15,450 --> 00:26:19,996
...was to establish a sense of narrative
purpose within the fight scenes.
459
00:26:20,204 --> 00:26:24,751
So I didn't want it to-- For me, it wasn't
enough for the fight scene to be...
460
00:26:25,376 --> 00:26:27,128
...just about the visceral thrills.
461
00:26:27,336 --> 00:26:28,629
So here, we start off...
462
00:26:28,838 --> 00:26:31,924
...we have the paranoia
that he's gonna be the one under attack...
463
00:26:32,133 --> 00:26:36,220
...only to realize that they're coming after
Uco, they're not coming after him at all.
464
00:26:36,429 --> 00:26:38,681
When he realizes they're after Uco,
it's like:
465
00:26:38,890 --> 00:26:41,642
"Okay, well, if I don't protect him,
my mission's over."
466
00:26:43,102 --> 00:26:46,397
Yeah, I like that kick,
so I had to stop myself for that kick there.
467
00:26:46,606 --> 00:26:50,109
That was one of those examples of, like,
a punch line in the fight sequence.
468
00:26:50,318 --> 00:26:52,653
We tried to put them in
throughout the fights.
469
00:26:52,862 --> 00:26:54,363
We tried to kind of put like....
470
00:26:54,572 --> 00:26:56,949
If there's something
which was three minutes long...
471
00:26:57,158 --> 00:26:59,619
...we tried to have five,
six punch line moments.
472
00:26:59,827 --> 00:27:03,164
And those are-- Those movements
within a fight sequence...
473
00:27:03,372 --> 00:27:06,292
...where it will elicit a reaction
from the audience.
474
00:27:06,501 --> 00:27:10,963
And kicking the guy's face into the tiles
was definitely one of those.
475
00:27:11,547 --> 00:27:13,466
I'll jump back in to what I was saying...
476
00:27:13,674 --> 00:27:15,885
...before I completely lose
my train of thought.
477
00:27:16,719 --> 00:27:20,598
Yeah, so, you know, it was the idea of--
It's starting off with paranoia...
478
00:27:20,806 --> 00:27:22,600
...finding out that the target...
479
00:27:22,809 --> 00:27:26,312
...is actually the person that he needs
to, like, you know, get close to...
480
00:27:26,521 --> 00:27:29,357
...and, you know, that sense of,
"If I don't protect him...
481
00:27:29,565 --> 00:27:32,860
...if I don't keep him alive,
I'm just gonna rot in jail for no reason.
482
00:27:33,069 --> 00:27:36,656
It's, like, a waste of my entire time
and my entire family's life."
483
00:27:36,864 --> 00:27:42,078
And so, yeah, he becomes a bodyguard
and has to kind of assume that role.
484
00:27:42,286 --> 00:27:45,581
And in the process of doing that,
we get this character change then.
485
00:27:45,790 --> 00:27:47,583
We have this character arc going on...
486
00:27:47,792 --> 00:27:50,795
...where Uco's character
is knocked out and unconscious...
487
00:27:51,003 --> 00:27:53,172
...and then he's forced
to deal with this....
488
00:27:53,381 --> 00:27:56,300
You know, this thing of seeing that guy
that he wanted dead...
489
00:27:56,509 --> 00:27:58,636
...no more than about,
like, two scenes ago...
490
00:27:58,844 --> 00:28:01,472
...was now the person responsible
for keeping him alive.
491
00:28:01,681 --> 00:28:05,101
And so, you know, it becomes this thing
where we, throughout the fight...
492
00:28:05,309 --> 00:28:09,272
...it's not just the visceral stuff,
but also the important plot details.
493
00:28:09,480 --> 00:28:12,984
The important character motivation
that's gonna keep us going on then...
494
00:28:13,192 --> 00:28:15,736
...you know, way beyond the confines
of this prison.
495
00:28:17,113 --> 00:28:20,533
So I'm gonna do something
really quick here.
496
00:28:20,950 --> 00:28:24,161
There's a long set up here
where we had a long take, a long shot...
497
00:28:24,370 --> 00:28:27,081
...I end up splitting it
into a bunch of different takes.
498
00:28:27,290 --> 00:28:31,502
So it starts here. And I'm gonna
shout "cut" every time there's an edit.
499
00:28:32,628 --> 00:28:33,963
Cut.
500
00:28:34,171 --> 00:28:37,300
We stitched these shots together
to make it feel like it's one flow.
501
00:28:37,508 --> 00:28:40,761
I wanted to make you feel like
you're watching one really long shot.
502
00:28:40,970 --> 00:28:42,054
Cut.
503
00:28:42,263 --> 00:28:45,182
Because, like, the actual process
of shooting this stuff...
504
00:28:45,391 --> 00:28:47,893
...is really difficult,
because it was so much-- Cut.
505
00:28:48,102 --> 00:28:51,480
There's so much chaos going on
and there's always mud hitting the lens...
506
00:28:51,689 --> 00:28:55,484
...and there's all these different,
you know, elements that could go wrong.
507
00:28:55,693 --> 00:28:57,695
And we also wanted
to kind of, you know...
508
00:28:57,903 --> 00:29:00,406
...really show off
some of our camera movements.
509
00:29:00,615 --> 00:29:02,199
So-- One second.
510
00:29:02,408 --> 00:29:03,909
Cut.
511
00:29:04,201 --> 00:29:05,786
Hold on for one more second.
512
00:29:05,995 --> 00:29:09,290
Cut. Okay, so we wanted
to be able to establish this thing...
513
00:29:09,498 --> 00:29:11,959
...where we were running around
with this Fig Rig...
514
00:29:12,168 --> 00:29:15,588
...and coming down low angles,
through the mud, through the fighters...
515
00:29:15,796 --> 00:29:18,424
...through everything else,
then jumping on that crane...
516
00:29:18,633 --> 00:29:20,676
...to come up
for that bird's-eye view shot.
517
00:29:20,885 --> 00:29:23,304
And then to come back down
and continue the movement.
518
00:29:23,512 --> 00:29:26,015
And it was this whole
one flow of a scene-- Cut.
519
00:29:26,223 --> 00:29:28,976
--where I wanted to be able
to stitch every one together.
520
00:29:29,185 --> 00:29:33,606
And we were going from fighter to fighter,
prison guards to prisoners...
521
00:29:33,814 --> 00:29:36,817
...to Rama fighting a bunch of guys,
and then back to him again.
522
00:29:37,026 --> 00:29:40,738
Cut. And then we come in
and rejoin with Benny against Uco.
523
00:29:40,947 --> 00:29:44,200
It's this thing of making this--
You know, this momentum keep going...
524
00:29:44,408 --> 00:29:47,912
...and to make the audience feel like
they're gonna get just as tired...
525
00:29:48,120 --> 00:29:50,623
...as the guys
who are fighting in this mud.
526
00:29:51,165 --> 00:29:54,251
Speaking of the mud,
you can tell now it's starting--
527
00:29:54,460 --> 00:29:57,171
Mud's getting thicker and thicker,
because day by day...
528
00:29:57,380 --> 00:29:59,674
...we had to keep adding
more and more on top...
529
00:29:59,882 --> 00:30:02,885
...because it was just turning into soup
the entire way through.
530
00:30:03,094 --> 00:30:06,305
And it was really difficult,
such a hard, hard shoot...
531
00:30:06,514 --> 00:30:09,892
...so physically demanding
on everyone involved, not just the cast...
532
00:30:10,101 --> 00:30:14,480
...but also the Camera Department too
and the Lighting and everyone else.
533
00:30:14,689 --> 00:30:17,441
We-- Working out in Indonesia,
it's a nightmare...
534
00:30:17,650 --> 00:30:20,861
...because, you know, we'd never get,
like, sort of, like, a solid...
535
00:30:21,404 --> 00:30:23,322
...sense of light source from the sun.
536
00:30:23,531 --> 00:30:25,533
It keeps clipping in and out all the time.
537
00:30:25,741 --> 00:30:29,036
The clouds are never consistent.
You don't get clear skies at all.
538
00:30:29,245 --> 00:30:32,832
And so we had to build
these huge, long silk sheets...
539
00:30:33,040 --> 00:30:37,712
...to kind of run over the ceiling
of that building from one end to another...
540
00:30:37,920 --> 00:30:41,298
...in order to kind of get a better balance
of the color.
541
00:30:42,299 --> 00:30:45,678
This is one of my favorite things
that Iko's done in the movie...
542
00:30:45,886 --> 00:30:48,305
...because this is so, so difficult.
543
00:30:48,514 --> 00:30:52,393
You can watch him. He's barely able
to keep his feet still inside the mud...
544
00:30:52,601 --> 00:30:56,272
...take on all these different guys that
are coming at him at a breakneck pace.
545
00:30:56,480 --> 00:30:58,315
So, yeah, we did about maybe....
546
00:30:58,524 --> 00:31:01,277
We ended up doing about seven
or eight takes on that one...
547
00:31:01,485 --> 00:31:03,279
...which I was expecting a lot more.
548
00:31:03,446 --> 00:31:06,699
But I was so proud
to kind of get that take. That was hard.
549
00:31:06,907 --> 00:31:08,951
Like, on a technical level,
it's hard anyway.
550
00:31:09,160 --> 00:31:11,078
When we designed
this whole fight scene...
551
00:31:11,287 --> 00:31:14,749
...we designed it in, like, you know,
a sports hall with crash mats.
552
00:31:14,957 --> 00:31:17,918
We hadn't figured in--
We hadn't taken into account yet...
553
00:31:18,377 --> 00:31:21,630
...what it was gonna be like
once we'd filled the thing with mud.
554
00:31:21,839 --> 00:31:24,925
And I don't think really any of us
expected it to be this muddy.
555
00:31:25,134 --> 00:31:27,845
We thought there would be
at least some element of grass...
556
00:31:28,054 --> 00:31:33,392
...and some kind of, like, concrete in there
to sort of help with the footing, but, no.
557
00:31:33,851 --> 00:31:36,145
That soup
that his head is submerged into...
558
00:31:36,353 --> 00:31:40,483
...that's what we were dealing with every
day of the eight-day shoot on this one.
559
00:31:49,742 --> 00:31:52,620
So now we're jumping forward in time.
560
00:31:53,078 --> 00:31:56,415
And I wanted to kind of have
this exit the prison.
561
00:31:56,624 --> 00:31:59,210
Actually this location was actually--
It was a café.
562
00:31:59,418 --> 00:32:03,088
It was a café in the middle
of the old town, Kota. Kota again.
563
00:32:03,297 --> 00:32:06,050
Those walls were already like that.
They looked like this.
564
00:32:06,258 --> 00:32:08,177
We didn't have to do anything...
565
00:32:08,385 --> 00:32:11,847
...except add one or two little prison bars
on the door, and that was it.
566
00:32:12,056 --> 00:32:13,599
So it was perfect for us.
567
00:32:13,808 --> 00:32:16,102
This is a composite.
This shot was a composite.
568
00:32:16,310 --> 00:32:19,980
We couldn't get this high with our
Jimmy Jib, with our crane and stuff...
569
00:32:20,189 --> 00:32:22,858
...so we just shot, like,
a little section of the wall...
570
00:32:23,067 --> 00:32:25,653
...a little section of Arifin
crossing over the floor...
571
00:32:25,861 --> 00:32:26,904
...and just had Andy...
572
00:32:27,112 --> 00:32:31,867
...our legendary CG guy, who has worked
with me on everything I've done...
573
00:32:32,076 --> 00:32:35,412
...expand the shot out,
expand this sort of-- The landscape...
574
00:32:35,621 --> 00:32:38,666
...to make it feel like
it was this one big, huge bird's-eye view.
575
00:32:39,166 --> 00:32:41,043
You can do that yourself.
576
00:32:42,336 --> 00:32:46,340
And so we're establishing now
the first of many moments...
577
00:32:46,549 --> 00:32:49,260
...where we start to show
the cracks in the relationship...
578
00:32:49,468 --> 00:32:52,096
...between Rama
and, you know, Bunawar...
579
00:32:52,304 --> 00:32:54,974
...who's kind of in charge
of his investigation...
580
00:32:55,182 --> 00:33:00,229
...with the idea of Rama
removing the wire from his clothing.
581
00:33:00,563 --> 00:33:02,731
Because he knows
he's gonna exit that prison...
582
00:33:02,940 --> 00:33:05,442
...and then be taken
under the wing of Uco...
583
00:33:05,651 --> 00:33:08,904
...and, you know,
become part of Bangun's family.
584
00:33:09,113 --> 00:33:12,324
And here's Bangun,
played by Tio Pakusadewo.
585
00:33:12,533 --> 00:33:16,370
And so there was just the idea
of the first day wearing a wire...
586
00:33:16,579 --> 00:33:18,956
...is the worst thing
that Bunawar could have done.
587
00:33:19,165 --> 00:33:23,627
So he was kind of planting those seeds
of, like, doubt and mistrust in them.
588
00:33:25,045 --> 00:33:27,840
Now we're getting
into the whole gangster side of things.
589
00:33:28,048 --> 00:33:29,175
We're sort of--
590
00:33:29,383 --> 00:33:31,802
We're into the families now,
the two rival groups.
591
00:33:32,011 --> 00:33:34,930
We get the Japanese side
with Kenichi Endo as the lead...
592
00:33:35,139 --> 00:33:39,602
...and then obviously, Tio Pakusadewo
is Bangun, who I mentioned earlier.
593
00:33:39,810 --> 00:33:41,896
Tio had to learn Japanese for this role.
594
00:33:42,104 --> 00:33:44,732
So these lines of dialogue
back and forth...
595
00:33:44,940 --> 00:33:48,110
...we kept it all in Japanese
to make it easier for Kenichi Endo...
596
00:33:48,319 --> 00:33:51,530
...so he didn't have to learn Indonesian,
and fair play to Tio...
597
00:33:51,739 --> 00:33:54,366
...and also to Oka Antara
who plays Eka...
598
00:33:54,575 --> 00:33:57,369
...there in the background,
looking all dapper in his suit.
599
00:33:57,953 --> 00:34:01,540
They both had to kind of learn
their Japanese dialogue, and....
600
00:34:01,749 --> 00:34:03,584
You know, we had a translator
on standby.
601
00:34:03,792 --> 00:34:05,753
We had my wife then, Maya...
602
00:34:05,961 --> 00:34:08,797
...who was kind of overseeing
all of the Japanese dialogue...
603
00:34:09,006 --> 00:34:11,342
...to make sure
they are pronouncing correctly.
604
00:34:11,550 --> 00:34:14,011
Japanese casts themselves
were cool with it as well.
605
00:34:14,219 --> 00:34:16,430
They came onboard
and helped us out as well...
606
00:34:16,639 --> 00:34:19,975
...suggested some translation changes
here and there.
607
00:34:20,184 --> 00:34:22,061
And that's kind of the case really...
608
00:34:22,269 --> 00:34:25,064
...throughout the whole process
of writing the script.
609
00:34:25,272 --> 00:34:27,524
I write everything in English
first and foremost.
610
00:34:27,733 --> 00:34:29,860
So the whole script exists
in English first...
611
00:34:30,069 --> 00:34:33,822
...and then it gets translated later on
into Indonesian...
612
00:34:34,031 --> 00:34:36,659
...and then translated further again
into Japanese...
613
00:34:36,867 --> 00:34:38,661
...for these-- For these characters.
614
00:34:38,869 --> 00:34:42,498
And so, you know, when you're doing
translations like that, a lot can get--
615
00:34:42,706 --> 00:34:45,709
A lot can get lost in translation.
616
00:34:46,377 --> 00:34:51,465
And so it's kind of important to be able
to get these versions of the script...
617
00:34:51,674 --> 00:34:54,176
...and workshop them with the cast,
and then....
618
00:34:54,385 --> 00:34:56,428
You know, the benefit I've had...
619
00:34:56,637 --> 00:35:00,015
...is that a lot of my cast,
they speak in fluent English too...
620
00:35:00,224 --> 00:35:01,809
...so they can read both versions.
621
00:35:02,017 --> 00:35:04,186
They can read the English
and the Indonesian.
622
00:35:04,395 --> 00:35:06,230
Read the English
and read the Japanese...
623
00:35:06,438 --> 00:35:08,399
...and then be able to come to me
and say:
624
00:35:08,607 --> 00:35:11,318
"You know, I get what
you were trying to say in English...
625
00:35:11,527 --> 00:35:13,696
...but something's gone missing
along the way."
626
00:35:13,904 --> 00:35:17,908
And then we'll work together and
we'll find the correct term to use, then.
627
00:35:18,117 --> 00:35:20,828
This is all something we do
in preproduction. This is all--
628
00:35:21,036 --> 00:35:22,830
When we're doing
our reading sessions.
629
00:35:23,038 --> 00:35:26,542
So we went away. We went off to this,
like, place in the middle of Puncak.
630
00:35:26,750 --> 00:35:28,961
It's sort of like this--
Sort of like a villa...
631
00:35:29,169 --> 00:35:32,923
...and we stayed there for a few days
and read through the entire script...
632
00:35:33,132 --> 00:35:36,468
...and then started making notes
of anything that needed to be changed.
633
00:35:36,677 --> 00:35:41,015
Because a lot of times, direct English
to Indonesian translation can sound stiff.
634
00:35:41,223 --> 00:35:43,350
It can feel forced.
635
00:35:43,559 --> 00:35:47,563
And so we wanted to make sure
that, like, it fit the tone of the film...
636
00:35:47,771 --> 00:35:50,065
...it fit the tones of the characters...
637
00:35:50,566 --> 00:35:56,155
...and, you know, wasn't sort of
too straightforward and direct translation.
638
00:35:56,739 --> 00:35:59,116
--is that you suffer the indignity
of an old man seeing your cock--
639
00:35:59,283 --> 00:36:00,659
This was....
640
00:36:00,868 --> 00:36:02,953
This scene here
was probably the only--
641
00:36:03,162 --> 00:36:05,914
The one and only time
that Iko has ever asked me...
642
00:36:06,123 --> 00:36:09,251
...if I really, really, really wanted
to shoot this kind of a scene.
643
00:36:09,460 --> 00:36:12,504
He seems fine when it comes to
people being punched or thrown...
644
00:36:12,713 --> 00:36:14,590
...or kicked or stabbed or shot at...
645
00:36:14,798 --> 00:36:17,968
...or, you know, sandwiched
between cars. All of that's fine.
646
00:36:18,177 --> 00:36:21,764
But the moment we wanna get him
to take any of his clothing off...
647
00:36:21,972 --> 00:36:25,517
...man, he went nervous and he was
really, really quiet for a while...
648
00:36:25,726 --> 00:36:28,062
...when it was leading up to the shoot
to this one.
649
00:36:28,270 --> 00:36:30,689
And so I had to kind of assure him
that, you know:
650
00:36:30,898 --> 00:36:32,483
"We're not gonna show anything.
651
00:36:32,941 --> 00:36:35,110
We're gonna be very careful
with our framing."
652
00:36:35,319 --> 00:36:37,696
When he actually--
He's not actually doing anything.
653
00:36:37,905 --> 00:36:41,492
He just mimes the movement and we just
zoom in to kind of hide everything.
654
00:36:41,700 --> 00:36:43,744
But, yeah, like, you've never--
655
00:36:43,952 --> 00:36:49,291
I've never ever seen him this nervous
the entire time I've known him.
656
00:36:49,500 --> 00:36:51,418
So, yeah, fair play to him.
657
00:36:51,627 --> 00:36:55,005
He did--
He did his job and I think the crew....
658
00:36:56,256 --> 00:36:59,218
They probably did make fun of him
quite a lot during the shoot.
659
00:36:59,426 --> 00:37:02,596
But, yeah, he was a trouper
and he pulled through on it.
660
00:37:08,060 --> 00:37:10,938
If you're watching this
for, like, the second time....
661
00:37:11,563 --> 00:37:14,858
I'm guessing you should be,
you shouldn't listen to my commentary...
662
00:37:15,067 --> 00:37:16,819
...before you've seen it first time.
663
00:37:17,027 --> 00:37:21,115
You already know what the character
of Eka, played by Oka Antara--
664
00:37:21,323 --> 00:37:25,035
You already know
that there's another side to him...
665
00:37:25,244 --> 00:37:28,455
...where, you know,
he's an undercover cop that went--
666
00:37:28,664 --> 00:37:32,751
That was presumed to have gone rogue
and the idea is that--
667
00:37:32,960 --> 00:37:35,796
You know, that he's been left
to sort of hang...
668
00:37:36,004 --> 00:37:37,756
...and he has had no choice...
669
00:37:37,965 --> 00:37:40,717
...but to just, you know, survive
within this family.
670
00:37:40,926 --> 00:37:43,887
And the only way that he can survive
is to become a gangster...
671
00:37:44,096 --> 00:37:46,265
...is to become one of those thugs.
672
00:37:46,473 --> 00:37:50,018
And he's just been left to hang
by his superior, which is Bunawar...
673
00:37:50,227 --> 00:37:52,271
...by all intents and purposes.
674
00:37:52,479 --> 00:37:55,357
And so I wanted to play on this idea
a little bit of--
675
00:37:55,566 --> 00:37:57,025
There's only a few moments...
676
00:37:57,234 --> 00:38:00,112
...but I wanted to play on the idea
that there are moments...
677
00:38:00,320 --> 00:38:04,616
...where he hints either through dialogue
or through gestures...
678
00:38:04,825 --> 00:38:07,870
...that maybe he knows
that Rama is an undercover cop.
679
00:38:08,078 --> 00:38:10,998
So there's the idea
that, you know, there's a possibility...
680
00:38:11,165 --> 00:38:15,002
...there was more than one wire in Rama's
clothing, that's why Rama is terrified...
681
00:38:15,169 --> 00:38:18,964
...because he knows that there would be
more than just the one connection.
682
00:38:19,173 --> 00:38:23,051
And that, you know,
when Oka actually says that it's clear...
683
00:38:23,260 --> 00:38:26,638
...that it's all fine, who knows,
maybe he did find something.
684
00:38:26,847 --> 00:38:28,849
He's protecting him
because he knows that--
685
00:38:29,057 --> 00:38:31,727
You know, he knows the position
that Rama is in.
686
00:38:31,935 --> 00:38:33,937
And later on, that kicks in again.
687
00:38:34,146 --> 00:38:36,940
There's a scene coming up soon
when Rama is introduced...
688
00:38:37,149 --> 00:38:38,609
...to his apartment block...
689
00:38:39,359 --> 00:38:41,361
...and Eka says to him directly--
690
00:38:41,570 --> 00:38:47,326
He says, you know, "I feel like we come
from the same place, you and I.
691
00:38:47,534 --> 00:38:49,620
I hope that's not
where our similarities end."
692
00:38:49,828 --> 00:38:52,498
And that was like
a sort of premonition, in a way...
693
00:38:52,706 --> 00:38:54,708
...for the fact that they both share...
694
00:38:54,917 --> 00:38:59,379
...that hidden identity
as undercover cop, then.
695
00:39:01,548 --> 00:39:03,383
-just call and they'll take care of it.
696
00:39:03,592 --> 00:39:05,093
Thanks.
697
00:39:05,677 --> 00:39:09,431
We did a lot of studio work
for building locations, like--
698
00:39:09,640 --> 00:39:13,227
So previously, we had Bangun's office,
and now we have Rama's apartment.
699
00:39:13,435 --> 00:39:16,855
And all of these were built
inside a studio set.
700
00:39:17,397 --> 00:39:19,983
And whenever possible,
we would try to build...
701
00:39:20,192 --> 00:39:22,361
...three or four sets
within one studio space...
702
00:39:22,569 --> 00:39:25,072
...that we could just jump around
from room to room...
703
00:39:25,280 --> 00:39:28,450
...and be able to maximize
our shooting time.
704
00:39:28,659 --> 00:39:30,452
But, yeah, the--
705
00:39:30,661 --> 00:39:33,872
Our Art Department, led by Moty
and his team, they did a good job...
706
00:39:34,081 --> 00:39:38,210
...on trying to kind of, like, you know,
create sort of, you know....
707
00:39:38,418 --> 00:39:42,089
Like a sort of a minimalist,
but, you know, nice-looking design...
708
00:39:42,297 --> 00:39:45,050
...with a minimal amount of money
that we could give them...
709
00:39:45,259 --> 00:39:48,929
...in order to kind of execute the ideas
that I had in mind.
710
00:39:53,642 --> 00:39:56,770
So I'm gonna talk a little bit
about the music now.
711
00:39:56,979 --> 00:40:01,358
So on the first Raid, we had
an original score from Indonesia...
712
00:40:01,566 --> 00:40:04,653
...which was done by Fajar Yuskemal
and Aria Prayogi.
713
00:40:04,861 --> 00:40:05,988
And then later on--
714
00:40:06,196 --> 00:40:09,408
I mean, this was kind of decided
before we'd even completed the film.
715
00:40:09,616 --> 00:40:12,869
Like, Sony Pictures Classics,
Sony Worldwide...
716
00:40:13,078 --> 00:40:16,540
...wanted to kind of replace the audio,
replace the score...
717
00:40:16,748 --> 00:40:20,085
...with something that they could
easily market and sell to the masses.
718
00:40:20,294 --> 00:40:22,212
That became an alternative score...
719
00:40:22,421 --> 00:40:28,176
...done by Joe Trapanese
and Mike Shinoda from Linkin Park.
720
00:40:28,385 --> 00:40:31,013
And so that was like a--
It was a great opportunity...
721
00:40:31,221 --> 00:40:33,598
...for me to be able to have my film
scored twice...
722
00:40:33,807 --> 00:40:36,768
...and to be able to hear
where the similarities would be...
723
00:40:36,977 --> 00:40:40,314
...and then also, you know,
where the differences would occur...
724
00:40:40,522 --> 00:40:45,152
...in terms of, like, what tone they thought
I was going for scene by scene.
725
00:40:45,360 --> 00:40:48,655
But at the same time, it was difficult.
726
00:40:48,864 --> 00:40:50,282
It was a real hard thing...
727
00:40:50,490 --> 00:40:54,286
...to be able to discuss openly
with my composers from Indonesia...
728
00:40:54,494 --> 00:40:57,998
...because they put in all this work
and they were so proud of their work...
729
00:40:58,206 --> 00:40:59,249
...and so was I.
730
00:40:59,458 --> 00:41:02,002
Like, I was very happy
with the work they did.
731
00:41:02,794 --> 00:41:07,090
Then for it to kind of slip by the wayside,
not be kind of have given a platform...
732
00:41:07,299 --> 00:41:11,345
...for other people to hear their work,
it was hard for them.
733
00:41:11,553 --> 00:41:13,680
And I totally understand
where they came from.
734
00:41:13,889 --> 00:41:17,184
I know they weren't happy
that they lost out on that opportunity...
735
00:41:17,392 --> 00:41:20,812
...for their work to be played
in different territories.
736
00:41:21,021 --> 00:41:24,983
But for this one, I wanted
to kind of take every step possible...
737
00:41:25,192 --> 00:41:27,319
...to prevent that from being the case.
738
00:41:27,527 --> 00:41:30,364
And one of the ways
that I could do that...
739
00:41:30,572 --> 00:41:32,324
...was by making sure...
740
00:41:32,532 --> 00:41:36,787
...that I combined Joe Trapanese
and Aria Prayogi...
741
00:41:36,995 --> 00:41:39,331
...and then Fajar Yuskemal together...
742
00:41:39,539 --> 00:41:42,918
...to make this composition
as a sort of a--
743
00:41:43,126 --> 00:41:47,005
As a mix of Western
and then Eastern sort of styles.
744
00:41:47,214 --> 00:41:48,799
And so, you know, they're--
745
00:41:49,007 --> 00:41:51,635
All three of them
are classically trained musicians.
746
00:41:51,843 --> 00:41:54,054
And they all have very similar tastes
and that--
747
00:41:54,262 --> 00:41:57,182
But what Fajar and Ogi
can bring to the table...
748
00:41:57,391 --> 00:42:01,103
...was, like, a deeper understanding
of those traditional Indonesian music--
749
00:42:01,311 --> 00:42:03,188
Musical elements, those instruments.
750
00:42:03,397 --> 00:42:07,275
And then what Joe could bring to it,
obviously was that kind of, you know....
751
00:42:07,484 --> 00:42:10,487
Those really hard
sort of, like, electronic beats to it.
752
00:42:10,695 --> 00:42:13,865
But then also what I love about--
Especially this scene now.
753
00:42:14,074 --> 00:42:17,035
And it's kind of, like, perfect timing
for us to discuss this...
754
00:42:17,244 --> 00:42:21,123
...is that amongst
all of this sort of aggressive...
755
00:42:21,331 --> 00:42:25,419
...hard, rough, edgy sort of, like,
you know, electronic sounds...
756
00:42:25,627 --> 00:42:27,963
...that we put in
to all the fight sequences....
757
00:42:28,171 --> 00:42:30,132
Like, here was that key moment...
758
00:42:30,340 --> 00:42:33,009
...when the first two days of them
working together...
759
00:42:33,218 --> 00:42:36,138
...when we flew them out to L.A.,
we gave them this scene.
760
00:42:36,346 --> 00:42:39,975
I wanted them to start here because I felt
that this scene, this one moment...
761
00:42:40,142 --> 00:42:42,811
...where we have, like, a quiet...
762
00:42:43,019 --> 00:42:46,898
...sort of contemplative sequence
between Rama and his wife...
763
00:42:47,107 --> 00:42:51,027
...after not speaking to her, not being able
to communicate to her for three years.
764
00:42:51,236 --> 00:42:54,406
We needed something there that
would work on an emotional element...
765
00:42:54,614 --> 00:42:56,950
...and really sort of set the tone
for the film...
766
00:42:57,159 --> 00:42:59,786
...and really kind of back up
what I was trying to do...
767
00:42:59,995 --> 00:43:01,997
...on a visual and a performance level.
768
00:43:02,205 --> 00:43:05,083
And so, yeah,
they collaborated together...
769
00:43:05,292 --> 00:43:07,085
...and brought so much heart and soul.
770
00:43:07,294 --> 00:43:12,883
Like, this scene is pretty much
carried so heavily by the score.
771
00:43:13,091 --> 00:43:16,386
It's one of my favorite pieces of music
in the entire film...
772
00:43:16,595 --> 00:43:18,805
...so much so
that we ended up reusing it...
773
00:43:19,014 --> 00:43:22,434
...for the-- Sort of the tail end
of the end credits.
774
00:43:22,642 --> 00:43:26,438
I gotta say, I mean, in addition to
the fact that the music is so great here...
775
00:43:26,646 --> 00:43:29,816
...one of the other things I'm happy with
is Iko's performance.
776
00:43:30,025 --> 00:43:32,486
And, you know,
it often gets overlooked...
777
00:43:32,694 --> 00:43:36,531
...because everyone kind of focuses on
the fact that, yeah, he can beat the shit...
778
00:43:36,740 --> 00:43:39,576
...out of people, left, right and center,
but when it comes...
779
00:43:39,784 --> 00:43:43,747
...to sort of the physical performance
and the actual dramatic performance...
780
00:43:43,955 --> 00:43:45,707
...I think he's just brilliant.
781
00:43:45,916 --> 00:43:47,501
I think he's so good here.
782
00:43:47,709 --> 00:43:52,297
And it's so much in his eyes there,
so much in these little tiny gestures.
783
00:43:52,506 --> 00:43:55,926
You know, little gl-- Little sort of,
like, curl of a smile and stuff.
784
00:43:56,134 --> 00:43:58,887
It's just-- It all came from this ability
that he has now.
785
00:43:59,095 --> 00:44:01,014
Because on the previous two movies...
786
00:44:01,223 --> 00:44:04,226
...like, he was still kind of lacking
in world experience.
787
00:44:04,434 --> 00:44:06,353
He hadn't really done much really.
788
00:44:06,561 --> 00:44:10,106
He'd kind of, you know, just lived his life
in a very sort of young way...
789
00:44:10,315 --> 00:44:12,442
...a very sort of immature way,
and then....
790
00:44:12,651 --> 00:44:16,196
You know, suddenly, we go into this one
and he's married...
791
00:44:16,404 --> 00:44:18,490
...he's expecting his first child.
792
00:44:18,698 --> 00:44:21,826
And so then I was able to, you know....
793
00:44:22,994 --> 00:44:25,664
Not exploit, but I was able
to get inside his head more...
794
00:44:25,872 --> 00:44:30,252
...then to call upon those fears you have
when you're an expectant father.
795
00:44:30,460 --> 00:44:33,380
About, you know-- Of not being able
to be there for a child...
796
00:44:33,547 --> 00:44:36,258
...not being able to be around
to hear those first words...
797
00:44:36,466 --> 00:44:38,760
...to be able to, like,
see those first steps.
798
00:44:38,969 --> 00:44:41,304
And so I was able to kind of push
and prod him...
799
00:44:41,513 --> 00:44:44,766
...and get a stronger
emotional performance out of him.
800
00:44:45,183 --> 00:44:49,479
Okay, so the porn den.
The legendary porn den.
801
00:44:50,772 --> 00:44:53,108
This is one of those locations
I told you about...
802
00:44:53,316 --> 00:44:56,444
...when we were shooting
in the prison canteen...
803
00:44:56,653 --> 00:45:00,699
...and then also the warden's office.
This was, like, the ground floor of that.
804
00:45:00,991 --> 00:45:03,118
And just for trivia...
805
00:45:03,326 --> 00:45:06,663
...because we're dealing
with an Indonesian censors board...
806
00:45:06,872 --> 00:45:10,083
...we had to be careful what we show
and what we don't show on screen.
807
00:45:10,292 --> 00:45:12,711
And so when it came
to those TV monitors...
808
00:45:12,919 --> 00:45:18,675
...all of the sort of movements of flesh,
when you really look at them in detail...
809
00:45:18,884 --> 00:45:23,221
...it's one of my ADs. And all he's doing
is just bumping his elbows together.
810
00:45:23,430 --> 00:45:26,349
So it's just that.
There's no actual nudity on screen.
811
00:45:26,558 --> 00:45:28,518
We wouldn't be able to get away
with it.
812
00:45:28,727 --> 00:45:32,564
I didn't wanna have to go through and
change anything in post unnecessarily.
813
00:45:32,772 --> 00:45:35,859
So, yeah, it's elbow time.
814
00:45:36,067 --> 00:45:38,445
Okay, so this actor, Epy Kusnandar...
815
00:45:38,653 --> 00:45:42,991
...is one of my all-time favorite guys
I've worked with.
816
00:45:43,199 --> 00:45:44,784
We worked with him--
817
00:45:44,993 --> 00:45:48,538
Me and Timo, sorry, worked with him
on Safe Haven, our short film.
818
00:45:48,747 --> 00:45:52,542
And Timo has worked with him
ever since and so have I now.
819
00:45:52,751 --> 00:45:56,087
He's just such a great character actor
and a good sport too.
820
00:45:56,296 --> 00:46:00,008
Because all of those clumps of hair
missing from his head...
821
00:46:00,175 --> 00:46:02,844
...yeah, I was telling the hairdresser,
"Just go for it...
822
00:46:03,053 --> 00:46:07,182
...and just don't do anything according
to what you would normally do."
823
00:46:08,475 --> 00:46:11,645
I'm gonna probably lose my thought,
so I have to talk about this.
824
00:46:11,853 --> 00:46:15,440
This is my one and only time
I've ever written an Indonesian joke.
825
00:46:15,649 --> 00:46:18,902
And it's a shame because this is one
of those one and only times...
826
00:46:19,110 --> 00:46:23,198
...where this would absolutely get cut
from an Indonesian market.
827
00:46:23,406 --> 00:46:26,534
But the whole thing of joki
and why it works so well in Indonesia...
828
00:46:26,743 --> 00:46:28,703
...when she says,
"Where do you come from?"
829
00:46:28,912 --> 00:46:33,792
"Joki" in Indonesia is when you have
like a carpool lane in the U.S...
830
00:46:34,000 --> 00:46:35,710
...or you have these roads...
831
00:46:35,919 --> 00:46:38,755
...that you have to have
more than one passenger in your car.
832
00:46:38,964 --> 00:46:41,883
And in Indonesia,
when you're driving along those areas...
833
00:46:42,092 --> 00:46:45,428
...before you get to those roads,
there's always people at the side...
834
00:46:45,637 --> 00:46:47,305
...and they'll put their fingers up.
835
00:46:47,514 --> 00:46:52,143
And if you stop over, you can pick one up
and then give them like a dollar or $2...
836
00:46:52,352 --> 00:46:54,187
...and they'll ride the road with you.
837
00:46:54,396 --> 00:46:57,732
And then they get off at the end
of the road, and then that's done.
838
00:46:57,941 --> 00:47:00,902
But the idea
is that the poor kid behind that curtain...
839
00:47:01,111 --> 00:47:05,031
...who is being treated so terribly by her
is just one of those guys from the joki...
840
00:47:05,240 --> 00:47:07,617
...when you kind of put
the two images together.
841
00:47:07,826 --> 00:47:11,746
For an Indonesian audience, at least,
it kind of works really well as a gag.
842
00:47:11,955 --> 00:47:14,207
But, unfortunately,
they won't get to see that.
843
00:47:14,791 --> 00:47:18,503
So let's step away from the dildos
and go back to Epy's hair.
844
00:47:18,712 --> 00:47:23,049
Basically, my whole remit on that one,
I told the makeup guy and the--
845
00:47:23,258 --> 00:47:25,927
The hairdresser, sorry,
for the role and that, I said:
846
00:47:26,136 --> 00:47:30,765
"It's the equivalent of this porn baron...
847
00:47:30,974 --> 00:47:34,436
...taking a photograph of some model
that he saw in a catalog."
848
00:47:34,644 --> 00:47:37,731
Instead of taking that photograph
to a salon to replicate it...
849
00:47:38,273 --> 00:47:42,360
...he took it to a junkie that he knows two
streets down that has a pair of scissors.
850
00:47:42,569 --> 00:47:45,780
And so that was like the design.
It was like, "Give me that haircut.
851
00:47:45,989 --> 00:47:47,282
Give him that look."
852
00:47:47,490 --> 00:47:51,035
And so, yeah,
we really just destroyed and ruined him.
853
00:47:54,497 --> 00:47:57,792
So now we're getting into our thing
of building up the tension...
854
00:47:58,001 --> 00:48:01,337
...of the fight sequence
before it all kicks off and explodes.
855
00:48:01,546 --> 00:48:03,089
This is something I like to do.
856
00:48:03,298 --> 00:48:05,425
I like to have
calm-before-the-storm moments.
857
00:48:05,633 --> 00:48:10,638
And, basically, what I wanted to do is to
kind of play around with, like, reflections.
858
00:48:10,847 --> 00:48:15,143
And we designed this thing where--
And it took ages for us to set this up...
859
00:48:15,351 --> 00:48:18,813
...because it was a combination
of positioning of the water on the floor...
860
00:48:19,022 --> 00:48:21,441
...then also,
the strength of the light on the gun...
861
00:48:21,649 --> 00:48:25,069
...and then, you know, darkening
the floor surface where the water was...
862
00:48:25,278 --> 00:48:27,822
...in order for us
to be able to just get this shot.
863
00:48:28,031 --> 00:48:30,992
So this sequence took like--
It took us like a day...
864
00:48:31,201 --> 00:48:33,620
...to just get
all of the build-up elements done...
865
00:48:33,828 --> 00:48:37,582
...before we were able to kind of
move forward, then back to the normal...
866
00:48:37,791 --> 00:48:41,920
...you know, head slamming, kicking
and pushing and shooting.
867
00:48:50,261 --> 00:48:53,556
So this was Oka's first introduction
to do an action scene.
868
00:48:53,765 --> 00:48:57,560
And this stunt right here, with
the pull down to the guy on the table...
869
00:48:57,977 --> 00:49:01,481
...that went terribly, terribly wrong
on the first guy that did it.
870
00:49:01,689 --> 00:49:04,984
Because the guy who first did it
misjudged his fall.
871
00:49:05,193 --> 00:49:06,444
Fell down way too early...
872
00:49:06,653 --> 00:49:10,949
...and then almost cracked his ribcage
open against the edge of the table.
873
00:49:11,324 --> 00:49:14,536
It was a bit of a rough patch for Oka.
I think he was kind of--
874
00:49:14,744 --> 00:49:17,705
He was definitely, like,
a little bit emotional about it.
875
00:49:17,914 --> 00:49:20,875
But I had to take him inside and say,
"This is going to happen.
876
00:49:21,084 --> 00:49:25,713
That kind of stuff will happen to everyone
on the shoot in some capacity or another.
877
00:49:25,922 --> 00:49:29,926
You know, don't beat yourself up about it.
Just-- Like, this is-- Carry on.
878
00:49:30,134 --> 00:49:33,429
Let's do the stunt. Gonna have to do it
because we're not gonna stop.
879
00:49:33,638 --> 00:49:35,348
You're gonna have to keep going."
880
00:49:35,682 --> 00:49:37,433
And...there you go.
881
00:49:37,642 --> 00:49:42,105
Okay, so this stunt,
jumping forward through the window...
882
00:49:42,313 --> 00:49:44,607
...I hate doing the stuff with glass.
883
00:49:44,816 --> 00:49:47,569
It's my least favorite
whenever it comes to these stunts...
884
00:49:47,777 --> 00:49:50,363
...because it doesn't matter
we're using tempered glass.
885
00:49:50,572 --> 00:49:55,660
Yeah, people get little cuts from them.
It's just the way the glass is.
886
00:49:55,994 --> 00:49:57,829
And so--
Especially for a jump like that.
887
00:49:58,037 --> 00:50:02,166
We had Yandi, our stunt guy,
stunt doubling for Epy to do the jump.
888
00:50:02,667 --> 00:50:06,170
And you can see,
if you go through it frame by frame...
889
00:50:06,379 --> 00:50:10,258
...literally about three frames
before he makes impact with the glass...
890
00:50:10,466 --> 00:50:13,261
...we had like an--
Like a squib charge go off...
891
00:50:13,469 --> 00:50:15,847
...to kind of make it splintered already.
892
00:50:16,055 --> 00:50:19,267
And so, yeah, the timing
of the squib guys was just amazing.
893
00:50:19,475 --> 00:50:21,060
It was just perfect for that.
894
00:50:21,769 --> 00:50:25,565
Epy himself is like-- You know,
he's a very kind of physical actor.
895
00:50:25,773 --> 00:50:28,359
Like, when we did Safe Haven,
he wanted to be the guy...
896
00:50:28,526 --> 00:50:32,322
...who would do the jumps and the grabs
and the stabs and everything else.
897
00:50:32,530 --> 00:50:33,740
But on this one...
898
00:50:33,948 --> 00:50:37,535
...there are certain moments where
we just had to bring in a fight double.
899
00:50:37,744 --> 00:50:39,996
But he trained
as much as anyone else did.
900
00:50:40,413 --> 00:50:43,416
He came in and sort of, like, learned
the choreography with Iko.
901
00:50:43,625 --> 00:50:47,170
And, yeah, for his moments
when it is him, man, he went full-on.
902
00:50:47,879 --> 00:50:50,506
So I was proud of him
and proud of his performance here.
903
00:50:50,715 --> 00:50:53,885
And he's a great comedic actor.
He's got great timing as well.
904
00:50:54,093 --> 00:50:55,678
And he's got this great look, so--
905
00:50:55,887 --> 00:50:58,348
Yeah, absolute joy
to work with him again.
906
00:50:58,973 --> 00:51:00,642
He did good.
907
00:51:00,808 --> 00:51:02,727
Hounded him down quickly and cleanly.
908
00:51:02,894 --> 00:51:05,021
You'd swear he's been doing it all his life.
909
00:51:05,188 --> 00:51:06,606
Didn't take a wrong step.
910
00:51:09,108 --> 00:51:10,318
Okay.
911
00:51:10,485 --> 00:51:13,237
So, what I wanted to do is kind of like--
With this scene...
912
00:51:13,446 --> 00:51:18,534
...was start to sow the seeds
of Uco's ambitions...
913
00:51:18,743 --> 00:51:22,205
...and to present him as somebody
who, you know, wants more in life.
914
00:51:22,413 --> 00:51:25,166
Now, Uco as a character...
915
00:51:27,168 --> 00:51:31,673
...it's difficult for me to describe
because for me, for Uco...
916
00:51:31,881 --> 00:51:36,970
...I have, like, a certain feeling
of, like, sympathy for him...
917
00:51:37,178 --> 00:51:38,513
...in certain respects.
918
00:51:38,721 --> 00:51:40,974
Like, he does have
this vulnerable side of him...
919
00:51:41,182 --> 00:51:44,352
...kind of created from the distance
between him and his father.
920
00:51:44,560 --> 00:51:47,647
And so there is like a sympathy
towards him as well.
921
00:51:47,855 --> 00:51:49,565
But at the same time...
922
00:51:49,774 --> 00:51:53,945
...like, I also kind of hate him too,
which is kind of contradictory, I guess.
923
00:51:54,153 --> 00:51:58,449
But the thing that Uco represents
is this--
924
00:51:58,658 --> 00:52:05,290
This terrible elitist side
of some of the Indonesian upper class.
925
00:52:05,623 --> 00:52:11,295
Like, these sort of spoiled rich kids that
you see just sort of bitching endlessly...
926
00:52:11,504 --> 00:52:15,591
...and moaning about, like, the country
and the way it's run and the way it is...
927
00:52:15,800 --> 00:52:18,720
...and, you know, how much better
other countries are than it.
928
00:52:18,928 --> 00:52:21,055
And then they just don't do anything
about it.
929
00:52:21,264 --> 00:52:24,309
They just continue to bitch and moan.
And they have the resources.
930
00:52:24,517 --> 00:52:26,561
They have the finance,
the connections.
931
00:52:26,769 --> 00:52:29,188
They have so much at their disposal
they could use...
932
00:52:29,397 --> 00:52:31,774
...in order to help out the country,
but they don't.
933
00:52:31,983 --> 00:52:34,485
They choose to just, you know,
do what this guy does...
934
00:52:34,694 --> 00:52:38,364
...which is, you know, get drunk
and then, you know, abuse his power...
935
00:52:38,573 --> 00:52:41,326
...abuse his position and his situation.
936
00:52:41,534 --> 00:52:45,163
So to a certain degree, I guess,
yeah, it's--
937
00:52:45,371 --> 00:52:48,791
It's a love-hate relationship
that I felt with Uco when I was writing him.
938
00:52:57,759 --> 00:52:59,802
Would you like a drink?
939
00:52:59,969 --> 00:53:02,055
No, I'm fine, thanks.
940
00:53:03,598 --> 00:53:07,310
So this was a moment then--
Because previously we had this scene...
941
00:53:07,769 --> 00:53:10,271
...where this was carrying on--
About Uco's character.
942
00:53:10,480 --> 00:53:13,274
But previously we had the scene
with Uco with his father...
943
00:53:13,483 --> 00:53:16,527
...where we kind of got to instill
some sympathy in him.
944
00:53:16,736 --> 00:53:19,322
We got to feel this moment
where he was reaching out...
945
00:53:19,530 --> 00:53:22,408
...and trying to be ambitious,
trying to show his father...
946
00:53:22,617 --> 00:53:25,036
...what he wanted to achieve,
what he wanted to be...
947
00:53:25,244 --> 00:53:29,582
...and to say, like, "I'm ready for this,"
only to be told "no" by his father...
948
00:53:29,791 --> 00:53:32,668
...only to be completely
sort of emasculated by him.
949
00:53:32,877 --> 00:53:37,465
And so then what I wanted to do
is just to give this audience a moment...
950
00:53:37,673 --> 00:53:41,552
...where they have this window into
his character, feel something for him...
951
00:53:41,761 --> 00:53:46,641
...to completely, like, destroy
that sympathy within the next scene.
952
00:53:46,849 --> 00:53:51,104
Because he already is, you know,
instigating this situation.
953
00:53:51,312 --> 00:53:54,774
He's pushing for this moment.
He wants to vent on someone.
954
00:53:54,982 --> 00:53:56,776
And the people he's picking...
955
00:53:56,984 --> 00:54:00,321
...are people that, you know,
can't defend themselves against him...
956
00:54:00,530 --> 00:54:02,532
...that are powerless against him.
957
00:54:02,740 --> 00:54:04,826
And so the-- You know, this--
958
00:54:05,034 --> 00:54:08,663
We-- I know when we did, like,
our first sort of like edit of this and we'd--
959
00:54:08,871 --> 00:54:12,750
And I presented this scene as part
of sort of the rough cut of the film...
960
00:54:13,209 --> 00:54:15,920
...there were a lot of question marks
over it.
961
00:54:16,129 --> 00:54:20,383
Because I know, like, some of the guys,
like, at XYZ were kind of wondering:
962
00:54:20,591 --> 00:54:22,552
"Is it too much? Is it too strong?
963
00:54:22,760 --> 00:54:25,805
Do we need it? Do we need to see
this side of him and--" You know?
964
00:54:26,013 --> 00:54:29,475
I'll be honest. I wanted to push it ahead,
I wanted to push it through...
965
00:54:29,684 --> 00:54:33,646
...because I just felt like it was
so important to have something in there...
966
00:54:33,855 --> 00:54:38,526
...which presented Uco
as, you know, our potential bad guy.
967
00:54:39,527 --> 00:54:42,989
Because he skirts this line of being
someone we can sympathize with...
968
00:54:43,197 --> 00:54:46,451
...and then somebody who's just
absolutely morally reprehensible.
969
00:54:46,659 --> 00:54:50,788
And so this was like that-- Sort of like that
big showcase moment of--
970
00:54:50,997 --> 00:54:53,708
Of that element of him,
that dark side of him...
971
00:54:53,916 --> 00:54:57,003
...that aggression in him,
the demon in him, really.
972
00:54:57,336 --> 00:54:58,629
Don't you fucking dare!
973
00:54:59,130 --> 00:55:02,049
And Patty here is great.
She was so great in this performance.
974
00:55:02,258 --> 00:55:06,053
We wanted to have this moment where
it's like she's been in this situation before.
975
00:55:06,637 --> 00:55:09,307
And the--
Maybe the last time she hesitated...
976
00:55:09,515 --> 00:55:11,058
...and didn't press the button.
977
00:55:11,267 --> 00:55:14,395
And we wanted to kind of have
this, like, little section for her...
978
00:55:14,604 --> 00:55:16,355
...and a subpart of her character...
979
00:55:16,564 --> 00:55:19,192
...where she's not gonna make
that mistake again.
980
00:55:19,650 --> 00:55:21,944
"Oh, I'm sorry, I can't. No, no."
Bullshit!
981
00:55:22,111 --> 00:55:23,404
But not tonight!
982
00:55:23,571 --> 00:55:27,366
So this dialogue was improvised. This is
something that we-- That I came to Uco--
983
00:55:27,533 --> 00:55:30,703
I came to Arifin and said,
"I've written this dialogue for you...
984
00:55:30,912 --> 00:55:34,123
...and this is gonna be that moment
where we start introducing you...
985
00:55:34,332 --> 00:55:38,044
...complaining about sort of, like, you
know, the country on a national level...
986
00:55:38,252 --> 00:55:42,924
...and to sort of start sewing those seeds
of, like, false patriotism."
987
00:55:44,133 --> 00:55:47,011
Is everything okay here, sir?
988
00:55:47,929 --> 00:55:49,931
No, we're all good.
989
00:55:50,765 --> 00:55:54,644
I loved shooting in this place.
This is my favorite day of the shoot...
990
00:55:55,019 --> 00:55:57,813
...because all the cast were so given
to the scene...
991
00:55:58,022 --> 00:56:01,025
...and they all kind of, like, nailed
their performances.
992
00:56:01,234 --> 00:56:05,071
And on top of that, we got this great
sort of, like, looking production design...
993
00:56:05,279 --> 00:56:07,281
...for the actual set itself.
994
00:56:07,490 --> 00:56:12,787
This is a real karaoke place
in Bandung that we shot in.
995
00:56:12,995 --> 00:56:18,042
And if you look closely, you can see,
like, outside of the main door...
996
00:56:18,251 --> 00:56:22,171
...all of the names of the karaoke booths
that are written on the doors.
997
00:56:22,380 --> 00:56:24,674
So they have--
Not on this because we replaced it.
998
00:56:24,882 --> 00:56:27,593
But they all have names of countries...
999
00:56:27,802 --> 00:56:31,055
...and they're all themed
according to different countries.
1000
00:56:31,264 --> 00:56:36,686
Part of the reason why Arifin mentions
about meeting up with Uzbeki girls...
1001
00:56:36,894 --> 00:56:40,189
...is because every time we would
kind of walk down these corridors...
1002
00:56:40,606 --> 00:56:43,818
...you'd see these rooms
themed to do with different countries.
1003
00:56:44,026 --> 00:56:46,112
So there was--
There was Russia, Uzbekistan.
1004
00:56:46,320 --> 00:56:48,489
And that just--
It became one of those things...
1005
00:56:48,698 --> 00:56:50,491
...that I'd hear the crew guys saying.
1006
00:56:50,658 --> 00:56:53,869
And then that became like an element
of the dialogue in the film then.
1007
00:56:54,036 --> 00:56:56,539
I'm fine, I don't care
what some hooker says.
1008
00:56:57,665 --> 00:56:59,375
It's that she had the fucking nerve--
1009
00:56:59,584 --> 00:57:03,879
So here we're having this first opportunity
for Rama and Uco to have like a--
1010
00:57:04,088 --> 00:57:07,633
Have a quiet moment where they're open
and sharing with each other.
1011
00:57:07,842 --> 00:57:10,678
We had a deleted scene
that, you know, was way back...
1012
00:57:10,845 --> 00:57:12,888
...in the prison riot.
After the prison riot.
1013
00:57:13,097 --> 00:57:17,101
Were gonna have a scene of them being
dragged into two confinement cells...
1014
00:57:17,310 --> 00:57:21,314
...and sat next to each other
and, you know, discussing the future...
1015
00:57:21,522 --> 00:57:25,568
...and discussing what they're going to do
now that they would come under attack...
1016
00:57:25,776 --> 00:57:27,737
...in the prison.
And that was designed...
1017
00:57:27,945 --> 00:57:30,656
...to sort of establish their relationship
together.
1018
00:57:30,865 --> 00:57:33,159
But then we cut it
for numerous reasons.
1019
00:57:33,367 --> 00:57:35,745
One of the main ones being pacing.
1020
00:57:35,953 --> 00:57:38,914
And I'm kind of glad we did
because it works so much better...
1021
00:57:39,123 --> 00:57:42,335
...with this being that first moment,
the time when he's vulnerable...
1022
00:57:42,543 --> 00:57:45,630
...and, you know, still within
a certain amount of anger and rage.
1023
00:57:45,838 --> 00:57:48,674
That it was a good opportunity for us
to do that.
1024
00:57:49,634 --> 00:57:51,927
Okay, so I gotta explain that...
1025
00:57:52,136 --> 00:57:53,846
...because it'll come back later on.
1026
00:57:54,055 --> 00:57:56,807
The cold breath in the air.
1027
00:57:58,351 --> 00:58:00,978
This is something
that ties in with the snow later on...
1028
00:58:01,187 --> 00:58:04,273
...in the film,
and, you know, we'll see it later on.
1029
00:58:04,482 --> 00:58:06,651
But I'll kind of give an explanation for it.
1030
00:58:06,859 --> 00:58:10,821
So anytime that Bejo
is involved in this film...
1031
00:58:11,614 --> 00:58:14,450
...I wanted it to feel like
the temperature of the film drops.
1032
00:58:14,658 --> 00:58:18,537
So the very first time we see him
with Donny, with Andi's char--
1033
00:58:18,746 --> 00:58:21,165
Sorry. Donny's character, Andi...
1034
00:58:21,916 --> 00:58:23,209
...Andi is shivering.
1035
00:58:23,417 --> 00:58:26,921
Like, they're all wearing winter coats.
And that's very, like, uncommon...
1036
00:58:27,129 --> 00:58:28,547
...in terms of Indonesia.
1037
00:58:28,756 --> 00:58:33,052
And then, you know,
when Bejo phones up with Uco...
1038
00:58:33,260 --> 00:58:36,681
...his breath comes out.
We see it hanging in the air.
1039
00:58:36,889 --> 00:58:40,142
And so then there's this link then
between the two.
1040
00:58:40,351 --> 00:58:43,521
Later on, we'll see the guys
being pulled out of a freezer.
1041
00:58:43,729 --> 00:58:46,565
There's a sacrifice,
and then they're shivering as well.
1042
00:58:46,774 --> 00:58:50,277
And then the final climax of it
is obviously with Prakoso...
1043
00:58:50,486 --> 00:58:53,698
...is the idea that, you know,
it's reached that tipping point now...
1044
00:58:53,906 --> 00:58:58,869
...where there's snow everywhere
and that it fills the entire landscape.
1045
00:58:59,620 --> 00:59:00,955
To a certain degree...
1046
00:59:01,163 --> 00:59:04,166
...that's a complete bullshit
pretentious little excuse for me...
1047
00:59:04,375 --> 00:59:06,335
...just being able to have snow
in the set.
1048
00:59:06,544 --> 00:59:09,422
And we can't have snow anywhere
near Indonesia.
1049
00:59:09,630 --> 00:59:13,259
But it's a pretentious bullshit answer
that actually does kind of hold...
1050
00:59:13,467 --> 00:59:15,344
...some form of logic to it too.
1051
00:59:15,553 --> 00:59:17,388
So I'm sticking with it...
1052
00:59:17,596 --> 00:59:21,434
...for anyone that just cannot get over
the fact that there's snow in Indonesia.
1053
00:59:21,642 --> 00:59:24,019
But for anyone that's okay
with snow in Indonesia...
1054
00:59:24,228 --> 00:59:26,272
...thank you for being cool about it.
1055
00:59:26,480 --> 00:59:29,525
So I should probably talk
about Yayan Ruhian...
1056
00:59:29,733 --> 00:59:31,277
...who's playing Prakoso here.
1057
00:59:31,485 --> 00:59:34,905
Now, a lot of people recognize him
as Mad Dog from the first movie...
1058
00:59:35,114 --> 00:59:38,659
...and so we went through a lot of effort
to make him feel a lot different...
1059
00:59:38,868 --> 00:59:43,914
...from that previous movie. Obviously,
we, alongside my makeup chief...
1060
00:59:44,123 --> 00:59:47,501
...Kumalasari Tanara,
designed a whole new look for him...
1061
00:59:47,710 --> 00:59:50,754
...where we kind of, like, aged his skin
and gave him a beard.
1062
00:59:50,963 --> 00:59:55,468
And then, you know, his hair, we grew it
out and we kind of dyed it gray.
1063
00:59:55,676 --> 00:59:59,138
And, you know, just comple--
A large part of that transformation...
1064
00:59:59,346 --> 01:00:01,307
...come from Yayan
in terms of performance.
1065
01:00:01,515 --> 01:00:04,518
It's such a, like, 180 in comparison
to what he did as Mad Dog.
1066
01:00:04,727 --> 01:00:09,064
Here it's like-- It's more sort of introverted.
It's more sort of like that lonely guy...
1067
01:00:09,482 --> 01:00:12,568
...as opposed to Mad Dog,
who is kind of just this badass...
1068
01:00:12,777 --> 01:00:15,237
...who had all these witty quips
every now and then.
1069
01:00:15,446 --> 01:00:18,866
So, you know, now he's just--
It's just pure work ethic.
1070
01:00:19,074 --> 01:00:23,496
What I wanted to do with this was-- This
is one of the first designs for the film...
1071
01:00:23,704 --> 01:00:27,625
...back about three or four years ago,
was this idea of let's do a fight scene...
1072
01:00:27,833 --> 01:00:29,752
...where we have a hit man
with a machete.
1073
01:00:29,960 --> 01:00:32,046
But he won't use it
on any of the bodyguards.
1074
01:00:32,254 --> 01:00:35,466
So he ends up having to fight
against all these guys one-handed...
1075
01:00:35,674 --> 01:00:40,888
...while he saves that machete for use
only on the person that's the target.
1076
01:00:42,223 --> 01:00:45,601
And so, yeah, it was fun.
We kind of went through everything.
1077
01:00:45,810 --> 01:00:48,395
We kind of, like, got together
in the office...
1078
01:00:48,604 --> 01:00:51,315
...and started to think
of all these things we could do...
1079
01:00:51,524 --> 01:00:53,567
...all these pieces
of choreography design...
1080
01:00:53,859 --> 01:00:58,906
...locks like that one and lock and
the break of the wrist using the chin.
1081
01:00:59,114 --> 01:01:02,785
These fascinating little movements
that we could put into the scene here...
1082
01:01:02,993 --> 01:01:07,998
...and show something we haven't done,
show an element we haven't explored.
1083
01:01:15,589 --> 01:01:18,634
Part of me doesn't like that shot.
I like it in theory.
1084
01:01:18,843 --> 01:01:21,971
I like the idea of doing
that bird's-eye view with the pan...
1085
01:01:22,179 --> 01:01:27,101
...but we had to do it on-- Like, on a--
I think it was on a Jimmy Jib.
1086
01:01:27,309 --> 01:01:29,645
And so we had, like,
sort of a motorized control.
1087
01:01:29,853 --> 01:01:32,439
And you can really feel
that motorized element to it.
1088
01:01:32,648 --> 01:01:33,899
It doesn't stop clean.
1089
01:01:59,717 --> 01:02:01,552
This location....
1090
01:02:01,760 --> 01:02:05,306
Okay, so this is right next to the airport
in Jakarta.
1091
01:02:05,514 --> 01:02:07,349
And I had seen this
over and over again.
1092
01:02:07,558 --> 01:02:11,895
And similarly to-- As I was talking earlier
about there were certain cast members...
1093
01:02:12,104 --> 01:02:15,774
...that I kind of approached about this...
1094
01:02:15,983 --> 01:02:18,986
...when it was in its previous incarnation
about four years ago.
1095
01:02:19,194 --> 01:02:23,115
There are also some locations that I had
seen, you know, about four years ago...
1096
01:02:23,324 --> 01:02:26,452
...that I really wanted to use in the film
that I kind of hung onto.
1097
01:02:26,660 --> 01:02:28,203
This is one of them.
1098
01:02:29,455 --> 01:02:32,750
And, literally, about--
Maybe about a month...
1099
01:02:32,958 --> 01:02:36,295
...before we were about to shoot here,
there was, like, extreme floods.
1100
01:02:36,629 --> 01:02:40,841
And so the government had dug up
all of the grass on here...
1101
01:02:41,050 --> 01:02:43,927
...and then dumped the mud
in order to sort of, you know...
1102
01:02:44,136 --> 01:02:46,513
...help stem the tide on the water
as it was rising.
1103
01:02:46,680 --> 01:02:49,767
And so that's why it's all so kind of like,
you know, dead grass...
1104
01:02:49,975 --> 01:02:53,520
...and dead leaves around the area,
is because it was completely destroyed.
1105
01:02:53,729 --> 01:02:58,692
So it was this beautiful stretch of green
that I had seen for four years...
1106
01:02:58,901 --> 01:03:02,988
...and then, all of a sudden,
this one time the waters rose...
1107
01:03:03,197 --> 01:03:06,533
...that was the time about-- Just
before we were about to shoot there...
1108
01:03:06,742 --> 01:03:09,787
...that completely changed the look
of the landscape for us.
1109
01:03:12,206 --> 01:03:14,083
He won't, sir.
1110
01:03:14,249 --> 01:03:17,169
The time I've known him,
he speaks nothing but highly of you.
1111
01:03:18,712 --> 01:03:25,260
We have these little moments here where
we kind of hint at back-story in Bangun.
1112
01:03:25,719 --> 01:03:27,805
He says about, you know:
1113
01:03:28,013 --> 01:03:30,933
"I don't want my son to, like, lose--
1114
01:03:31,141 --> 01:03:34,019
I don't want my son to learn from the loss
the same way I did."
1115
01:03:34,228 --> 01:03:37,272
And so it's kind of like showing
this element of, like, regret.
1116
01:03:37,481 --> 01:03:40,818
And we've always kind of had Bangun
wearing a wedding ring...
1117
01:03:41,026 --> 01:03:43,320
...but we never see his wife.
It was this idea...
1118
01:03:43,529 --> 01:03:48,200
...that, like, part of his back-story
would be that she was taken from him...
1119
01:03:48,409 --> 01:03:51,537
...when he was the one that was
supposed to be taken from the earth.
1120
01:03:51,745 --> 01:03:55,290
And so I wanted to kind of have
these little--
1121
01:03:55,499 --> 01:03:59,044
Subtle little sort of lines of dialogue
that just hinted at a back-story...
1122
01:03:59,253 --> 01:04:01,296
...that hinted at a sort of life of regret.
1123
01:04:02,673 --> 01:04:05,634
Because, you know, I just--
I wanted to have that--
1124
01:04:05,843 --> 01:04:10,180
That weight over the--
His worry for his son.
1125
01:04:10,389 --> 01:04:13,142
And to kind of have this moment
where, like, he's showing...
1126
01:04:13,350 --> 01:04:16,854
...that he genuinely cares about him,
genuinely wants his son to be okay.
1127
01:04:17,062 --> 01:04:22,276
But he can only do that in front of other
people, never in front of Uco himself.
1128
01:04:24,153 --> 01:04:27,406
The main difference between you and I
can be defined by one word.
1129
01:04:27,906 --> 01:04:29,408
Legacy.
1130
01:04:29,575 --> 01:04:30,951
So this location--
1131
01:04:31,326 --> 01:04:34,163
Okay, so this location
was an absolute nightmare to find...
1132
01:04:34,371 --> 01:04:37,666
...but I'm so glad we found this one
because the layout, structure...
1133
01:04:37,875 --> 01:04:40,377
...the look of it, the lights,
the sort of--
1134
01:04:40,586 --> 01:04:44,214
The staggered ceiling,
that was all there, that was all for real.
1135
01:04:44,423 --> 01:04:48,927
What wasn't there was that stage
and the bar in the background.
1136
01:04:49,720 --> 01:04:51,472
That we had to add ourselves.
1137
01:04:51,680 --> 01:04:54,850
And actually, interestingly,
the stairs leading up to the bar...
1138
01:04:55,058 --> 01:04:56,769
...those are CGI stairs...
1139
01:04:56,977 --> 01:04:59,605
...because we didn't have time
to build the entire set...
1140
01:04:59,813 --> 01:05:03,776
...and then, also, to have it like, you know,
looking as polished as we wanted.
1141
01:05:03,984 --> 01:05:07,029
So we did a lot of little cleanups
every now and then with CG...
1142
01:05:07,237 --> 01:05:11,867
...in order to kind of make the overall feel
of this a lot more high-class...
1143
01:05:12,075 --> 01:05:13,952
...than it actually looked.
1144
01:05:15,704 --> 01:05:20,209
This hotel is actually in Bandung,
a place called Hotel Horison.
1145
01:05:20,417 --> 01:05:23,796
We'd been discussing with a few other
places about using their ballrooms.
1146
01:05:24,004 --> 01:05:30,385
And after a few months of trying,
we were stuck. We had nothing left.
1147
01:05:30,594 --> 01:05:33,639
And then, suddenly,
this place was presented to me...
1148
01:05:33,847 --> 01:05:36,892
...during the middle of the shoot.
So we would literally go off...
1149
01:05:37,101 --> 01:05:42,105
...and then take a look at this other hotel
after we'd wrapped on a shoot.
1150
01:05:42,314 --> 01:05:45,025
And so, yeah,
it was immediately something that I saw...
1151
01:05:45,234 --> 01:05:48,946
...and, you know, wanted to use and felt
that it had, like, a good character...
1152
01:05:49,154 --> 01:05:51,740
...in terms of being able
to be converted into...
1153
01:05:51,949 --> 01:05:55,077
...being something
that would be Bejo's restaurant.
1154
01:05:57,663 --> 01:06:00,415
But no, that's not me.
1155
01:06:00,958 --> 01:06:02,835
Not today at least.
1156
01:06:03,877 --> 01:06:07,965
So this is what I was talking about earlier,
that idea of every time Bejo is involved...
1157
01:06:08,173 --> 01:06:10,509
...we start dropping the temperature
in the film.
1158
01:06:10,968 --> 01:06:14,721
And so, you know, the guys
who are sort of inside that freezer...
1159
01:06:14,930 --> 01:06:19,268
...like, they're being brought now
to be the sacrifice for Uco.
1160
01:06:19,476 --> 01:06:21,603
Because they obviously
were instrumental...
1161
01:06:21,812 --> 01:06:25,774
...in the attack on his life
when he was in prison.
1162
01:06:27,067 --> 01:06:30,445
And, yeah, assuming you guys
have seen this now already...
1163
01:06:30,654 --> 01:06:32,406
...and have to-- But like--
1164
01:06:32,614 --> 01:06:37,119
These guys are part of Bejo's clan.
And that was always the intention...
1165
01:06:37,327 --> 01:06:41,707
...is to kind of have this moment whereby
we show sort of their similar tattoos.
1166
01:06:41,915 --> 01:06:44,168
They all have the same tattoo
on their wrists.
1167
01:06:44,376 --> 01:06:50,173
And, basically, when we reveal
that Bejo shares that tattoo...
1168
01:06:50,382 --> 01:06:54,511
...it makes it all the more creepier for me
then, that idea that these guys were--
1169
01:06:54,720 --> 01:06:57,890
Like because there's this
tribal element in play...
1170
01:06:58,098 --> 01:07:03,770
...when it comes to this gang,
where they will literally give their lives...
1171
01:07:03,979 --> 01:07:07,149
...in order for their boss to establish
himself, for him to become--
1172
01:07:07,357 --> 01:07:11,528
Like, a rise in power
in terms of their organization.
1173
01:07:11,737 --> 01:07:14,656
And so that's something
we play on later on...
1174
01:07:14,865 --> 01:07:18,702
...when there's like this shared look
between Bejo and Zack...
1175
01:07:18,911 --> 01:07:21,622
...where he literally gives himself
in to Uco...
1176
01:07:21,830 --> 01:07:23,665
...who's about to cut his throat.
1177
01:07:23,874 --> 01:07:26,501
So, yeah, that was like a big
sort of important factor...
1178
01:07:26,710 --> 01:07:29,588
...of the relationship between them.
1179
01:07:30,756 --> 01:07:33,008
I give you the opportunity...
1180
01:07:34,760 --> 01:07:36,970
...to claim revenge.
1181
01:07:49,983 --> 01:07:52,527
One of the things
I wanted to do with this scene--
1182
01:07:52,736 --> 01:07:53,779
Because I'm not--
1183
01:07:53,987 --> 01:07:57,908
Okay, so contrary to popular belief...
1184
01:07:58,116 --> 01:08:04,581
...I'm not really a huge fan of, like,
extreme, extreme violence in a movie.
1185
01:08:04,790 --> 01:08:07,417
Granted we have a number
of big punch line moments...
1186
01:08:07,626 --> 01:08:10,796
...but I've always had this thing
whereby the way my dad raised me...
1187
01:08:11,004 --> 01:08:14,633
...the movies my dad showed me and
the movies that my dad responded to...
1188
01:08:14,841 --> 01:08:18,595
...it was a thing of you can have visceral
moments of violence in your film...
1189
01:08:18,804 --> 01:08:22,474
...you can have elements in there
which are kind of harsh and aggressive...
1190
01:08:22,683 --> 01:08:24,393
...but never let it be something...
1191
01:08:24,601 --> 01:08:27,604
...where you focus on the pain,
where you focus on the torture.
1192
01:08:27,813 --> 01:08:30,691
So, like, I kind of went out of my way
in order to kind of--
1193
01:08:30,899 --> 01:08:34,861
When it came to writing this scene, to try
to kind of soften the blow a little bit...
1194
01:08:35,070 --> 01:08:38,824
...on, you know, all of his concerns
and was to kind of be able to say to him:
1195
01:08:39,032 --> 01:08:41,535
"Look, trust me.
I know how I'm gonna shoot this.
1196
01:08:41,743 --> 01:08:44,246
I'm gonna shoot this
where you're not gonna feel it...
1197
01:08:44,454 --> 01:08:46,748
...as much as you usually would."
1198
01:08:46,957 --> 01:08:50,961
But it's very difficult to kind of, you know,
do a scene like this...
1199
01:08:51,169 --> 01:08:53,797
...where, you know, in the--
For a large part of it...
1200
01:08:54,006 --> 01:08:58,093
...it's all about this
sort of like incredibly violent act...
1201
01:08:58,301 --> 01:09:01,805
...but being ignored by the two of them.
They continue to talk business.
1202
01:09:02,014 --> 01:09:04,474
They don't--
They don't sort of skip a beat even.
1203
01:09:04,683 --> 01:09:08,437
And so, yeah, it was--
There were a few moments--
1204
01:09:08,645 --> 01:09:10,564
There's two moments
coming up later on...
1205
01:09:10,772 --> 01:09:14,026
...where he sort of, like, stops
halfway through on a guy's throat.
1206
01:09:14,234 --> 01:09:17,446
And my approach is always like,
"These are moments in that scene...
1207
01:09:17,654 --> 01:09:21,533
...which could tip it over the edge into
that thing of the suffering and the pain.
1208
01:09:22,117 --> 01:09:24,619
But as long as I keep my camera
wide enough...
1209
01:09:24,828 --> 01:09:27,122
...as long as I stay far away
from him...
1210
01:09:27,331 --> 01:09:33,336
...then, you know, it won't be seen
as exploitative as it would otherwise."
1211
01:09:33,754 --> 01:09:38,508
And it's kind of important for me because,
like, I totally respect, like, my dad.
1212
01:09:38,717 --> 01:09:43,388
He's been a huge sort of guiding force
in terms of, like, everything I've done.
1213
01:09:43,764 --> 01:09:46,558
There's a message for him
at the end, and it's true.
1214
01:09:46,767 --> 01:09:50,145
I mean, he's read every single draft
of every script I've ever written...
1215
01:09:50,353 --> 01:09:53,356
...and he's also watched every cut
of every film I've made...
1216
01:09:53,565 --> 01:09:57,402
...and has given me notes and has
kind of, like, you know, skirted that line...
1217
01:09:57,611 --> 01:10:00,906
...of being the supportive dad,
but also being the critic of it...
1218
01:10:01,114 --> 01:10:03,742
...when something feels wrong,
something feels too much.
1219
01:10:03,950 --> 01:10:06,411
And you know what?
For me it's been a thing of this:
1220
01:10:06,620 --> 01:10:09,206
If he doesn't feel offended by something,
then I'm okay.
1221
01:10:09,414 --> 01:10:14,044
And, you know, he was fine with this.
Like, he felt like the cutaway points...
1222
01:10:14,252 --> 01:10:19,132
...were at the right point, the right time.
And it could have so easily have been...
1223
01:10:19,341 --> 01:10:24,096
...you know, a different focus and a more
dangerous approach to the scene.
1224
01:10:24,262 --> 01:10:25,430
Everyone has their limit.
1225
01:10:25,597 --> 01:10:29,017
One of the things I wanted to do
is establish this thing in this scene.
1226
01:10:29,226 --> 01:10:31,395
It's important,
says a lot about this character.
1227
01:10:31,603 --> 01:10:37,984
It's that idea of, with all the other guys
that he kills, he does it indiscriminately.
1228
01:10:38,193 --> 01:10:40,612
He does it casually
and continues to talk business...
1229
01:10:40,821 --> 01:10:42,406
...throughout the entire process.
1230
01:10:42,614 --> 01:10:45,909
When it comes to Benny, Benny
is kind of like the representation of it...
1231
01:10:46,118 --> 01:10:47,953
...being like the prize.
1232
01:10:48,161 --> 01:10:51,623
He's like-- He's the one
that he really wants to enjoy himself with.
1233
01:10:51,832 --> 01:10:55,168
And, you know, this idea of grabbing him
and then shushing him...
1234
01:10:55,377 --> 01:10:58,839
...and getting him to calm down,
it's just all about that emasculation.
1235
01:10:59,047 --> 01:11:02,175
It's all about the idea
of making him feel small and pathetic...
1236
01:11:02,384 --> 01:11:05,929
...and realizing that, you know,
it doesn't matter how hard he tries...
1237
01:11:06,388 --> 01:11:08,181
...there's only one outcome from this.
1238
01:11:08,849 --> 01:11:13,186
So there's your little signifier
that we use later on in the film...
1239
01:11:13,395 --> 01:11:16,606
...about the tattoo and the idea of it
linking them together.
1240
01:11:16,815 --> 01:11:20,610
And that's that look I talked about earlier
as well, that resignation of defeat.
1241
01:11:20,986 --> 01:11:23,989
And this is, you know,
the ultimate sacrifice for his boss.
1242
01:11:24,197 --> 01:11:26,491
Because, technically,
that's what's happening now.
1243
01:11:26,700 --> 01:11:29,202
We're seeing it
for the first time in the movie...
1244
01:11:29,411 --> 01:11:31,538
...through a different pair of eyes.
1245
01:11:31,746 --> 01:11:34,332
But, yeah, all those things
are inside that performance.
1246
01:11:34,541 --> 01:11:38,587
And we had to kind of, like, find a way
to hint at those without being too obvious.
1247
01:11:38,795 --> 01:11:43,341
So Bejo's reaction,
the look that Bejo gave him back...
1248
01:11:43,550 --> 01:11:46,928
...we had to be so careful with that
not to hint at anything too much.
1249
01:11:47,137 --> 01:11:52,017
But there's a little feeling there
and it's enough to keep us going.
1250
01:11:53,852 --> 01:11:59,774
Now, you know, we're in a point now
where I wanted to kind of come back...
1251
01:11:59,983 --> 01:12:05,405
...to that idea of reinforcing Rama's goal
with his-- In his mission.
1252
01:12:05,614 --> 01:12:06,948
Because, you know, he's--
1253
01:12:07,157 --> 01:12:10,243
At the moment we've got this position
where he doesn't know...
1254
01:12:10,452 --> 01:12:14,456
...that Uco is meeting with Bejo at all.
All he's hearing is voices.
1255
01:12:14,664 --> 01:12:18,001
He doesn't know who owns this place
and who he's talking to...
1256
01:12:18,210 --> 01:12:19,753
...because it's all just audible.
1257
01:12:19,961 --> 01:12:23,715
And so, you know, this is a moment
where we got to show a little bit...
1258
01:12:23,924 --> 01:12:29,304
...of a proactive side of Rama where
he's actually investigating properly.
1259
01:12:29,512 --> 01:12:32,891
And, you know, he's playing,
you know, good cop here.
1260
01:12:33,099 --> 01:12:37,479
But then the idea is just how easily
he gets swayed emotionally...
1261
01:12:37,687 --> 01:12:42,150
...when he realizes that, stood like literally
like a hundred yards away from him...
1262
01:12:42,359 --> 01:12:47,405
...is the person that killed his brother,
is the person that destroyed his family...
1263
01:12:47,614 --> 01:12:51,785
...and, you know, is the person that he
ultimately wants to get revenge against...
1264
01:12:51,993 --> 01:12:53,828
...and that he wants to take out.
1265
01:12:54,037 --> 01:12:57,332
And so it kind of-- It was an interesting
opportunity to play around...
1266
01:12:57,541 --> 01:13:01,336
...with some of those, you know,
motivational issues with the character...
1267
01:13:01,544 --> 01:13:05,799
...and to try to-- The goal was always to
kind of put these things in front of him...
1268
01:13:06,007 --> 01:13:09,135
...which could be stumbling blocks
from him staying professional...
1269
01:13:09,344 --> 01:13:11,221
...and sticking to his investigation.
1270
01:13:11,429 --> 01:13:13,765
And the fact that here
by the end of the scene...
1271
01:13:13,974 --> 01:13:16,851
...that he doesn't pursue it,
that he doesn't go towards him...
1272
01:13:17,060 --> 01:13:19,688
...like, it says enough then about him...
1273
01:13:19,896 --> 01:13:24,609
...that he has managed to maintain some
kind of, you know, professional integrity...
1274
01:13:24,818 --> 01:13:27,070
...no matter how much it hurts him.
1275
01:13:33,159 --> 01:13:38,790
Okay, so a lot of people will question
just how the--
1276
01:13:38,999 --> 01:13:44,254
How--? I mean, how the hell did Prakoso
manage to land this woman as his wife?
1277
01:13:44,462 --> 01:13:48,133
She's a hell of a lot younger than him,
a hell of a lot better-looking than him.
1278
01:13:48,341 --> 01:13:50,176
He's certainly punching
above his weight.
1279
01:13:50,385 --> 01:13:53,263
But-- Likewise,
with most of the other characters...
1280
01:13:53,471 --> 01:13:57,142
...I always had this image in my head,
these ideas of back-story for these guys.
1281
01:13:57,517 --> 01:14:01,062
Like, I didn't wanna go too far
into their back-story within the film.
1282
01:14:01,271 --> 01:14:03,481
But it was always there
in the back of my mind.
1283
01:14:03,648 --> 01:14:05,233
And I'd always tell the actors...
1284
01:14:05,442 --> 01:14:08,862
...about what their life story was
in terms of these characters.
1285
01:14:09,237 --> 01:14:12,782
And for me, Prakoso, like,
I always saw him as this guy who--
1286
01:14:12,991 --> 01:14:16,286
Right now, he's in his sort of, like,
you know, late 50s, early 60s.
1287
01:14:16,494 --> 01:14:20,332
But, you know, back in the day when he
was in his, like, late 30s, early 40s...
1288
01:14:20,540 --> 01:14:23,501
...like, he was this, like, you know,
suave, well-dressed guy...
1289
01:14:23,710 --> 01:14:27,672
...you know, cropped hair,
you know, clean-cut, nice, crisp suits.
1290
01:14:27,881 --> 01:14:30,884
And, you know,
he impressed this young girl...
1291
01:14:31,092 --> 01:14:34,471
...who was like 16, 17 at the time,
was out in the club...
1292
01:14:34,679 --> 01:14:39,142
...and then she became his girlfriend,
and he took her out, romanced her.
1293
01:14:39,351 --> 01:14:41,353
They got married
when she was way too young.
1294
01:14:41,561 --> 01:14:44,064
She's like 20 some--
Twenty-year-old bride to him.
1295
01:14:44,481 --> 01:14:47,609
And then they had this kid together
and then, boom.
1296
01:14:47,817 --> 01:14:52,238
All of a sudden, one night out,
they get attacked when they're in the car.
1297
01:14:52,447 --> 01:14:55,033
And then he flies into a rage
and becomes the killer...
1298
01:14:55,241 --> 01:14:57,243
...that he's been hiding from her
all along.
1299
01:14:57,452 --> 01:15:00,622
And so while she is there in the car
trying to shield their--
1300
01:15:00,830 --> 01:15:04,793
Like, their little son's eyes away from
seeing the father turn into a monster...
1301
01:15:05,001 --> 01:15:06,503
...outside he is that monster...
1302
01:15:06,711 --> 01:15:09,214
...and he's just doing
that instinctive thing...
1303
01:15:09,422 --> 01:15:13,009
...that has been his payment
throughout his entire life.
1304
01:15:13,218 --> 01:15:17,097
And so, yeah, I had this whole back-story
that I was gonna plan to do.
1305
01:15:17,305 --> 01:15:20,433
And we might actually do it
in the end in a comic-book format...
1306
01:15:20,642 --> 01:15:23,019
...but it was-- It's-- It was--
1307
01:15:23,228 --> 01:15:26,272
It was a way to kind of alleviate
some of those question marks...
1308
01:15:26,481 --> 01:15:30,110
...over, you know,
just what is this couple?
1309
01:15:30,318 --> 01:15:33,279
This is a little bit of a piss-take.
This is a little too far.
1310
01:15:33,488 --> 01:15:36,741
Like, we were pushing to kind of make,
like, Prakoso's character...
1311
01:15:36,950 --> 01:15:39,869
...seem totally pathetic
and sort of sympathetic and sad.
1312
01:15:40,078 --> 01:15:43,123
But the fact that he still has
a fucking '80s pager...
1313
01:15:43,331 --> 01:15:46,543
...was a little step too far
for my Art Department for that one.
1314
01:15:46,751 --> 01:15:49,587
But I know it was a personal request.
1315
01:15:49,796 --> 01:15:52,507
Like, he could really afford
to have a phone by now.
1316
01:15:52,716 --> 01:15:56,594
So the pager is kind of pushing it
a little bit too much.
1317
01:15:56,803 --> 01:16:00,807
That's Ami.
He's one of the camera assistants.
1318
01:16:01,015 --> 01:16:04,394
He got to do his little cameo there
on the decks.
1319
01:16:04,644 --> 01:16:06,479
This was out in Bandung.
1320
01:16:06,688 --> 01:16:08,773
We used a couple of locations
in Bandung.
1321
01:16:08,982 --> 01:16:12,694
And I really like it out there.
It's about a two-hour drive from Jakarta.
1322
01:16:12,902 --> 01:16:16,322
And this club was great because
we had an idea of what we wanted...
1323
01:16:16,531 --> 01:16:19,784
...for the night-club scene,
but it didn't look anything like this.
1324
01:16:19,993 --> 01:16:21,995
And then we suddenly get
to this building...
1325
01:16:22,203 --> 01:16:24,748
...and we get to see
this big dance floor.
1326
01:16:24,956 --> 01:16:27,542
And then also more impressive...
1327
01:16:27,751 --> 01:16:31,296
...these sort of tiered seating areas
that kept going up and up and up.
1328
01:16:31,504 --> 01:16:33,673
And I knew we could do
something really cool...
1329
01:16:33,882 --> 01:16:36,759
...with a nice, big, long
sort of like, you know, crane shot...
1330
01:16:36,968 --> 01:16:38,470
...that would go into the drama.
1331
01:16:38,678 --> 01:16:42,724
And so, yeah, I mean, this location
sold itself to us immediately.
1332
01:16:42,932 --> 01:16:46,060
We were, "This is gonna help
not just with our establishing shot...
1333
01:16:46,269 --> 01:16:50,356
...but we get to do something interesting
as we kind come into this conversation."
1334
01:16:50,857 --> 01:16:53,985
But also later on
when we get into the fight sequence...
1335
01:16:54,194 --> 01:16:56,988
...that we would have
something interesting to use...
1336
01:16:57,197 --> 01:17:01,743
...to kind of play around with the
movement and the rhythm of the fight.
1337
01:17:01,951 --> 01:17:04,537
Because initially
we designed it purely...
1338
01:17:04,746 --> 01:17:07,749
...with, like, a sort of a flat
sort of, you know, surface.
1339
01:17:07,957 --> 01:17:10,210
Like a couple of crash mats
we use in the office.
1340
01:17:10,418 --> 01:17:12,587
We didn't have a sense
of perspective or space.
1341
01:17:12,796 --> 01:17:14,923
But once you kind of have
these elements...
1342
01:17:15,131 --> 01:17:18,092
...these locations
with those sort of tiered floors...
1343
01:17:18,301 --> 01:17:20,136
...and tiered sort of private booths...
1344
01:17:20,345 --> 01:17:22,680
...then, you know,
we have this opportunity then...
1345
01:17:22,889 --> 01:17:26,100
...to kind of really explore the set
a lot more...
1346
01:17:26,309 --> 01:17:30,730
...and have him jump and climb
and run and, you know, leap back down...
1347
01:17:30,939 --> 01:17:32,065
...avoid all these guys.
1348
01:17:32,774 --> 01:17:35,902
And, yeah, it just kind of--
It gave so much to the scene.
1349
01:17:36,110 --> 01:17:39,155
So, yeah, very happy that we
kind of got this location in the end.
1350
01:17:40,323 --> 01:17:42,158
One of the things I wanted to do here...
1351
01:17:42,367 --> 01:17:45,703
...is to establish this sense of
the relationship between them...
1352
01:17:45,912 --> 01:17:50,291
...and to kind of have this almost like
an uncle and nephew approach...
1353
01:17:50,500 --> 01:17:53,628
...to how Prakoso and Uco are.
1354
01:17:53,836 --> 01:17:56,339
That it'd have been established
way before he became...
1355
01:17:56,548 --> 01:17:58,550
...this, like, vagabond assassin type.
1356
01:17:58,758 --> 01:18:01,177
And so there's no difference
in their relationship...
1357
01:18:01,386 --> 01:18:03,221
...in the way they talk to each other...
1358
01:18:03,429 --> 01:18:06,516
...regardless of how much
Prakoso's character has fallen.
1359
01:18:06,724 --> 01:18:08,893
I wanted to kind of have
that sense of, like...
1360
01:18:09,102 --> 01:18:11,938
...that he was somebody
who Uco could trust as a child...
1361
01:18:12,146 --> 01:18:15,692
...who he could talk to. There's that idea--
Uco couldn't talk to his father.
1362
01:18:15,900 --> 01:18:18,570
Every time he tried to say something
or be close to him...
1363
01:18:18,778 --> 01:18:21,406
...his father would back away
and not show love...
1364
01:18:21,614 --> 01:18:23,741
...not show any kind
of, you know, opening...
1365
01:18:23,950 --> 01:18:26,244
...for him to be able
to discuss anything.
1366
01:18:26,452 --> 01:18:29,664
And so that complex within him
and his father...
1367
01:18:29,872 --> 01:18:33,585
...has kind of created a stronger bond
between him and Prakoso, his uncle.
1368
01:18:34,252 --> 01:18:37,046
Or as we see now,
and as we're gonna feel and people--
1369
01:18:37,255 --> 01:18:39,674
Audience will hopefully
have felt from the get-go...
1370
01:18:39,883 --> 01:18:42,176
...there's a certain Judas element
at play here.
1371
01:18:42,385 --> 01:18:46,764
And we know that--
You know, that this is Uco's ambition...
1372
01:18:46,973 --> 01:18:50,476
...letting him, you know--
Uco's ambition establishing...
1373
01:18:50,685 --> 01:18:52,770
...that, like, no one
is gonna get in his way.
1374
01:18:52,979 --> 01:18:55,732
Nobody's going to kind of be
important enough to stop him...
1375
01:18:55,940 --> 01:18:57,233
...from achieving his goals.
1376
01:18:57,442 --> 01:19:00,320
And that's taken to the absolute extreme
later on in the movie.
1377
01:19:02,655 --> 01:19:05,992
Notice the cameo there
of the white guy in the gray shirt...
1378
01:19:06,200 --> 01:19:08,036
...the Indonesian guy in the red shirt.
1379
01:19:08,244 --> 01:19:13,416
That is actually Matt Flannery, the DOP,
and Mascot, our lighting gaffer.
1380
01:19:15,543 --> 01:19:17,545
You've never seen two people
more excited...
1381
01:19:17,754 --> 01:19:20,923
...to share screen time together
than those two.
1382
01:19:22,133 --> 01:19:24,886
Okay, so this was, like,
a surreal moment in the film here.
1383
01:19:25,094 --> 01:19:28,806
We have this sequence here when he's
looking at the photograph of his son...
1384
01:19:29,140 --> 01:19:31,643
...and, you know,
he's in this nightclub and then--
1385
01:19:31,851 --> 01:19:34,896
It's packed to the rafters early.
We had, like, people everywhere.
1386
01:19:35,104 --> 01:19:38,441
And I wanted to do this, like,
extremely surreal sort of sound design...
1387
01:19:38,650 --> 01:19:40,026
...and then visual thing...
1388
01:19:40,234 --> 01:19:43,196
...whereby on the cut, we suddenly--
It's completely dead.
1389
01:19:43,404 --> 01:19:46,324
It's completely empty
and everyone is gone.
1390
01:19:46,532 --> 01:19:50,286
And for me, like,
it was always touch and go...
1391
01:19:50,495 --> 01:19:52,747
...and it was gonna live or die
by the sound mix.
1392
01:19:52,955 --> 01:19:55,041
I feel like we kind of fixed that
in the end.
1393
01:19:55,249 --> 01:19:57,919
We really got it to kind of work
and then feel, like....
1394
01:19:58,127 --> 01:20:02,548
You know, it took some of that sort of,
you know, abstract surrealism...
1395
01:20:02,757 --> 01:20:05,385
...about the setup and diluted it...
1396
01:20:05,593 --> 01:20:09,555
...in a way where we could feel
like, okay, it works now.
1397
01:20:09,764 --> 01:20:12,934
But, like, yeah, before we got to that point
in the post-pro...
1398
01:20:13,142 --> 01:20:15,228
...there was a lot of people
with questions...
1399
01:20:15,436 --> 01:20:17,939
...about how that was exactly
going to work.
1400
01:20:28,992 --> 01:20:32,453
I gotta say, I just love watching Yayan
fighting people.
1401
01:20:32,662 --> 01:20:34,956
He always kind of, like,
manages to fill this...
1402
01:20:35,164 --> 01:20:39,669
...especially this scene. Fills it with
so much kind of like desperation and--
1403
01:20:39,877 --> 01:20:43,631
Sort of like every movement feels
like it's the last possible minute...
1404
01:20:43,840 --> 01:20:46,926
...before you can attack, before
somebody else is gonna get to him.
1405
01:20:47,135 --> 01:20:51,723
And he really does sell the
sort of like escalation of the fight here.
1406
01:20:53,307 --> 01:20:54,934
This is an example of, like where--
1407
01:20:55,143 --> 01:20:57,603
When he runs across that balcony,
none of that was in the choreography.
1408
01:20:57,812 --> 01:20:59,439
None was designed or predetermined.
1409
01:20:59,647 --> 01:21:02,150
It was just something
that once we got the location...
1410
01:21:02,358 --> 01:21:04,902
...that we just wanted to do,
we just wanted to add.
1411
01:21:05,111 --> 01:21:09,991
So we have our Ip Man homage here,
like....
1412
01:21:10,199 --> 01:21:12,535
I think everyone loved this moment
from Ip Man.
1413
01:21:12,744 --> 01:21:15,830
And we thought, fuck it,
let's just pay our respects to them...
1414
01:21:16,039 --> 01:21:17,999
...and just put something in there
from it.
1415
01:21:18,207 --> 01:21:21,544
You know, just to kind of like--
I don't know, it's because we'd never--
1416
01:21:21,753 --> 01:21:24,380
We-- Like, as Indonesian
martial arts filmmakers...
1417
01:21:24,589 --> 01:21:27,759
...we never get to really talk to
or hang out with anyone that--
1418
01:21:27,967 --> 01:21:30,261
Any of our peers
who are from different countries.
1419
01:21:30,470 --> 01:21:32,430
And it's kind of like sometimes--
1420
01:21:32,638 --> 01:21:35,016
You put these little messages
in your films to say:
1421
01:21:35,224 --> 01:21:38,186
"Yeah, we're watching. We're really
impressed with what you do."
1422
01:21:38,561 --> 01:21:41,773
And that was just an opportunity
to do that with them.
1423
01:21:45,818 --> 01:21:47,653
So the snow.
1424
01:21:49,906 --> 01:21:53,659
I've already explained it
with my pretentious bullshit reasons why.
1425
01:21:53,868 --> 01:21:56,704
So, yeah, it's just--
Enjoy the beauty of it...
1426
01:21:56,913 --> 01:22:00,708
...because it just looks so good
with all the action going on.
1427
01:22:00,917 --> 01:22:03,795
And the blood contrasts so strongly
with the white of the snow.
1428
01:22:04,670 --> 01:22:06,881
It just looks so great like--
1429
01:22:07,090 --> 01:22:09,425
We had to combine
a lot of different things...
1430
01:22:09,634 --> 01:22:13,971
...because we didn't have,
you know, snow falling in the shot.
1431
01:22:14,180 --> 01:22:18,434
All of this are all sort of CG snow then
from Andi, my online guy.
1432
01:22:18,643 --> 01:22:22,188
This guy who's about to have his head
smashed, I gotta give credit to him...
1433
01:22:22,396 --> 01:22:26,859
...because he is one of the most fearless
Stuntmen we've ever worked with...
1434
01:22:27,068 --> 01:22:28,528
...and has done so much for us.
1435
01:22:28,736 --> 01:22:31,948
That's Yandi,
and he was in the first Raid.
1436
01:22:32,156 --> 01:22:34,242
He was the guy
that reached under the table...
1437
01:22:34,450 --> 01:22:36,202
...to pull the machete out.
1438
01:22:36,410 --> 01:22:39,330
And in this film,
he stunt-doubled for Epy...
1439
01:22:39,539 --> 01:22:42,375
...he stunt-doubled
for the Assassin, Cecep...
1440
01:22:42,583 --> 01:22:44,418
...he stunt-doubled for so many people.
1441
01:22:44,627 --> 01:22:47,296
He stunt-doubled for Yayan
when he jumped off the balcony.
1442
01:22:47,505 --> 01:22:51,467
And he's been one of those guys
that will just do anything for you.
1443
01:22:51,676 --> 01:22:54,762
And so he wanted
a small moment in the film.
1444
01:22:54,971 --> 01:22:56,639
And so I thought, "We'll kill you...
1445
01:22:56,848 --> 01:23:00,226
...but it's gonna be the most nasty,
violent way that we could kill you."
1446
01:23:00,393 --> 01:23:03,354
And so he's always been a sport
and always been somebody...
1447
01:23:03,563 --> 01:23:06,399
...who's like, you know,
very close to us and Merantau Films.
1448
01:23:06,607 --> 01:23:09,318
And, yeah, we're looking forward
to working with him again.
1449
01:23:09,527 --> 01:23:13,281
Yeah, in the next couple of months
actually for Night Comes For Us.
1450
01:23:14,240 --> 01:23:18,703
So the use of Handel, "Sarabande,"
the song...
1451
01:23:18,911 --> 01:23:21,163
...I spent a long time
searching for songs.
1452
01:23:21,372 --> 01:23:23,457
To be honest,
I've always been a Kubrick fan.
1453
01:23:23,666 --> 01:23:26,294
Massive fan of Kubrick.
I've seen everything he's done...
1454
01:23:26,502 --> 01:23:27,753
...except for Barry Lyndon.
1455
01:23:27,962 --> 01:23:30,214
And so, like,
I stumbled upon this track...
1456
01:23:30,423 --> 01:23:33,759
...when I was searching for
classical pieces and operatic music.
1457
01:23:33,968 --> 01:23:37,555
I figured if we're gonna go
to this extreme of having this snow fall...
1458
01:23:37,763 --> 01:23:40,683
...and we're gonna go to this extreme
of having the betrayal...
1459
01:23:40,892 --> 01:23:44,770
...that sort of Judas betrayal
between, you know, Uco and Prakoso...
1460
01:23:44,979 --> 01:23:48,149
...and then the introduction
of the Assassin, I wanted it to be big.
1461
01:23:48,357 --> 01:23:52,945
I wanted it to feel like there was this huge
sort of like emotional element to it.
1462
01:23:53,154 --> 01:23:55,156
And so, like--
You know, it just made sense.
1463
01:23:55,364 --> 01:23:59,410
It just felt like, okay, this song came along
and I played it a bunch of times.
1464
01:23:59,619 --> 01:24:01,162
I cut it into Final Cut Pro...
1465
01:24:01,370 --> 01:24:05,416
...and the timing of it just fit.
It just fit so well.
1466
01:24:05,625 --> 01:24:07,752
And so it was a no-brainer for me.
1467
01:24:07,960 --> 01:24:10,755
So we had Aria Prayogi
and Andreas Arianto...
1468
01:24:11,505 --> 01:24:16,510
...do a rearrangement based off a version
that I had kind of found on a CD.
1469
01:24:17,386 --> 01:24:20,556
And then they went ahead and then
did a rearrangement of the piece...
1470
01:24:20,765 --> 01:24:24,060
...and then recorded it and--
Like, to be honest, you know...
1471
01:24:24,268 --> 01:24:29,899
...as much as I love the whole, you know,
scoring sessions with the music...
1472
01:24:30,107 --> 01:24:33,319
...and with the electronic stuff
and how great that fits...
1473
01:24:33,527 --> 01:24:36,572
...the adrenaline-packed
action sequences...
1474
01:24:36,781 --> 01:24:40,451
...sitting there, watching them record
this music was just beautiful.
1475
01:24:40,660 --> 01:24:43,496
It was like-- It was something
I had never experienced before.
1476
01:24:43,704 --> 01:24:46,415
It's definitely something
that I'm looking forward...
1477
01:24:46,624 --> 01:24:48,960
...to kind of maybe trying out
in a larger scale...
1478
01:24:49,168 --> 01:24:51,587
...on one of my next projects and--
It was just....
1479
01:24:51,796 --> 01:24:54,131
It was so much fun
to kind of just sit down...
1480
01:24:54,340 --> 01:24:56,425
...listen to these
super talented musicians...
1481
01:24:56,634 --> 01:24:59,261
...come in and record
layer after layer after layer...
1482
01:24:59,470 --> 01:25:01,430
...of just classical music.
1483
01:25:01,639 --> 01:25:05,685
It was just--
Yeah, it was a joy to be there that day.
1484
01:25:06,769 --> 01:25:08,646
Prakoso's line of work
made him enemies.
1485
01:25:08,813 --> 01:25:11,774
Not just the Gotos.
Hell, even the Chinese wanted his head.
1486
01:25:12,274 --> 01:25:14,694
This wasn't the first time
he'd been under attack.
1487
01:25:15,569 --> 01:25:17,071
Sadly it was the last.
1488
01:25:19,657 --> 01:25:22,076
-Where the fuck have you been?
-What happened?
1489
01:25:22,243 --> 01:25:25,496
So this is one thing
that kind of occasionally....
1490
01:25:26,497 --> 01:25:29,959
It crops up as a criticism,
and I do get it...
1491
01:25:30,167 --> 01:25:35,339
...but it's like, people talk about
how Rama's investigation...
1492
01:25:35,548 --> 01:25:36,590
...gets pushed back...
1493
01:25:36,799 --> 01:25:39,885
...and it gets pushed into the distance
in terms of the story line.
1494
01:25:40,094 --> 01:25:43,806
And then it becomes more about,
like, Uco and his ambitions.
1495
01:25:44,015 --> 01:25:47,059
But, like, for me, like,
that was always the intention.
1496
01:25:47,268 --> 01:25:48,686
I didn't wanna go into this...
1497
01:25:49,145 --> 01:25:52,898
...making the traditional
undercover cop investigation story.
1498
01:25:53,107 --> 01:25:56,777
Like, you know-- I kind of-- We kind
of plant these seeds in it throughout...
1499
01:25:56,986 --> 01:26:00,406
...where we have little moments where
Bunawar will say directly to Rama...
1500
01:26:00,614 --> 01:26:04,243
...you know, like, "You're not the spider.
You're just part of the web."
1501
01:26:04,452 --> 01:26:08,164
Like, you know-- Like
in the traditional sort of like, you know...
1502
01:26:08,372 --> 01:26:11,042
...Hollywood version
of an undercover cop story...
1503
01:26:11,250 --> 01:26:14,795
...he'd be the guy that finds
that one key piece of evidence...
1504
01:26:15,004 --> 01:26:17,715
...that puts away all these bad guys
and solves the case...
1505
01:26:17,923 --> 01:26:20,176
...everything's done,
wrapped up in a little bow.
1506
01:26:20,384 --> 01:26:21,469
But for me, like...
1507
01:26:21,677 --> 01:26:25,723
...I wanted to have this ultimate version
where we confound those expectations...
1508
01:26:25,931 --> 01:26:27,767
...do something different,
something new.
1509
01:26:27,975 --> 01:26:30,144
So it was more important
and more interesting...
1510
01:26:30,353 --> 01:26:34,774
...to be able to have this thing of, like,
he starts off with his investigation...
1511
01:26:34,982 --> 01:26:36,692
...we see him do his investigation...
1512
01:26:36,901 --> 01:26:39,528
...we see him planting the wire
in Uco's wallet...
1513
01:26:39,737 --> 01:26:42,740
...we see him monitoring what he's doing,
his daily activities...
1514
01:26:42,948 --> 01:26:45,701
...we see him establishing
a good rapport with the father...
1515
01:26:45,910 --> 01:26:50,664
...and trying to kind of work his way
up the power chain...
1516
01:26:50,873 --> 01:26:54,919
...the chain of command, so he can listen
to more of those conversations...
1517
01:26:55,127 --> 01:26:57,088
...and find out
where that money's going.
1518
01:26:57,296 --> 01:26:59,924
But then all of a sudden,
a gang war kicks off.
1519
01:27:00,132 --> 01:27:02,927
And then all of a sudden,
like, the ambitions of the son...
1520
01:27:03,135 --> 01:27:05,262
...overwhelm his investigation...
1521
01:27:05,471 --> 01:27:08,307
...it overwhelms his role
and what he's supposed to be doing.
1522
01:27:08,516 --> 01:27:12,269
And as a result of that, for sure,
his story is gonna fall by the wayside...
1523
01:27:12,478 --> 01:27:14,772
...because now
we have a stronger driving force...
1524
01:27:14,980 --> 01:27:16,816
...that's pushing us towards that chaos.
1525
01:27:17,024 --> 01:27:19,610
The whole film is about,
you know, characters...
1526
01:27:19,819 --> 01:27:21,362
...that don't get what they want.
1527
01:27:21,570 --> 01:27:24,532
They don't get to have
the satisfaction of being able...
1528
01:27:24,740 --> 01:27:26,909
...to achieve what their goals are.
1529
01:27:27,118 --> 01:27:31,705
Rama, you know, beyond protecting
his own family, he wants revenge.
1530
01:27:31,914 --> 01:27:34,166
He wants to kill the guy
that killed his brother.
1531
01:27:34,375 --> 01:27:35,751
That gets taken away from him.
1532
01:27:35,960 --> 01:27:39,255
He doesn't get to pull the trigger on that.
Somebody else does.
1533
01:27:39,463 --> 01:27:41,465
Like, Uco wants to be king.
1534
01:27:41,674 --> 01:27:43,843
But in order to be king,
he has to do this...
1535
01:27:44,051 --> 01:27:47,680
...you know, inexplicable extreme act
later on in the movie.
1536
01:27:47,888 --> 01:27:52,601
It's temporary. It lasts a few hours,
and it's not the dream he'd hoped for.
1537
01:27:52,810 --> 01:27:56,897
And, you know, Bunawar wants to arrest
all of the corrupt cops...
1538
01:27:57,106 --> 01:27:59,859
...and put all these corrupt cops
and politicians in prison.
1539
01:28:00,067 --> 01:28:01,110
That doesn't happen.
1540
01:28:01,318 --> 01:28:04,280
They all get bumped off,
and that's not the way he wants it.
1541
01:28:04,488 --> 01:28:08,325
And so, yeah, it's all about
dissatisfaction amongst these guys...
1542
01:28:08,534 --> 01:28:11,704
...who have these, like, outrageously
big ambitions in life.
1543
01:28:11,912 --> 01:28:14,790
But then those ambitions
get taken away from them.
1544
01:28:15,791 --> 01:28:18,502
-Did we get the okay?
-Fuck the okay.
1545
01:28:20,296 --> 01:28:24,383
So we're about to introduce
Hammer Girl and Baseball Bat Man...
1546
01:28:24,592 --> 01:28:27,511
...and the whole host of assassins
that work for Bejo.
1547
01:28:28,012 --> 01:28:31,140
And this was just, like,
so much fun to shoot...
1548
01:28:31,348 --> 01:28:35,102
...and this is a great opportunity
as well for us to play around with...
1549
01:28:35,311 --> 01:28:36,979
...you know, character designs...
1550
01:28:37,188 --> 01:28:38,314
...and to play around...
1551
01:28:38,522 --> 01:28:41,859
...with, you know, the more
comic-bookish elements of the film.
1552
01:28:42,067 --> 01:28:44,820
Because, you know,
we're dealing with characters here...
1553
01:28:45,029 --> 01:28:46,739
...which are not from the real world.
1554
01:28:46,947 --> 01:28:49,450
They're sort of pop icon images,
they're--
1555
01:28:49,658 --> 01:28:52,703
You know, they're designed,
you know, specifically...
1556
01:28:52,912 --> 01:28:54,663
...to not be like you and I.
1557
01:28:54,872 --> 01:28:56,540
They're larger than life.
1558
01:28:56,749 --> 01:29:00,544
And so it was kind of a challenge
in a way to kind of figure out...
1559
01:29:00,753 --> 01:29:02,296
...okay, well, how far can we go?
1560
01:29:02,504 --> 01:29:05,716
How far can we push this
and for it still to work...
1561
01:29:05,925 --> 01:29:09,220
...and for it to still feel like,
at least in terms of the action...
1562
01:29:09,428 --> 01:29:14,058
...that happens on screen,
that we're not breaking those logic laws...
1563
01:29:14,266 --> 01:29:17,311
...that we had sort of, like, established
in the first few movies?
1564
01:29:17,519 --> 01:29:20,856
So I guess I'll talk now a little bit
about the origin story...
1565
01:29:21,065 --> 01:29:24,902
...for Hammer Girl and Baseball Bat Man,
seeing as we're watching this coin spin...
1566
01:29:25,069 --> 01:29:28,906
...because it actually relates
to what I wanted to do for their origin.
1567
01:29:29,114 --> 01:29:32,159
The coin spinning
is actually significant.
1568
01:29:32,451 --> 01:29:36,580
And basically the whole setup of it was
the idea that when they were children...
1569
01:29:36,789 --> 01:29:40,251
...the father would sit them down
at a table and then spin a coin.
1570
01:29:40,459 --> 01:29:45,005
And if the coin landed on a head or a tail,
that would be the deciding factor...
1571
01:29:45,214 --> 01:29:49,260
...for which one he would be aggressive
towards, violently abusive towards.
1572
01:29:50,135 --> 01:29:53,931
And so they were born and raised
in this-- Like, this house...
1573
01:29:54,139 --> 01:29:57,017
...of, like, domestic violence,
you know, led by their father.
1574
01:29:57,226 --> 01:29:58,561
And the idea was that...
1575
01:29:58,769 --> 01:30:03,107
...like, one day, Baseball Bat Kid,
like, he couldn't take it anymore...
1576
01:30:03,315 --> 01:30:06,068
...and then when the coin landed
on his sister...
1577
01:30:06,277 --> 01:30:08,529
...he took the coin,
then tried to turn it over.
1578
01:30:08,737 --> 01:30:10,155
Like the wrong move to make...
1579
01:30:10,364 --> 01:30:13,826
...and the father kind of took it out
even more so on Hammer Girl then.
1580
01:30:14,034 --> 01:30:17,371
And basically,
like, a switch went off in his head...
1581
01:30:17,579 --> 01:30:20,082
...and Baseball Bat Man
started to attack the father...
1582
01:30:20,291 --> 01:30:22,376
...and Hammer Girl joined the attack.
1583
01:30:22,584 --> 01:30:26,630
The idea is that they both,
you know, collectively killed the father.
1584
01:30:26,839 --> 01:30:29,425
And if you know anything
about, like, the Kampung Aer...
1585
01:30:29,633 --> 01:30:33,596
...the small village areas in Indonesia,
like, you know, talk spreads fast...
1586
01:30:33,804 --> 01:30:37,224
...but maybe the cops don't listen
quickly enough.
1587
01:30:37,433 --> 01:30:40,311
And so the idea is that
while this sort of chaos is going on...
1588
01:30:40,519 --> 01:30:42,563
...and this curse is ensuing,
word spreads...
1589
01:30:42,771 --> 01:30:45,733
...and then this young 20-year-old
sort of upstart Bejo...
1590
01:30:45,941 --> 01:30:49,236
...sends his men and his guys
to collect the two kids.
1591
01:30:49,445 --> 01:30:52,948
And so then they've grown up
as part of Bejo's life...
1592
01:30:53,157 --> 01:30:56,535
...as part of Bejo's sort of like children...
1593
01:30:56,702 --> 01:30:58,662
...that've kind of been raised
to become...
1594
01:30:58,871 --> 01:31:02,041
...these, like, violent sort of killers
that work on his behalf.
1595
01:31:02,249 --> 01:31:04,543
And so in the characters then
we've established...
1596
01:31:04,752 --> 01:31:07,046
...little sort of like
immature details in them.
1597
01:31:07,254 --> 01:31:10,341
We introduce these elements
which are kind of childlike about them.
1598
01:31:10,549 --> 01:31:13,135
Baseball Bat Man,
when he hits the guys with the ball...
1599
01:31:13,344 --> 01:31:15,471
...then says,
"Give me the ball back, please."
1600
01:31:15,679 --> 01:31:17,598
Like a kid
that's knocked his ball over...
1601
01:31:17,806 --> 01:31:21,643
...into the backyard of some neighbor's
house and then asks for it back.
1602
01:31:21,935 --> 01:31:25,481
When they sat at the bar, he's got,
like, a glass of milk in front of him.
1603
01:31:25,689 --> 01:31:27,650
There's tiny details along the way...
1604
01:31:27,858 --> 01:31:30,861
...and then later on
when they get told to take out Rama...
1605
01:31:31,070 --> 01:31:32,613
...and, you know, Hammer Girl--
1606
01:31:32,821 --> 01:31:35,658
She's deaf and mute,
doesn't hear anything that's going on...
1607
01:31:36,283 --> 01:31:39,036
...all of a sudden,
Baseball Bat Man grabs her by the arm...
1608
01:31:39,244 --> 01:31:42,414
...to pull her like a child would,
like a brother and sister thing.
1609
01:31:42,623 --> 01:31:43,665
She stumbles out of her chair...
1610
01:31:43,874 --> 01:31:46,460
...reaches back like a child
just to grab her hammers.
1611
01:31:46,669 --> 01:31:48,754
It's this kind of like contradiction
really--
1612
01:31:48,962 --> 01:31:52,883
You know, the sheer extreme
and brutality of what they do and--
1613
01:31:53,342 --> 01:31:55,886
Mixed in with these childlike elements
along the way.
1614
01:31:56,095 --> 01:31:58,847
Like they--
It's like it's playtime to them.
1615
01:31:59,056 --> 01:32:01,308
I should talk about the characters,
the actors...
1616
01:32:01,517 --> 01:32:03,936
...playing these roles.
Julie Estelle is Hammer Girl.
1617
01:32:04,269 --> 01:32:07,523
She's like a very well-respected actress
in her own right...
1618
01:32:07,731 --> 01:32:10,567
...and she's been the lead actress
for a number of films.
1619
01:32:10,776 --> 01:32:14,822
She was in Rumah Dara again,
the Mo Brothers' film.
1620
01:32:15,030 --> 01:32:17,908
So you really do know now
I am stealing pretty much everyone...
1621
01:32:18,117 --> 01:32:21,537
...that Timo and Kimo
have ever cast before for my movies.
1622
01:32:21,745 --> 01:32:25,249
And so, yeah, so she was in that
and I was impressed with her.
1623
01:32:25,457 --> 01:32:28,794
Again, she was one of those ones
we contacted three or four years ago.
1624
01:32:29,002 --> 01:32:32,589
Had to wait, come back, re-audition.
And she trained so hard for this role.
1625
01:32:32,798 --> 01:32:34,299
She's not a martial artist.
1626
01:32:34,508 --> 01:32:37,261
She wasn't somebody
who had any basic training in fighting.
1627
01:32:37,469 --> 01:32:40,055
But she came in and she trained
for like six months...
1628
01:32:40,264 --> 01:32:42,266
...to play this role. For her to do that...
1629
01:32:42,724 --> 01:32:46,645
...for a role made up of two scenes
of fighting and one scene of drama...
1630
01:32:46,854 --> 01:32:49,690
...to give up all of her time for that,
I was so impressed.
1631
01:32:49,898 --> 01:32:52,568
And so I'm desperate
to work with her again on something.
1632
01:32:53,569 --> 01:32:56,864
I feel she's got the potential.
She could go big now in terms of this.
1633
01:32:57,072 --> 01:33:00,451
And if she wants to make this
a serious career, she's got the ability.
1634
01:33:01,410 --> 01:33:06,498
Then Very Tri Yulisman
as the Baseball Bat Man...
1635
01:33:07,082 --> 01:33:08,292
...he's incredible.
1636
01:33:08,500 --> 01:33:10,544
I just love watching this guy fight.
1637
01:33:10,752 --> 01:33:12,713
He's from Iko's school as well...
1638
01:33:12,921 --> 01:33:15,257
...and he actually had a small role
in The Raid 1.
1639
01:33:15,466 --> 01:33:18,302
He was one of the fighters
that Iko took out in the drugs lab.
1640
01:33:18,510 --> 01:33:21,346
He came on board to help out
with some of the choreography...
1641
01:33:21,555 --> 01:33:23,515
...and was training with Julie
for a while.
1642
01:33:23,724 --> 01:33:26,185
And so they just developed
this great chemistry...
1643
01:33:26,393 --> 01:33:29,438
...this great, kind of like, you know,
working relationship...
1644
01:33:29,646 --> 01:33:32,524
...where it seemed to fit.
One of those things where I was:
1645
01:33:32,733 --> 01:33:34,776
"Well, maybe we just try them out."
1646
01:33:34,985 --> 01:33:37,279
And we just fluked out.
We got so lucky...
1647
01:33:37,488 --> 01:33:40,824
...because, you know,
I found Iko and Yayan...
1648
01:33:41,033 --> 01:33:42,951
...as, you know, silat guys, experts...
1649
01:33:43,160 --> 01:33:46,205
...that managed to also handle
the performance really well.
1650
01:33:46,413 --> 01:33:47,581
And now we had it again.
1651
01:33:47,790 --> 01:33:49,666
Not just with Very
as Baseball Bat Man...
1652
01:33:49,875 --> 01:33:53,754
...but here we go,
Cecep Arif Rahman as the Assassin.
1653
01:33:53,962 --> 01:33:56,215
I don't know what it is.
I just keep lucking out.
1654
01:33:56,423 --> 01:33:58,967
I keep finding these guys
who have extremely cool...
1655
01:33:59,176 --> 01:34:00,511
...sort of like personas...
1656
01:34:00,719 --> 01:34:03,472
...like, very expressive performances.
1657
01:34:03,680 --> 01:34:06,975
And, you know,
all from almost zero experience...
1658
01:34:07,184 --> 01:34:09,019
...of being in front of a camera before.
1659
01:34:09,228 --> 01:34:13,148
So, yeah, they're memorable characters,
each and every one of them.
1660
01:34:13,357 --> 01:34:18,070
And so this whole sequence
was just a blast to put together.
1661
01:34:18,278 --> 01:34:19,738
It was pretty tough actually...
1662
01:34:19,947 --> 01:34:23,617
...kind of, like, in terms of the balancing
of time between each one...
1663
01:34:23,825 --> 01:34:26,787
...because, like, obviously
Hammer Girl's fight is very long.
1664
01:34:26,995 --> 01:34:28,997
You know,
it's a longer process...
1665
01:34:29,206 --> 01:34:33,168
...with the amount of opponents she has
compared to something like Cecep's...
1666
01:34:33,377 --> 01:34:36,505
...where there's just one guy
and it's almost over immediately.
1667
01:34:36,713 --> 01:34:38,924
It was quite a struggle
to kind of figure out...
1668
01:34:39,132 --> 01:34:41,385
...where we would put these cuts in
and--
1669
01:34:41,593 --> 01:34:43,595
Like, you know,
intercut between each one...
1670
01:34:43,804 --> 01:34:45,639
...without it feeling too imbalanced.
1671
01:34:47,724 --> 01:34:51,603
So here's the moment
where we almost step over the line...
1672
01:34:51,812 --> 01:34:57,651
...in terms of what we can get away with
as a real, you know, fighting discipline.
1673
01:34:57,859 --> 01:35:01,613
It's the Babe Ruth moment
coming up here.
1674
01:35:02,739 --> 01:35:05,492
We had a lot of questions
in the scripting of this.
1675
01:35:05,701 --> 01:35:07,661
Like, the guys at XYZ
were sort of like...
1676
01:35:07,869 --> 01:35:09,955
...you know, uncertain about it...
1677
01:35:10,163 --> 01:35:13,083
...and very worried about,
like, how would it play.
1678
01:35:13,292 --> 01:35:15,752
But my approach is always like,
look, it is absurd.
1679
01:35:15,919 --> 01:35:18,422
Absolutely ridiculous
that he would be able to do this.
1680
01:35:19,214 --> 01:35:21,425
But, you know,
let's present it in a way...
1681
01:35:21,633 --> 01:35:25,012
...where I'll shoot it so that I make it feel
like it's a matter-of-fact.
1682
01:35:25,512 --> 01:35:28,348
And I'll shoot it in a way
where it doesn't feel absurd.
1683
01:35:28,557 --> 01:35:32,686
And then, you know,
you get this odd combination then...
1684
01:35:32,895 --> 01:35:35,814
...of, like, this surreal action design...
1685
01:35:36,023 --> 01:35:38,442
...but present it so matter-of-fact
you can't help...
1686
01:35:38,650 --> 01:35:40,861
...but either take it seriously
or laugh at it.
1687
01:35:41,069 --> 01:35:43,989
And either option is fine.
1688
01:35:44,573 --> 01:35:46,783
So Julie in this scene--
1689
01:35:46,992 --> 01:35:49,578
Okay, so this--
Actually this set, this train station...
1690
01:35:49,786 --> 01:35:53,081
...this subway train set,
we had to build it ourselves.
1691
01:35:53,290 --> 01:35:56,251
We tried to get a real one,
but it proved almost impossible.
1692
01:35:56,460 --> 01:36:00,422
Like, the budget was just ridiculous
for renting a real train.
1693
01:36:00,631 --> 01:36:03,759
So we built it entirely
on a sound studio...
1694
01:36:03,967 --> 01:36:06,053
...with like suspension springs
underneath...
1695
01:36:06,261 --> 01:36:10,349
...so we could rock the entire carriage
and get all the handles to rock with it.
1696
01:36:10,557 --> 01:36:12,768
We saw the sense of movement
with the lights...
1697
01:36:12,976 --> 01:36:17,856
...by having a bunch of sort of scaffolding
set up along the side of the train...
1698
01:36:18,065 --> 01:36:21,360
...with big lights
pointing at these rotating mirrors...
1699
01:36:21,526 --> 01:36:23,445
...that would send
the light in streams...
1700
01:36:23,654 --> 01:36:26,531
...going down to the subway train
to help sell the effect then.
1701
01:36:32,704 --> 01:36:36,708
Okay, so there you go.
Those are the three assassins.
1702
01:36:36,917 --> 01:36:41,505
And that was a very extreme
sequence there.
1703
01:36:41,713 --> 01:36:42,923
And it was originally--
1704
01:36:43,131 --> 01:36:46,176
Initially, we were gonna cut back
to the festival.
1705
01:36:46,385 --> 01:36:48,261
The festival was like
a Reog performance.
1706
01:36:48,470 --> 01:36:50,806
That's like a traditional
Indonesian festival.
1707
01:36:51,014 --> 01:36:52,641
I wanted to cut back into that...
1708
01:36:52,849 --> 01:36:56,228
...to have another, you know, gun battle
between the two rival groups...
1709
01:36:56,436 --> 01:36:59,898
...to show the escalation of the gang war.
We cut it in the end for pacing.
1710
01:37:00,107 --> 01:37:03,193
Because we were staying way away
from Rama for too long.
1711
01:37:03,402 --> 01:37:05,946
So then we cut to this scene instead
to kind of like--
1712
01:37:06,154 --> 01:37:08,991
We could still have that sense
of escalation of a gang war...
1713
01:37:09,199 --> 01:37:11,326
...and then also introduce, like, the--
1714
01:37:11,535 --> 01:37:12,828
What we later discovered...
1715
01:37:13,036 --> 01:37:16,164
...is that he's coming under attack
from the cops.
1716
01:37:16,623 --> 01:37:21,753
Yeah, it was-- That other scene had to go
and this kind of took its place then.
1717
01:37:22,546 --> 01:37:26,383
This setup though, the idea of a guy
being attacked in a car like that...
1718
01:37:26,591 --> 01:37:28,844
...it's actually based on a true story.
1719
01:37:29,052 --> 01:37:32,639
I'd heard about a friend of mine
who was, like, a member of the police...
1720
01:37:32,848 --> 01:37:36,768
...and during the London riots,
a friend of his was on patrol...
1721
01:37:36,977 --> 01:37:40,939
...in a police car, and then when he came
to a traffic light...
1722
01:37:41,148 --> 01:37:43,734
...as he stopped at the traffic lights
and it hit red...
1723
01:37:43,942 --> 01:37:45,944
...all of a sudden,
a bunch of teens came...
1724
01:37:46,153 --> 01:37:48,989
...running out of the alleyways
with scaffolding bars...
1725
01:37:49,197 --> 01:37:51,575
...and smashed the windows in,
hit him in the face.
1726
01:37:51,783 --> 01:37:54,619
As he looked up from the floor,
he could see knives coming...
1727
01:37:54,828 --> 01:37:57,664
...trying to hit him. He ended up
having to do the same thing.
1728
01:37:57,873 --> 01:38:01,293
Push down on the gas pedal with
his hand and get himself out of there.
1729
01:38:01,501 --> 01:38:03,545
Thankfully he was okay,
but, like, it's the--
1730
01:38:03,754 --> 01:38:07,632
For me, like, once I'd kind of heard that,
it was that thing of instant fear...
1731
01:38:07,841 --> 01:38:09,009
...because this is like--
1732
01:38:09,217 --> 01:38:11,595
It's such a terrifying
claustrophobic space...
1733
01:38:11,803 --> 01:38:15,223
...and so I thought, like, you know,
it's like a nightmarish situation.
1734
01:38:15,432 --> 01:38:17,100
It gave me an opportunity to jump...
1735
01:38:17,309 --> 01:38:21,188
...into that horror genre aspect
that we had in the first film again...
1736
01:38:21,396 --> 01:38:23,815
...but with another action sequence.
1737
01:38:25,776 --> 01:38:31,490
This was a very important moment for me
in terms of the character for Rama.
1738
01:38:32,324 --> 01:38:33,366
We have this--
1739
01:38:33,575 --> 01:38:36,578
Until now it was all kind of like
playful with the choreography.
1740
01:38:36,787 --> 01:38:38,789
That usual thing we do
with the punch lines.
1741
01:38:38,997 --> 01:38:41,500
But now what we do here
is we have an element...
1742
01:38:41,708 --> 01:38:43,794
...where it's pushing the boundaries...
1743
01:38:44,002 --> 01:38:47,422
...of, like, you know, what we're allowing
him as a protagonist to do.
1744
01:38:47,631 --> 01:38:49,341
Are we gonna follow him
this far down?
1745
01:38:49,549 --> 01:38:53,762
He starts to kind of show this side of him
where he's getting more sadistic...
1746
01:38:53,970 --> 01:38:57,015
...getting more drawn into the violence
of the world around him.
1747
01:38:57,224 --> 01:39:01,061
And, like, he holds that guy's head
on the hot plate for so long...
1748
01:39:01,269 --> 01:39:04,022
...that I wanted it to be a moment
in the audience's mind...
1749
01:39:04,231 --> 01:39:07,359
...where they're starting to question,
well, can I still follow him?
1750
01:39:07,567 --> 01:39:09,820
Can I still call him my hero of my film...
1751
01:39:10,028 --> 01:39:12,405
...when, you know,
he's taken us down this route...
1752
01:39:12,614 --> 01:39:14,991
...that maybe we don't want to follow?
1753
01:39:15,325 --> 01:39:18,453
And again, like, the kind of, like,
to hark back to that thing...
1754
01:39:18,662 --> 01:39:20,497
...of, like, not focusing on the pain...
1755
01:39:20,705 --> 01:39:24,668
...like when it came to that sequence,
it was a very conscious decision...
1756
01:39:24,876 --> 01:39:27,337
...to kind of show
almost the entire sequence...
1757
01:39:27,546 --> 01:39:31,007
...showing his expression,
not showing the guy on the hot plate.
1758
01:39:31,216 --> 01:39:36,638
We show a little insert here and there,
but it's on Rama's expression...
1759
01:39:36,847 --> 01:39:39,516
...to kind of sell that conflict
within him...
1760
01:39:39,724 --> 01:39:42,561
...that sort of anger
building within himself...
1761
01:39:42,769 --> 01:39:46,481
...about what he's willing
to go through...
1762
01:39:46,690 --> 01:39:48,984
...and how much he's fighting
against that rage...
1763
01:39:49,192 --> 01:39:50,819
...to kind of get over the fact...
1764
01:39:51,027 --> 01:39:53,446
...that he got suddenly attacked
by these guys...
1765
01:39:53,655 --> 01:39:56,116
...in such a brutal
and nightmarish fashion.
1766
01:39:56,324 --> 01:39:58,743
I wanna talk a little bit
about Kazuki Kitamura...
1767
01:39:58,952 --> 01:40:02,873
...because he was another element
of the Japanese gang...
1768
01:40:03,081 --> 01:40:04,291
...that we cast as well.
1769
01:40:04,499 --> 01:40:08,712
He'd worked on a film that I produced
for the Mo Brothers to make, Killers.
1770
01:40:08,920 --> 01:40:12,841
And in that film
he was cast alongside Oka Antara...
1771
01:40:13,049 --> 01:40:14,718
...also in this film, in this scene.
1772
01:40:14,926 --> 01:40:16,970
They're both playing
opposite numbers here.
1773
01:40:17,178 --> 01:40:18,930
So it was an interesting opportunity.
1774
01:40:19,389 --> 01:40:21,558
Kazuki had come over to Jakarta
for Killers.
1775
01:40:21,766 --> 01:40:23,310
And we talked to him and we said:
1776
01:40:23,518 --> 01:40:26,354
"Okay, well, we do have a role,
but it's small.
1777
01:40:26,563 --> 01:40:28,732
If you're interested in coming
and doing this...
1778
01:40:28,940 --> 01:40:31,276
...we can try to find something cool
for you to do.
1779
01:40:31,484 --> 01:40:34,654
And so fair play to him, I mean,
he came on board...
1780
01:40:34,863 --> 01:40:37,157
...and these guys got on so well.
1781
01:40:37,365 --> 01:40:39,743
The three Japanese actors
got on so well together.
1782
01:40:39,951 --> 01:40:42,787
I think this was the first time
actually the three of them...
1783
01:40:42,996 --> 01:40:44,456
...had been in a film together.
1784
01:40:44,664 --> 01:40:48,335
It was kind of like a milestone for them
and they're so well-established now...
1785
01:40:48,543 --> 01:40:51,755
...that it was just a dream for me
to be able to work with them on it.
1786
01:40:51,963 --> 01:40:53,798
And besides, like, the Japanese cast...
1787
01:40:54,007 --> 01:40:56,760
...we also had the benefit
of working with, you know...
1788
01:40:56,968 --> 01:40:58,803
...a number of senior actors.
Here's one.
1789
01:40:59,012 --> 01:41:01,306
It's Deddy Sutomo,
who plays the mediator...
1790
01:41:01,514 --> 01:41:02,891
...for this scene in the film.
1791
01:41:04,726 --> 01:41:06,311
He was a joy to work with as well.
1792
01:41:06,519 --> 01:41:08,980
It's one of these things
where we were lucky on this.
1793
01:41:09,189 --> 01:41:12,108
We had, like, a lot of
experienced actors...
1794
01:41:12,317 --> 01:41:15,528
...that brought a lot of sort of,
you know, character to the film.
1795
01:41:15,737 --> 01:41:17,113
They were a joy to work with.
1796
01:41:17,322 --> 01:41:19,991
They seemed to really respond
to what we were doing...
1797
01:41:20,200 --> 01:41:23,078
...and I guess they see
that what we're trying to do--
1798
01:41:23,286 --> 01:41:26,665
Especially in terms of for
the Indonesian film industry is important.
1799
01:41:26,873 --> 01:41:30,377
Like, we're not sort of like
making the job easy for ourselves.
1800
01:41:30,585 --> 01:41:32,921
We're trying to push,
stretch these projects out...
1801
01:41:33,129 --> 01:41:36,091
...and make them as ambitious
as we possibly can.
1802
01:41:36,299 --> 01:41:38,385
And so, like, you know, Deddy...
1803
01:41:39,469 --> 01:41:41,721
...Pong Harjatmo
and then Roy Marten...
1804
01:41:41,930 --> 01:41:45,558
...who we'll meet later on again
as well, alongside Cok and Tio...
1805
01:41:45,767 --> 01:41:47,936
...these guys have supported us
massively.
1806
01:41:48,144 --> 01:41:50,438
They've always
been complimentary...
1807
01:41:50,647 --> 01:41:54,818
...of our work ethic,
and the passion and the hard work...
1808
01:41:55,026 --> 01:41:56,528
...that went into the crew.
1809
01:41:56,736 --> 01:41:58,989
So, yeah,
it's been a great experience...
1810
01:41:59,197 --> 01:42:01,366
...to kind of work with those guys,
and, like--
1811
01:42:01,574 --> 01:42:04,285
Yeah, a lot of them
I can't wait to work with again.
1812
01:42:18,550 --> 01:42:22,804
So we touched on a little something
earlier on in the film where--
1813
01:42:23,013 --> 01:42:25,306
This kind of comes back,
and I'm not sure, like...
1814
01:42:25,515 --> 01:42:28,101
...how much clarity there is to this.
There was always--
1815
01:42:28,310 --> 01:42:31,187
I have this thing, whereby,
there are certain things you guys--
1816
01:42:31,396 --> 01:42:33,565
You see first time around,
you'll pick up on...
1817
01:42:33,773 --> 01:42:35,650
...some things you probably won't.
1818
01:42:36,276 --> 01:42:38,445
One thing I don't like to do
is kind of just--
1819
01:42:38,653 --> 01:42:41,614
Is to spoon-feed too much
in terms of the information.
1820
01:42:41,823 --> 01:42:43,116
So earlier on in the film...
1821
01:42:43,325 --> 01:42:46,077
...when we saw him
switching the SIM cards around...
1822
01:42:46,286 --> 01:42:50,040
...it was kind of clear in a way
that, you know, he would use one...
1823
01:42:50,248 --> 01:42:53,334
...in order to be able to call,
like, Bunawar or his wife...
1824
01:42:53,543 --> 01:42:55,003
...or anyone close to him.
1825
01:42:55,211 --> 01:42:57,922
The other one was purely
for any communication he had...
1826
01:42:58,131 --> 01:43:00,050
...with the people he was investigating.
1827
01:43:00,258 --> 01:43:02,719
You know, Eka, Bangun or Uco.
1828
01:43:02,927 --> 01:43:05,221
And so, like,
this is one of those moments...
1829
01:43:05,430 --> 01:43:09,893
...where as we start to kind of focus
on this entire conversation...
1830
01:43:10,101 --> 01:43:11,728
...between him and Bunawar...
1831
01:43:13,229 --> 01:43:15,231
...when he does hang up eventually...
1832
01:43:15,440 --> 01:43:18,651
...that we realize that, you know,
this SIM card hadn't been changed.
1833
01:43:18,860 --> 01:43:22,113
And so when he gets the call from Eka,
the intent is there...
1834
01:43:22,322 --> 01:43:26,284
...that he's made a call to Bunawar
from the SIM...
1835
01:43:26,493 --> 01:43:28,620
...that was provided to him
by the mob family.
1836
01:43:28,828 --> 01:43:31,873
So if they are keeping tabs on him,
if they are looking up the--
1837
01:43:32,082 --> 01:43:33,917
His itemized billing,
whatever the hell.
1838
01:43:34,125 --> 01:43:37,921
They'd know he made a call to someone.
They'd be able to trace that, figure out...
1839
01:43:38,129 --> 01:43:40,799
...he had a connection to someone,
who is that person.
1840
01:43:41,007 --> 01:43:43,843
Would they be able to figure out
he was an undercover cop...
1841
01:43:44,052 --> 01:43:46,304
...based off that information?
1842
01:43:46,513 --> 01:43:48,223
It is kind of a stretch in a way...
1843
01:43:48,431 --> 01:43:51,059
...because we don't give
that much away...
1844
01:43:51,267 --> 01:43:54,604
...in terms of hinting at it too much,
but, like--
1845
01:43:54,813 --> 01:43:57,899
I don't know, maybe it's something
that you guys pick up on.
1846
01:44:00,735 --> 01:44:04,447
Another aspect was that thing of, like--
This was in the original script...
1847
01:44:04,656 --> 01:44:07,617
...and this was kind of something
that carried over into here...
1848
01:44:07,826 --> 01:44:12,247
... to show maybe like a sense of, like,
strength and resolve in his character...
1849
01:44:12,455 --> 01:44:15,291
...the idea that, you know,
he was preparing himself to leave.
1850
01:44:15,500 --> 01:44:19,796
He was getting ready to kind of like, you
know, disappear from the underworld...
1851
01:44:20,004 --> 01:44:23,466
...even though, you know,
his responsibility as an undercover cop...
1852
01:44:23,675 --> 01:44:25,510
...is to see it through to the end.
1853
01:44:25,718 --> 01:44:28,680
But, you know, it was the idea
of planting those seeds of doubt.
1854
01:44:28,888 --> 01:44:31,766
That idea that, you know,
when we get to the end of the film...
1855
01:44:31,975 --> 01:44:34,853
...we understand where he reaches.
We understand where he is...
1856
01:44:35,061 --> 01:44:38,606
...when he wants to get out of this life
and just be done with it.
1857
01:44:40,191 --> 01:44:44,445
So this sequence here,
I'm so proud of Arif and Tio here...
1858
01:44:44,654 --> 01:44:46,364
...because they nailed this sequence.
1859
01:44:46,573 --> 01:44:50,785
And the whole slapping idea...
1860
01:44:50,994 --> 01:44:54,247
...it came from a Takeshi Kitano film
called Violent Cop.
1861
01:44:54,455 --> 01:44:56,624
There's a superb
sort of interrogation scene...
1862
01:44:56,833 --> 01:44:59,961
...where Kitano pretty much slaps
this guy about 40 to 50 times...
1863
01:45:00,170 --> 01:45:01,671
...like really full-on.
1864
01:45:01,880 --> 01:45:03,298
But I wanted to do that...
1865
01:45:03,506 --> 01:45:08,094
...but in a way where it would work more
for the emotional drama of the scene...
1866
01:45:08,303 --> 01:45:12,265
...that it would kind of wind up Uco
to the point where he would explode.
1867
01:45:12,473 --> 01:45:14,142
And so, yeah, it was--
1868
01:45:14,350 --> 01:45:17,854
There was a moment between Arifin
and Tio when they discussed it...
1869
01:45:18,062 --> 01:45:21,566
...and they kind of, you know,
did a couple of mild hits at first...
1870
01:45:21,774 --> 01:45:23,610
...and when it came to the take, it was:
1871
01:45:23,818 --> 01:45:26,905
"Okay, you go full-on now,
and then let's just do this in one go."
1872
01:45:27,113 --> 01:45:30,825
And so I held on it.
We held this shot entirely for one take...
1873
01:45:31,034 --> 01:45:34,037
...all the way through till the end
of the drama here.
1874
01:45:34,245 --> 01:45:39,500
So I was very, very happy
and actually very happy with what I got.
1875
01:45:40,043 --> 01:45:43,296
The range of emotions here from Arifin
is so strong.
1876
01:45:43,504 --> 01:45:45,965
Even when there's a line
that he kind of half laughs.
1877
01:45:46,174 --> 01:45:49,761
It just feels natural.
It feels like it's part of it all.
1878
01:45:51,137 --> 01:45:53,640
You've destroyed us.
1879
01:45:53,806 --> 01:45:55,475
You've destroyed everything.
1880
01:45:55,642 --> 01:45:59,729
One of the things I liked about this scene,
especially in terms of Arifin's delivery...
1881
01:45:59,938 --> 01:46:03,566
...because, like, we are trying
to sort of hide the fact that...
1882
01:46:03,775 --> 01:46:07,862
...you know, this is all still a setup,
that this is all, you know, pre-designed...
1883
01:46:08,071 --> 01:46:10,490
...that the idea is that
Bejo's men are on their way.
1884
01:46:10,698 --> 01:46:13,284
They're about to arrive in that building
at this moment.
1885
01:46:13,493 --> 01:46:15,370
And here, there's like a genuine look...
1886
01:46:15,578 --> 01:46:18,414
...of, like, worry and nervousness
in Arifin's face.
1887
01:46:18,623 --> 01:46:21,709
You know, he-- And that was all
about the idea of, you know...
1888
01:46:21,918 --> 01:46:24,295
...it's like the last throw of the dice
for him.
1889
01:46:24,504 --> 01:46:28,341
So when his father punches him,
that's the deciding moment for Arifin then.
1890
01:46:28,549 --> 01:46:30,385
For Uco's character, sorry.
1891
01:46:30,593 --> 01:46:33,805
Everything before that,
that sort of desperation of "I can fix this...
1892
01:46:34,013 --> 01:46:36,766
...we can fix this,"
it's almost like I believe him.
1893
01:46:36,975 --> 01:46:39,477
I believe that he does believe
that he can fix this...
1894
01:46:39,686 --> 01:46:42,272
...and he's almost wanting his father
to kind of just--
1895
01:46:42,480 --> 01:46:45,400
To embrace him
and to take on board like, you know...
1896
01:46:45,608 --> 01:46:47,902
...and to say,
"Okay. We will work together."
1897
01:46:48,111 --> 01:46:52,323
It's like a desperate moment that before
he knows that Bejo is about to come in...
1898
01:46:52,532 --> 01:46:55,868
...because the moment that Bejo
comes in, that's it, decision made then.
1899
01:46:56,077 --> 01:46:59,831
And we know, you know,
what's about to happen to the father.
1900
01:47:00,039 --> 01:47:03,668
So, yeah, it was an interesting little
sort of like exchange between them...
1901
01:47:03,876 --> 01:47:07,171
...where it's almost like
if he hadn't punched him...
1902
01:47:07,755 --> 01:47:10,633
...maybe Uco
could have done something...
1903
01:47:10,842 --> 01:47:13,011
...could have stopped this
from happening.
1904
01:47:13,219 --> 01:47:15,680
But now, of course, it's too late.
1905
01:47:17,056 --> 01:47:19,058
Forgive me.
1906
01:47:21,936 --> 01:47:25,523
We made a conscious decision here...
1907
01:47:27,191 --> 01:47:30,445
...to not have the sound effect
of the gun.
1908
01:47:30,653 --> 01:47:33,448
We just felt
that it kind of played a lot stronger...
1909
01:47:33,656 --> 01:47:37,201
...to the actual impact of the moment.
1910
01:47:37,410 --> 01:47:40,788
It kind of gave it a subtlety to it
that we felt was more important...
1911
01:47:40,997 --> 01:47:44,334
...than the kind of-- You know,
the sudden crash of something...
1912
01:47:44,542 --> 01:47:46,961
...that was gonna be more visceral.
1913
01:47:47,503 --> 01:47:51,382
And, you know, that whole process
was a major part of the sound mix...
1914
01:47:51,591 --> 01:47:56,971
...and the sound design that we did
in Skywalker Sound in San Francisco.
1915
01:47:57,180 --> 01:48:00,933
Now, they came on board
to help us out with the postproduction...
1916
01:48:01,893 --> 01:48:04,520
...through our connection
with Joe Trapanese.
1917
01:48:04,729 --> 01:48:07,023
Joe Trapanese had worked
on Oblivion, the score...
1918
01:48:07,231 --> 01:48:11,819
...and they did a lot of the mixing there
in the sound mixing studios...
1919
01:48:12,028 --> 01:48:13,071
...at Skywalker Ranch.
1920
01:48:13,279 --> 01:48:16,032
And so I was put in touch
with Jonathan Greber...
1921
01:48:16,240 --> 01:48:21,079
...who's, like, pretty much the greatest
guy I've worked with in terms of sound.
1922
01:48:21,287 --> 01:48:25,124
And he took a look at our project
and he was like a fan of the first film...
1923
01:48:25,333 --> 01:48:28,544
...and just, you know, I always had
that kind of expectation of:
1924
01:48:28,753 --> 01:48:32,090
There's no way we can afford him.
There's no way we can do that there...
1925
01:48:32,298 --> 01:48:34,550
...because it's such, you know,
a big company.
1926
01:48:34,717 --> 01:48:36,511
Like, you associate it with Star Wars.
1927
01:48:36,677 --> 01:48:39,389
You associate it with that legacy
of what they've achieved.
1928
01:48:39,597 --> 01:48:41,766
I'm thinking,
"They're not gonna wanna touch...
1929
01:48:41,974 --> 01:48:44,352
...this little Indonesian movie
that we're making."
1930
01:48:44,560 --> 01:48:47,230
But in all fairness to him,
and he came through...
1931
01:48:47,438 --> 01:48:49,690
...and asked us what we wanted,
what we needed...
1932
01:48:50,108 --> 01:48:52,276
...what we could afford,
what our budget was...
1933
01:48:52,485 --> 01:48:54,821
...and then, you know, found a way
to make it work.
1934
01:48:55,029 --> 01:48:58,700
So we had the best time working there.
It was such an incredible experience.
1935
01:48:58,908 --> 01:49:01,786
But what was great about it
was the fact that they were open...
1936
01:49:01,994 --> 01:49:04,372
...to, like, you know, my ideas
for how I wanted...
1937
01:49:04,580 --> 01:49:06,833
...to, you know, stylize
some of the sound mix...
1938
01:49:07,041 --> 01:49:10,920
...and play around with the idea
of when to go big, when to go loud...
1939
01:49:11,129 --> 01:49:13,506
...but also when to come down
to complete silence...
1940
01:49:13,715 --> 01:49:16,426
...and play in that kind of dynamic range
a lot more.
1941
01:49:16,634 --> 01:49:18,928
And, you know,
they were all open to that.
1942
01:49:19,137 --> 01:49:21,097
And also, the great side of it was that...
1943
01:49:21,305 --> 01:49:24,434
...through the guys there,
like Zach, Brandon, Doug...
1944
01:49:24,642 --> 01:49:25,810
...there was so much--
1945
01:49:26,018 --> 01:49:29,147
And Danielle, they all kind of brought
so many ideas to the plate...
1946
01:49:29,355 --> 01:49:31,899
...and we had so much fun
working together on it.
1947
01:49:32,108 --> 01:49:34,193
Like, it was hard.
It was, like, long hours...
1948
01:49:34,402 --> 01:49:39,449
...but if I had an idea, there was sort of
like a straightforward approach to it.
1949
01:49:39,657 --> 01:49:43,619
Like, if something was a bad idea,
they'd tell me it was a bad idea.
1950
01:49:43,828 --> 01:49:46,497
But then they would throw in
about four or five ideas...
1951
01:49:46,706 --> 01:49:48,499
...to kind of compensate for that.
1952
01:49:48,708 --> 01:49:51,461
And it was just
a real good, creative process and--
1953
01:49:51,669 --> 01:49:55,173
And great for Ogi and Fajar
to come on board as well...
1954
01:49:55,381 --> 01:49:57,675
...because they were working
as sound designers...
1955
01:49:57,884 --> 01:50:01,429
...and they got to come in and experience
that whole side of it as well.
1956
01:50:01,637 --> 01:50:04,056
And so the idea of us
working on these projects...
1957
01:50:04,265 --> 01:50:07,769
...and being able to bring elements
of postproduction or production...
1958
01:50:07,977 --> 01:50:10,313
...to another country, it's great for us...
1959
01:50:10,521 --> 01:50:12,982
...because we can train ourselves,
learn from it...
1960
01:50:13,191 --> 01:50:16,444
...get these experiences,
so that when we go back to Indonesia...
1961
01:50:16,652 --> 01:50:19,155
...we've got a new approach
on how to work on things.
1962
01:50:19,363 --> 01:50:23,367
And so, yeah,
it's been a great process.
1963
01:50:24,076 --> 01:50:26,829
And speaking of learning
from other people...
1964
01:50:27,038 --> 01:50:31,167
...we reach our car chase,
our big car chase for the film.
1965
01:50:31,375 --> 01:50:34,712
This was, like, without doubt,
the biggest undertaking...
1966
01:50:34,921 --> 01:50:37,507
...that I have ever had
in terms of an action sequence.
1967
01:50:37,715 --> 01:50:39,592
It was our first time to ever do this...
1968
01:50:39,801 --> 01:50:44,680
...and we couldn't have done this
without the help of Mike Leeden..
1969
01:50:44,889 --> 01:50:48,017
...a good friend of mine
who's worked in the casting--
1970
01:50:48,226 --> 01:50:51,437
The casting of many, many
Hong Kong films, and like finding talent...
1971
01:50:51,646 --> 01:50:56,108
...for movies that are being produced
in Hong Kong or outside of there.
1972
01:50:56,317 --> 01:50:57,735
And he put me in touch...
1973
01:50:57,944 --> 01:51:02,782
...with the incredibly skillful and crazy
Bruce Law and his stunt team.
1974
01:51:02,990 --> 01:51:05,451
Bruce has had credits
on so many films...
1975
01:51:05,660 --> 01:51:07,620
...I have geeked out over
over the years...
1976
01:51:07,828 --> 01:51:09,831
...working with John Woo
and Jackie Chan...
1977
01:51:10,039 --> 01:51:12,667
...on Police Story and The Killer
and Hard Boiled.
1978
01:51:12,875 --> 01:51:16,712
All of these films that have been like
milestone films in terms of action cinema...
1979
01:51:16,879 --> 01:51:20,174
...for me and part of my generation
growing up watching them.
1980
01:51:20,383 --> 01:51:23,386
So to have him on board
helping us execute these sequences...
1981
01:51:23,594 --> 01:51:27,265
...and executing these stunts was just
like a-- It was a dream come true.
1982
01:51:27,473 --> 01:51:30,726
So, yeah,
we've worked together on this...
1983
01:51:30,935 --> 01:51:35,815
...and we spent about a month or two
maybe just designing the sequence.
1984
01:51:36,023 --> 01:51:39,735
And I came to him already
with a pre-designed sequence...
1985
01:51:39,944 --> 01:51:42,905
...and what I wanted to achieve with it,
and I gave him...
1986
01:51:43,114 --> 01:51:46,826
...like, very specific, detailed shot lists...
1987
01:51:47,034 --> 01:51:50,162
...and video storyboards
of where I want to put the camera...
1988
01:51:50,371 --> 01:51:53,749
...where I want to move it,
and he would take all that and then say:
1989
01:51:53,958 --> 01:51:56,961
"Okay. We can do that,
but then let's add a few cameras here"...
1990
01:51:57,169 --> 01:52:00,464
...and then give me, like, a bunch
of other options that I could use...
1991
01:52:00,673 --> 01:52:03,467
...in order to, you know,
really make the scene pop.
1992
01:52:03,676 --> 01:52:06,804
And so it was invaluable
to have him and his team on board...
1993
01:52:07,013 --> 01:52:10,892
...to make sure that, like, this entire
sequence went by without a hitch.
1994
01:52:11,100 --> 01:52:14,979
And so, yeah, this was--
This was just ferocious.
1995
01:52:16,147 --> 01:52:19,442
Real hard-- Hard graft on this.
1996
01:52:19,775 --> 01:52:23,946
These are, like, four or five
different locations throughout Jakarta.
1997
01:52:24,155 --> 01:52:25,406
This one is Sunter.
1998
01:52:25,615 --> 01:52:26,991
This road is always closed...
1999
01:52:27,450 --> 01:52:30,953
...but it is the most busy area
for traffic...
2000
01:52:31,162 --> 01:52:33,247
...in Jakarta I have been to
for a long time.
2001
01:52:33,456 --> 01:52:35,207
So when we were shooting there...
2002
01:52:35,416 --> 01:52:38,252
...we were breathing the fumes
of so many different cars...
2003
01:52:38,461 --> 01:52:42,965
...and then, also, having to listen
to numerous people...
2004
01:52:43,174 --> 01:52:46,636
...teach me the many, many ways
to swear at you in Indonesian.
2005
01:52:48,846 --> 01:52:51,849
We were not the best friends
of the people of Indonesia...
2006
01:52:52,058 --> 01:52:54,185
...when we were shooting
these sequences.
2007
01:52:54,393 --> 01:53:00,358
The delays in the traffic actually made
the news broadcasts in Indonesia.
2008
01:53:00,566 --> 01:53:02,485
Talking about,
"What is this production...
2009
01:53:02,693 --> 01:53:05,529
...that is, you know,
causing this traffic pileup?"
2010
01:53:05,738 --> 01:53:08,199
And we all knew who it was,
but we kept quiet.
2011
01:53:08,658 --> 01:53:10,701
We needed
to keep finishing our shoot first.
2012
01:53:12,453 --> 01:53:16,207
One of the things I wanted to do here
in this car chase--
2013
01:53:16,415 --> 01:53:18,417
Because we couldn't afford
to do things...
2014
01:53:18,626 --> 01:53:20,795
...that you can do
in a Fast & Furious movie...
2015
01:53:21,003 --> 01:53:23,965
...where you throw different cars
through the same building...
2016
01:53:24,382 --> 01:53:27,885
...and then go for a flat-out spectacle.
I knew we had to be more careful...
2017
01:53:28,094 --> 01:53:30,346
...about how we used cars,
we didn't have many.
2018
01:53:30,554 --> 01:53:33,975
So previously, like, we started to focus
on things that we could make...
2019
01:53:34,183 --> 01:53:37,353
...which were unique to Indonesia
or unique to this type of film...
2020
01:53:37,561 --> 01:53:40,439
...that we wanted to make.
So, for me, was that thing of like--
2021
01:53:40,648 --> 01:53:43,526
Toro, my producer suggested
we should use the bus way...
2022
01:53:43,734 --> 01:53:46,028
...which is a very unique thing
in Indonesia...
2023
01:53:46,237 --> 01:53:49,031
...that big sort of glass,
metal complex earlier.
2024
01:53:49,240 --> 01:53:53,703
That would be one of our punch lines.
The other thing is this punch line here.
2025
01:53:55,621 --> 01:53:57,790
You never normally see the body
fly out the car.
2026
01:53:57,999 --> 01:54:00,710
That was one thing I realized
when watching action films...
2027
01:54:00,918 --> 01:54:04,630
...is that whenever they do a car chase,
it's the car, it's the metal...
2028
01:54:04,839 --> 01:54:07,007
...and the glass
that flies across the road.
2029
01:54:07,216 --> 01:54:08,801
It's never the person inside it.
2030
01:54:09,010 --> 01:54:11,929
So you almost get this, like, you know,
not irresponsible...
2031
01:54:12,138 --> 01:54:15,599
...you almost get this sense of "these
cars can smash all over the place...
2032
01:54:15,766 --> 01:54:17,309
...it doesn't change anything."
2033
01:54:17,518 --> 01:54:21,188
What I wanted to do was to be like,
"Let's see what happens to that guy."
2034
01:54:21,397 --> 01:54:23,858
So the construction of that shot
was done in a way...
2035
01:54:24,066 --> 01:54:26,068
...where we keep it all
from the top shot...
2036
01:54:26,277 --> 01:54:28,446
...all from a bird's-eye view,
not cut away...
2037
01:54:28,654 --> 01:54:31,699
...and just show the actual impact
of that car hitting the wall...
2038
01:54:31,907 --> 01:54:35,828
...and then comp in,
like, the image of the fighter...
2039
01:54:36,037 --> 01:54:37,663
...flying through the windscreen...
2040
01:54:37,872 --> 01:54:42,126
...so that you get it all in one take and you
get this sense of it being sort of like--
2041
01:54:42,334 --> 01:54:44,462
Like a gonzo moment in the film.
2042
01:54:44,670 --> 01:54:48,841
So all of a sudden, you know,
you've got this thing that feels so real...
2043
01:54:49,050 --> 01:54:51,844
...and then people hopefully will start
to question:
2044
01:54:52,052 --> 01:54:55,222
"What do they do to the Stuntmen?
How do they execute these shots?"
2045
01:54:55,431 --> 01:54:58,309
When in reality,
it's so, so safe the way we did it.
2046
01:55:01,687 --> 01:55:04,690
I guess one of the things
I wanted to play around with then--
2047
01:55:04,899 --> 01:55:06,859
And here you go, this is another one.
2048
01:55:07,067 --> 01:55:10,196
--is like referencing the first movie.
So in the first movie...
2049
01:55:10,404 --> 01:55:14,533
...we had the sequence where Jaka
did the triple tap to the guy's face.
2050
01:55:14,742 --> 01:55:18,954
I was thinking, "How can we top that?"
Well, I was a big fan of Dobermann...
2051
01:55:19,163 --> 01:55:23,042
...and there's a scene where they
were shooting at this biker, let's top that...
2052
01:55:23,250 --> 01:55:27,797
...and then in the process of doing that,
let's top our Raid 1 triple-tap moment.
2053
01:55:28,005 --> 01:55:30,174
And I have, like, a mad respect
for Dobermann...
2054
01:55:30,382 --> 01:55:33,219
...because I absolutely love that film
on a stylistic level.
2055
01:55:33,427 --> 01:55:36,013
But I really wanted
to kind of push and push and push...
2056
01:55:36,222 --> 01:55:38,557
...and then see
what we could come up with.
2057
01:55:38,849 --> 01:55:41,769
And again, you know,
using this opportunity...
2058
01:55:41,977 --> 01:55:46,273
...to showcase an action sequence
inside the back of the car...
2059
01:55:46,482 --> 01:55:48,442
...where it's completely
claustrophobic...
2060
01:55:48,651 --> 01:55:51,070
...and intercut with moments
where we jump out wide.
2061
01:55:51,278 --> 01:55:55,324
So it's a case of playing around
with the spatial diversity of this scene...
2062
01:55:55,533 --> 01:55:57,868
...where we're allowed
to go epic, to go big...
2063
01:55:58,077 --> 01:56:01,080
...we're allowed to have a moment here
like, you know...
2064
01:56:01,288 --> 01:56:04,750
...who can load the gun the fastest
in a sort of little Mexican standoff...
2065
01:56:04,959 --> 01:56:08,379
...while they're driving cars
down this speeding motorway...
2066
01:56:08,587 --> 01:56:13,926
...and then combine this with these
big, big, big set-piece moments...
2067
01:56:14,135 --> 01:56:16,762
...with this, like, super tight,
claustrophobic fight...
2068
01:56:16,971 --> 01:56:19,056
...when we get back into that other car.
2069
01:56:19,265 --> 01:56:20,975
And that seemed to be the key.
2070
01:56:21,183 --> 01:56:24,144
Like, let's treat it like everything's
a piece of choreography.
2071
01:56:24,353 --> 01:56:26,313
Let's treat every bump of every car...
2072
01:56:26,522 --> 01:56:28,732
...like it's a construct
of the choreography...
2073
01:56:28,941 --> 01:56:32,278
...the same way that these blocks
and punches are made to be designed...
2074
01:56:32,486 --> 01:56:36,157
...to kind of play out like a certain rhythm
and a percussive element.
2075
01:56:36,365 --> 01:56:41,161
So too should the bumps of the car,
the metal hitting the car...
2076
01:56:41,370 --> 01:56:43,831
...and the glass
smashing in the windows.
2077
01:56:44,039 --> 01:56:47,209
It was just a big, huge
sort of like design process.
2078
01:56:47,418 --> 01:56:49,962
It took a long time to get going.
2079
01:56:50,337 --> 01:56:54,842
We shot for about 12 days, 13 days
to get this stuff done.
2080
01:56:55,467 --> 01:56:59,889
But, yeah, thankfully,
a combination of the final product...
2081
01:57:00,097 --> 01:57:04,310
...and then also, I gotta say, one
of the most exciting pieces of music...
2082
01:57:04,518 --> 01:57:07,688
...that I've had play
on anything I've done with film.
2083
01:57:07,897 --> 01:57:10,316
It just elevated the whole scene
so much more.
2084
01:57:10,524 --> 01:57:14,195
And, like, I'm really proud of the work
that my crew put in...
2085
01:57:14,403 --> 01:57:17,531
...in order to kind of get the scene done
the way we did it.
2086
01:57:22,328 --> 01:57:24,705
Okay, we can cool down
a little bit now.
2087
01:57:24,914 --> 01:57:26,957
So this is the-- Goto's office...
2088
01:57:27,166 --> 01:57:30,878
...and this was actually designed--
We based our design here...
2089
01:57:31,086 --> 01:57:35,591
...on the very sort of like archetypal
sort of Japanese Yakuza bosses...
2090
01:57:35,799 --> 01:57:38,802
...administration offices,
like you'd see in the films there.
2091
01:57:39,011 --> 01:57:41,138
So everything
down from the color scheme...
2092
01:57:41,347 --> 01:57:46,185
...the furniture, the table, the low tables,
the safe in the corner and everything...
2093
01:57:46,393 --> 01:57:48,979
...and then sort of the family emblem
on the wall...
2094
01:57:49,188 --> 01:57:51,857
...it's all kind of like, you know--
2095
01:57:52,524 --> 01:57:55,027
Like a reference
and like a stereotype in a way...
2096
01:57:55,236 --> 01:57:59,657
...from the Japanese Yakuza films I used
to watch from the 70s and '80s and '90s.
2097
01:57:59,865 --> 01:58:02,034
So we're playing to archetypes here.
2098
01:58:02,242 --> 01:58:04,370
We're playing to that kind of--
2099
01:58:04,954 --> 01:58:09,166
That stylized sort of Yakuza element
I've always loved watching as a kid.
2100
01:58:10,084 --> 01:58:12,962
Even down to the way we shot it too,
like, you know...
2101
01:58:13,170 --> 01:58:17,591
...there's these very slow, purposeful
sort of like dolly track shots.
2102
01:58:17,800 --> 01:58:20,844
The camera angles,
I wanted to keep it kind of low...
2103
01:58:21,053 --> 01:58:24,890
...and, you know, never above Goto,
and always kind of--
2104
01:58:25,099 --> 01:58:27,017
You know, the sort of stillness to it.
2105
01:58:27,226 --> 01:58:31,981
There's never a shot where the camera
is kind of like floating or hand-held.
2106
01:58:32,189 --> 01:58:35,609
It's always kind of static on tripod.
I wanted to kind of reflect that...
2107
01:58:35,818 --> 01:58:38,445
...because I've always been a big fan
of Japanese cinema.
2108
01:58:38,654 --> 01:58:44,076
So to have a visual style, I was able
to kind of, you know, fit my sort of--
2109
01:58:44,451 --> 01:58:47,496
My geeky approach
to Japanese cinema...
2110
01:58:47,705 --> 01:58:50,165
...was a nice sort of refreshing change
to us.
2111
01:58:50,374 --> 01:58:53,794
All throughout the rest of the film,
whenever there was an action scene...
2112
01:58:54,003 --> 01:58:57,089
...we were going so hard
with the aggressiveness...
2113
01:58:57,297 --> 01:58:58,966
...and the movement of the camera.
2114
01:58:59,174 --> 01:59:00,676
I think both Matt and Dimas...
2115
01:59:00,884 --> 01:59:04,304
...my two DOPs who have worked
with me on the last three films...
2116
01:59:04,513 --> 01:59:06,515
...I think they relished
this opportunity...
2117
01:59:06,724 --> 01:59:10,602
...to just take a breath and just, like,
you know, let the camera rest...
2118
01:59:10,811 --> 01:59:13,731
...and just let the performances
play through.
2119
01:59:15,065 --> 01:59:16,817
One thing about the performance...
2120
01:59:17,026 --> 01:59:19,028
...is there's such consistency
between them.
2121
01:59:19,236 --> 01:59:21,613
When it came
to the Japanese cast--
2122
01:59:21,822 --> 01:59:23,907
We noticed
a lot of the Indonesian cast...
2123
01:59:24,116 --> 01:59:27,786
...they would kind of improvise a little bit
between take to take.
2124
01:59:27,995 --> 01:59:30,289
But the Japanese cast,
they would lock in...
2125
01:59:30,497 --> 01:59:32,791
...and then they would--
They would figure out...
2126
01:59:33,000 --> 01:59:35,502
...how they wanted to play that scene
in rehearsals...
2127
01:59:35,711 --> 01:59:38,213
...and then just do it take for take
the same.
2128
01:59:38,422 --> 01:59:41,383
Gestures would be the same,
timing of movement, the same...
2129
01:59:41,592 --> 01:59:44,053
...and it made my life easier then
in the edit...
2130
01:59:44,261 --> 01:59:46,930
...because I could use any take
of any shot...
2131
01:59:47,139 --> 01:59:50,267
...and I know that it would connect
to whatever else we had of them.
2132
01:59:50,476 --> 01:59:53,520
So it was kind of an interesting process
for that.
2133
01:59:55,147 --> 01:59:59,401
This location sadly does not exist
in Indonesia.
2134
01:59:59,610 --> 02:00:02,529
We just created a matte painting
in CG...
2135
02:00:02,738 --> 02:00:05,366
...in order to kind of have
this huge, big landscape...
2136
02:00:05,574 --> 02:00:08,786
...of, like, a rundown building complex.
2137
02:00:12,081 --> 02:00:14,291
We had a location for it booked in.
2138
02:00:14,500 --> 02:00:17,920
We'd found this construction site
which would have been perfect for us...
2139
02:00:18,128 --> 02:00:19,922
...and would have fit so nicely...
2140
02:00:20,130 --> 02:00:24,968
...but when it came time to start shooting,
they'd sold the land to a construction--
2141
02:00:25,177 --> 02:00:28,472
Another construction, sorry,
that was actually doing something with it.
2142
02:00:28,680 --> 02:00:32,226
So by the time we were ready to shoot
then, that whole area had gone.
2143
02:00:32,434 --> 02:00:34,895
So this place where we shot...
2144
02:00:35,104 --> 02:00:39,149
...we actually used it for the exterior
of Bejo's restaurant as well.
2145
02:00:39,358 --> 02:00:43,237
So when Rama goes
to drive in through those metal doors...
2146
02:00:43,445 --> 02:00:47,533
...to get into the delivery area of the
restaurant, this is all the same location.
2147
02:00:47,741 --> 02:00:50,202
It's the same area.
So we shot this in the day...
2148
02:00:50,410 --> 02:00:52,496
...waited for nightfall,
and shot the rest...
2149
02:00:52,704 --> 02:00:55,666
...with Rama driving in through the door
at night.
2150
02:00:56,125 --> 02:00:58,877
And so basically, yeah,
for the wide shot...
2151
02:00:59,086 --> 02:01:00,379
...we would end up...
2152
02:01:00,587 --> 02:01:03,632
...you know, painting out all of the set
that we had there...
2153
02:01:03,841 --> 02:01:07,136
...and then, you know,
extending the whole look of the thing...
2154
02:01:07,344 --> 02:01:11,557
...to kind of be
this rundown, dilapidated area.
2155
02:01:12,558 --> 02:01:14,268
If you want out....
2156
02:01:16,728 --> 02:01:18,730
So this was the reinforcement then
as well.
2157
02:01:18,939 --> 02:01:22,401
This was kind of the revelation of Iko's
character being an undercover cop.
2158
02:01:22,568 --> 02:01:23,569
All of them.
2159
02:01:23,735 --> 02:01:27,281
And, you know, the idea that he'd
been hung out to dry by his superiors...
2160
02:01:27,489 --> 02:01:31,952
...then it's like he knows that this is the
last person that's gonna see him alive.
2161
02:01:32,327 --> 02:01:36,373
He's had these things he's wanted to say
for so many years, and gets to say them.
2162
02:01:36,582 --> 02:01:39,126
He gets to, you know, clear the air
on his character...
2163
02:01:39,334 --> 02:01:41,086
...and who he is and what he was...
2164
02:01:41,295 --> 02:01:45,299
...moments before he's about to kind of--
To pass on.
2165
02:01:46,008 --> 02:01:48,552
And it also served that idea
of kind of, you know...
2166
02:01:48,760 --> 02:01:50,804
...giving Rama that incentive
in a way...
2167
02:01:51,013 --> 02:01:55,100
...that idea that, like, he can't just go back
and pick up his bag and leave.
2168
02:01:55,309 --> 02:01:57,519
He can't just get out that easily.
2169
02:01:57,728 --> 02:02:01,857
That something has to be done
in order for him to leave this world...
2170
02:02:02,065 --> 02:02:06,320
...and still be able to live his life
with his wife, with his kid.
2171
02:02:06,528 --> 02:02:10,949
And so that idea of, you know,
taking them all out...
2172
02:02:11,158 --> 02:02:15,704
...that's basically, you know, Martial Arts
Action Film 101 motivation there...
2173
02:02:15,913 --> 02:02:18,999
...where, you know,
you give your hero a task...
2174
02:02:19,208 --> 02:02:21,543
...and he knows that all it is,
is a pure carnage.
2175
02:02:21,752 --> 02:02:24,922
So it's kind of like a nod of the hat
to the audience as well...
2176
02:02:25,130 --> 02:02:27,591
...to know that, like,
just because we've just had...
2177
02:02:27,799 --> 02:02:31,678
...like, a huge assassin
montage sequence...
2178
02:02:31,887 --> 02:02:36,225
...and a big car-chase sequence,
like, we're definitely not done yet.
2179
02:02:38,685 --> 02:02:42,105
Okay, so this is the exterior
of the warehouse location.
2180
02:02:42,314 --> 02:02:45,776
This was actually shot in exactly
the same location as the previous scene.
2181
02:02:45,984 --> 02:02:48,528
When we shot this,
we didn't have, like, anything...
2182
02:02:48,737 --> 02:02:50,864
...like, real and tangible to use as a set.
2183
02:02:51,073 --> 02:02:53,784
So all we had really
was sort of the steel shutter doors...
2184
02:02:53,992 --> 02:02:56,495
...and some, like, you know, props
laying around.
2185
02:02:56,703 --> 02:02:59,081
And everything was kind of created then
in CG.
2186
02:02:59,289 --> 02:03:03,210
So the whole extension of the set
was done by Andi, my online guy.
2187
02:03:03,418 --> 02:03:06,380
What I wanted to do here was to like--
This is sort of papered over.
2188
02:03:06,588 --> 02:03:09,466
We shot the-- This is just the aftermath
of a crime scene...
2189
02:03:09,675 --> 02:03:14,096
...but we shot three police lieutenants
being bumped off by the Goto gang.
2190
02:03:14,304 --> 02:03:18,350
Some of that featured in the teaser trailer,
but we ended up cutting it for pacing...
2191
02:03:18,559 --> 02:03:21,019
...because we'd done
our montage sequence before...
2192
02:03:21,228 --> 02:03:22,771
...with Hammer Girl,
Baseball Bat and the Assassin.
2193
02:03:22,980 --> 02:03:24,982
I figured it was gonna get, like, overkill.
2194
02:03:25,190 --> 02:03:28,443
Some could argue
that we already overkilled this anyway.
2195
02:03:28,652 --> 02:03:31,697
So we cut those out.
They're featured in the teaser trailer...
2196
02:03:31,905 --> 02:03:35,492
...but, like, I cut that teaser trailer
way back in sort of November.
2197
02:03:35,701 --> 02:03:37,661
Then when we
were finishing up the film--
2198
02:03:37,869 --> 02:03:40,414
We were still editing this
up until December time.
2199
02:03:40,622 --> 02:03:43,333
So some of that stuff ended up,
you know, disappearing...
2200
02:03:43,542 --> 02:03:47,212
...and becoming, you know,
available now as deleted scenes.
2201
02:03:47,421 --> 02:03:49,923
So here we've just established
when Iko says:
2202
02:03:50,882 --> 02:03:53,969
Like, "Watch over me,"
he's basically talking to his brother...
2203
02:03:54,177 --> 02:03:56,221
...and I wanted to maintain that idea...
2204
02:03:56,430 --> 02:03:59,766
...of there being some element
of revenge motivating him.
2205
02:03:59,975 --> 02:04:04,396
I didn't want to lose sight of that because
his ulterior motive is to protect his family.
2206
02:04:04,604 --> 02:04:08,275
But deep down what he wants to do
is basically get revenge for his brother...
2207
02:04:08,483 --> 02:04:12,279
...which later on we find out is that
something that gets taken away from him.
2208
02:04:12,863 --> 02:04:15,115
Bridging with that idea
of the dissatisfaction...
2209
02:04:15,324 --> 02:04:18,201
...in terms of all the characters
not getting what they want.
2210
02:04:18,410 --> 02:04:22,122
That wall earlier, actually, when the guy
gets sort of crushed into the wall--
2211
02:04:22,331 --> 02:04:24,708
We-- That wall wasn't supposed to break,
actually.
2212
02:04:24,916 --> 02:04:28,462
The whole plan for that shot was that
we were gonna have the guy's body...
2213
02:04:28,670 --> 02:04:31,381
...just crushed against this wall
and pinned up against it.
2214
02:04:31,590 --> 02:04:35,093
But our Art Department forgot
to put the sort of cinder blocks...
2215
02:04:35,302 --> 02:04:38,305
...on the other side of that brick wall
that we'd built for it.
2216
02:04:38,513 --> 02:04:41,558
When the car went through,
it smashed through the brick wall...
2217
02:04:41,767 --> 02:04:44,895
...but also the main structure wall
of the warehouse behind.
2218
02:04:45,103 --> 02:04:48,315
So then we ended up having
to fix that really quickly then...
2219
02:04:48,523 --> 02:04:50,150
...so we could carry on shooting...
2220
02:04:50,359 --> 02:04:54,321
...and make sure that the structure was
safe and sound for us to carry on filming.
2221
02:04:54,529 --> 02:04:57,324
The choreography here,
we wanted to have this feeling...
2222
02:04:57,532 --> 02:05:00,118
...of, like, chaos and freneticism to it.
2223
02:05:00,327 --> 02:05:03,246
We ended up having to have Iko
running up that ramp then...
2224
02:05:03,455 --> 02:05:07,501
...because when we got to the location,
the actual space is so big and so large.
2225
02:05:07,709 --> 02:05:11,171
When we were designing the fight
scenes, we're in a small office space.
2226
02:05:11,380 --> 02:05:14,591
So we design these movements,
and then we get to this real space...
2227
02:05:14,800 --> 02:05:18,178
...and it's so big and so vast,
we have to figure out how to position it.
2228
02:05:18,345 --> 02:05:21,598
So we always do like a walkthrough
of the whole choreography...
2229
02:05:21,807 --> 02:05:25,227
...while on location to figure out
this happens here, this happens there.
2230
02:05:25,435 --> 02:05:27,396
Sometimes our choreography,
we design it...
2231
02:05:27,604 --> 02:05:31,608
...without actually looking at the--
You know, the location beforehand.
2232
02:05:31,817 --> 02:05:36,154
So that stunt area, the stunt guy being
sort of thrown head first into a beam...
2233
02:05:36,363 --> 02:05:38,532
...we had to build that ramp,
build that beam...
2234
02:05:38,740 --> 02:05:40,909
...and then obviously put rubber
around that...
2235
02:05:41,118 --> 02:05:43,870
...for the protection
of the stunt guy doing the stunt...
2236
02:05:44,079 --> 02:05:47,165
...so that we could get away
with having our choreography exact.
2237
02:05:47,374 --> 02:05:50,669
And then my poor Art Department
and my poor Locations guy...
2238
02:05:50,877 --> 02:05:55,632
...have to follow suit in terms of what we
wanna do in our choreography then.
2239
02:05:59,177 --> 02:06:02,597
This scene here
with Uco sort of washing his hands...
2240
02:06:02,806 --> 02:06:04,850
...and sort of regrouping himself...
2241
02:06:05,058 --> 02:06:07,185
...we shot this very, very early
in the shoot.
2242
02:06:07,394 --> 02:06:10,981
This was probably around about
three days to four days into the shoot...
2243
02:06:11,189 --> 02:06:15,444
...and we shot this on location
inside a mall called Grand Indonesia.
2244
02:06:15,652 --> 02:06:17,195
There was a bathroom stall there.
2245
02:06:17,404 --> 02:06:21,074
And one of the things that me and Arifin
are kind of both frustrated by...
2246
02:06:21,283 --> 02:06:23,034
...is that we did shoot this early.
2247
02:06:23,243 --> 02:06:26,705
Although his performance is--
You know, I can't fault it, it's really--
2248
02:06:26,913 --> 02:06:31,042
He has a strong performance in terms
of carrying the weight and the emotion.
2249
02:06:31,251 --> 02:06:33,503
The downside
is we made a conscious decision...
2250
02:06:33,712 --> 02:06:37,507
...later on in the shoot for everything
following him killing his father...
2251
02:06:37,716 --> 02:06:40,469
...we wouldn't have dialogue from Uco,
he would be silent...
2252
02:06:40,677 --> 02:06:45,223
...he would be in this, like, catatonic state
of just, like, observation and reflection.
2253
02:06:45,432 --> 02:06:49,227
And obviously, you can see here,
like, he actually speaks to this character.
2254
02:06:49,436 --> 02:06:52,647
So every other scene that we shot
post Bangun's death...
2255
02:06:52,856 --> 02:06:54,858
...was silent from him,
no dialogue at all.
2256
02:06:55,066 --> 02:06:57,611
Just all about expression,
except for this one...
2257
02:06:57,819 --> 02:07:02,115
...which is literally just because
we'd shot it so early on in the production.
2258
02:07:03,950 --> 02:07:07,788
I'm probably gonna hold my hands up
and say that this wire...
2259
02:07:07,996 --> 02:07:11,833
...is pretty fucking big, really,
to not be noticed at all inside the wallet.
2260
02:07:12,042 --> 02:07:13,919
One of those things
where you turn up...
2261
02:07:14,127 --> 02:07:17,547
...then you've got your props lined up,
you show them the design of it...
2262
02:07:17,756 --> 02:07:21,343
...and suddenly, you're about to shoot
and you see the size of the thing.
2263
02:07:21,551 --> 02:07:24,179
So we didn't really have much say
in that.
2264
02:07:24,387 --> 02:07:28,225
And ideally, really, I'd love
to have had something a lot smaller...
2265
02:07:28,433 --> 02:07:30,644
...and a lot more
sort of realistic-looking...
2266
02:07:30,852 --> 02:07:36,441
...in terms of a wire tap inside of a wallet,
but, hey, ho.
2267
02:07:36,650 --> 02:07:39,110
So here we have Reza
returning to the fray.
2268
02:07:39,319 --> 02:07:42,948
So this is back to Roy Marten,
who is just a fantastic actor.
2269
02:07:43,156 --> 02:07:45,158
There's such a lot of respect for him.
2270
02:07:45,367 --> 02:07:48,245
Because he's a senior actor,
a senior performer in Indonesia...
2271
02:07:48,453 --> 02:07:51,248
...and, you know, he was just such a joy
to work with.
2272
02:07:51,456 --> 02:07:53,250
He brought a lot to the character...
2273
02:07:53,458 --> 02:07:56,586
...even though it's only
a very limited amount of screen time.
2274
02:07:56,795 --> 02:08:00,257
He just nails the tone of the character.
He nails that kind of attitude.
2275
02:08:00,465 --> 02:08:05,387
And, you know, the way he goads Arifin
later on is one of my favorite moments...
2276
02:08:05,595 --> 02:08:09,057
...of the character
throughout the entire film.
2277
02:08:09,724 --> 02:08:12,102
Hey, sidekick.
2278
02:08:13,645 --> 02:08:15,981
You're talkative.
2279
02:08:16,314 --> 02:08:18,650
So we're playing on that idea
of the paranoia here.
2280
02:08:18,858 --> 02:08:21,278
One of the things
that not everyone picks up on...
2281
02:08:21,486 --> 02:08:25,031
...is that idea
of, like, when Uco sees the wire...
2282
02:08:25,240 --> 02:08:28,326
...the thing about the wire
is that it makes him feel suspicious...
2283
02:08:28,535 --> 02:08:31,204
...he's being set up,
whether this has been something...
2284
02:08:31,413 --> 02:08:35,458
...that Bejo and Reza have kind of set up
from the get-go.
2285
02:08:35,667 --> 02:08:39,796
At the moment, he's suspicious of Reza,
and that's why he shoots him that look.
2286
02:08:40,005 --> 02:08:42,007
But when we do the reveal
of the tattoo...
2287
02:08:42,215 --> 02:08:45,343
...it's pretty much
all about Uco's paranoia...
2288
02:08:45,552 --> 02:08:47,637
...telling him
there's two and two together...
2289
02:08:47,846 --> 02:08:50,599
...that wire was put by Reza,
that they're monitoring him...
2290
02:08:50,807 --> 02:08:52,475
...that they're manipulating him...
2291
02:08:52,684 --> 02:08:55,312
...and seeing the tattoo
and linking it to Benny...
2292
02:08:55,520 --> 02:08:58,189
...who was, like, executed earlier on
in the restaurant...
2293
02:08:58,356 --> 02:09:00,650
...it's almost
that sort of a crushing feeling...
2294
02:09:00,859 --> 02:09:04,237
...of being completely,
you know, manipulated...
2295
02:09:04,446 --> 02:09:08,992
...made to feel like a puppet at the hands
of Reza and Bejo, which, you know...
2296
02:09:09,200 --> 02:09:13,330
...although there's a partial truth there,
Reza has, like, no involvement in this.
2297
02:09:13,538 --> 02:09:16,333
Like, he wasn't involved
in any way, shape or form.
2298
02:09:16,541 --> 02:09:19,044
And so it's all about
that sort of seething paranoia...
2299
02:09:19,252 --> 02:09:21,504
...that ends up resulting
later on in the film...
2300
02:09:21,713 --> 02:09:26,760
...with Uco kind of taking care of business
in a way on behalf of Rama...
2301
02:09:26,968 --> 02:09:29,179
...and taking away his ability...
2302
02:09:29,387 --> 02:09:35,518
...to sort of get revenge for himself,
to protect his family for himself.
2303
02:09:37,312 --> 02:09:42,567
Earlier, we saw a shot of Hammer Girl
grabbing at her hammers...
2304
02:09:42,776 --> 02:09:46,154
...and that was basically designed
in a way to play up to the idea...
2305
02:09:46,363 --> 02:09:49,324
...of these characters having a sense
of childhood about them...
2306
02:09:49,532 --> 02:09:50,825
...an immaturity about them.
2307
02:09:51,034 --> 02:09:53,787
And so, for me,
it was always this case of, you know--
2308
02:09:53,995 --> 02:09:56,539
That was a last-minute thing
that we added to the film.
2309
02:09:56,748 --> 02:10:00,418
That was like an improvisational moment
where we were shooting that scene...
2310
02:10:00,627 --> 02:10:02,462
...and I wanted something else
in there.
2311
02:10:02,671 --> 02:10:05,507
I wanted something different
to kind of reinforce...
2312
02:10:05,715 --> 02:10:08,677
...that sort of immaturity
of Baseball Bat and Hammer Girl.
2313
02:10:08,885 --> 02:10:11,429
And so I kind of spoke to Julie
and told her, I said:
2314
02:10:11,638 --> 02:10:14,933
"Keep your back to them. Don't listen
to a single word they're saying.
2315
02:10:15,141 --> 02:10:17,310
You're deaf anyway,
you're not gonna respond...
2316
02:10:17,519 --> 02:10:19,270
...to when Bejo sends you guys out."
2317
02:10:19,479 --> 02:10:22,732
And so basically, yeah,
it was this opportunity for us...
2318
02:10:22,941 --> 02:10:27,237
...to, you know, play on those themes
of, like, the lost innocence of them...
2319
02:10:27,445 --> 02:10:30,990
...the sort of childhood element
of the characters.
2320
02:10:31,241 --> 02:10:32,826
And here they are again.
2321
02:10:33,034 --> 02:10:36,079
This is all the setup ready
for them to face off against Rama...
2322
02:10:36,287 --> 02:10:38,248
...in this big showdown.
2323
02:10:38,456 --> 02:10:41,334
The look of this location actually
with the red glass walls...
2324
02:10:41,543 --> 02:10:44,170
...was based on a restaurant
that exists in Jakarta.
2325
02:10:44,379 --> 02:10:46,548
It's a really beautiful
Chinese restaurant.
2326
02:10:46,756 --> 02:10:49,509
And so whenever I would go there
I would take photographs...
2327
02:10:49,718 --> 02:10:52,929
...and video reference of the look
of the place, these, you know--
2328
02:10:53,138 --> 02:10:56,266
These red patent glass walls
in this corridor space...
2329
02:10:56,474 --> 02:10:59,561
...so that my Art Department could go
and make it for them first...
2330
02:10:59,769 --> 02:11:02,731
...to kind of use then
in terms of the shoot.
2331
02:11:02,939 --> 02:11:05,275
So the glass was--
I think we had a few panels...
2332
02:11:05,483 --> 02:11:08,903
...that were made out of protective,
kind of like strengthened plastic...
2333
02:11:09,112 --> 02:11:13,366
...and then glass for anywhere where we
needed to make it shatter for real.
2334
02:11:14,617 --> 02:11:17,829
This choreography was pretty complex
for us to design because, like--
2335
02:11:18,037 --> 02:11:20,165
Especially hardest for Iko to perform.
2336
02:11:20,832 --> 02:11:25,128
Iko and Very, who plays Baseball Bat
Man, they're from the same silat school.
2337
02:11:25,336 --> 02:11:28,465
So his comfort level
at kicking and punching Very...
2338
02:11:28,673 --> 02:11:31,676
...is very sort of like, you know--
He can go full-on.
2339
02:11:31,885 --> 02:11:34,304
Like, they trust each other entirely
to go full-on.
2340
02:11:34,512 --> 02:11:36,639
Iko kept telling me
that he struggled a lot...
2341
02:11:36,848 --> 02:11:39,851
...whenever it came to doing the punches
and kicks at Julie...
2342
02:11:40,060 --> 02:11:43,021
...plays Hammer Girl, because
although she had proven herself...
2343
02:11:43,229 --> 02:11:45,482
...there was this awkward
psychological thing...
2344
02:11:45,690 --> 02:11:49,277
...where he couldn't quite get into
that mode of literally picking her up...
2345
02:11:49,486 --> 02:11:51,279
...and throwing her
against the window.
2346
02:11:51,488 --> 02:11:53,656
So that shot of her
hitting against the glass...
2347
02:11:53,865 --> 02:11:56,409
...we did that
about eight times, nine times...
2348
02:11:56,618 --> 02:11:59,579
...because each time
Iko kept kind of trying to overprotect her.
2349
02:11:59,788 --> 02:12:03,082
He would slam her against the glass
and almost lower her to the ground.
2350
02:12:03,291 --> 02:12:05,877
Suddenly, I'm telling him,
"No, you've gotta go for it."
2351
02:12:06,086 --> 02:12:08,421
At this point,
Julie's done seven of those falls...
2352
02:12:08,630 --> 02:12:11,090
...and each fall,
although cushioned and protected...
2353
02:12:11,299 --> 02:12:13,593
...it's still-- It's gonna soften you up.
2354
02:12:14,052 --> 02:12:17,680
At that point then, it was-- He finally
did the one where he let go of her...
2355
02:12:17,889 --> 02:12:21,476
...and then that one hurt a lot more,
like she'd already been tenderized...
2356
02:12:21,684 --> 02:12:23,478
...for want of a better word.
2357
02:12:24,813 --> 02:12:28,858
So the moment that Baseball Bat goes
into a rage and all the way up to this kill...
2358
02:12:29,067 --> 02:12:31,361
...I wanted to play
on the emotional part of it.
2359
02:12:31,569 --> 02:12:34,322
So-- I didn't want you
to hate Baseball Bat and Hammer Girl.
2360
02:12:34,531 --> 02:12:36,533
I wanted you to almost like them
in a way...
2361
02:12:36,741 --> 02:12:40,203
...that you can kind of share
in the fact that they have this bond.
2362
02:12:40,411 --> 02:12:42,956
And again, this kill then,
this final moment...
2363
02:12:43,164 --> 02:12:47,293
...with the baseball bat stuck inside his
mouth, that was another improvisation.
2364
02:12:47,502 --> 02:12:48,878
We didn't really know how to--
2365
02:12:49,087 --> 02:12:52,715
I didn't know how I was gonna finish
this scene off until we were on set.
2366
02:12:52,924 --> 02:12:56,678
And so when-- I knew that the final blow
would be, like, this huge heavy blast...
2367
02:12:56,886 --> 02:12:58,930
...of the baseball bat into the mouth...
2368
02:12:59,139 --> 02:13:01,891
...I had no idea
about how to finish on a punch line.
2369
02:13:02,100 --> 02:13:06,271
And so, literally, we were on set, and then
I'm telling my Art Department to kind of:
2370
02:13:06,479 --> 02:13:09,524
"All right, can you prepare
this baseball bat with me...
2371
02:13:09,732 --> 02:13:11,818
...so that we can cut a chunk out of it...
2372
02:13:12,026 --> 02:13:16,072
...and put, like, a bite moment
for Very to be able to chew on?"
2373
02:13:16,447 --> 02:13:19,617
And then we zip-tied it
around his head then and kind of--
2374
02:13:19,826 --> 02:13:24,038
Yeah, he sat there very uncomfortably
for about, like, three hours...
2375
02:13:24,247 --> 02:13:27,333
...with this baseball bat
just strapped to his head.
2376
02:13:27,542 --> 02:13:29,669
And, yeah, it seems to have paid off.
2377
02:13:29,878 --> 02:13:33,214
So far, everyone's sort of had
a big response to that.
2378
02:13:33,673 --> 02:13:36,050
Now, I'm just gonna watch
this shuffle here.
2379
02:13:36,259 --> 02:13:39,512
This was sort of like-- The whole stunt
right here with the hands...
2380
02:13:39,721 --> 02:13:43,141
...the back of the hands, the back
of the hand, it's a direct reference...
2381
02:13:43,349 --> 02:13:46,769
...and like an homage in a way
to, for me, Enter the Dragon...
2382
02:13:46,978 --> 02:13:51,190
...for the sort of competition fights
that Bruce Lee has in that film.
2383
02:13:51,733 --> 02:13:56,070
But when it comes to the sort of
specific characteristics of silat...
2384
02:13:56,279 --> 02:13:58,948
...especially from Cecep here,
the way his eyes are...
2385
02:13:59,157 --> 02:14:01,534
...the way his looks are,
gestures and mannerisms...
2386
02:14:02,160 --> 02:14:06,331
...like, I wish I could take credit for this,
but truthfully it all came from him.
2387
02:14:06,539 --> 02:14:10,001
So all of those mannerisms, gestures,
it was completely undirected.
2388
02:14:10,210 --> 02:14:13,338
It was like a joy to see these things
come through in the camera...
2389
02:14:13,546 --> 02:14:17,508
...and just be sort of taken away by it,
which when you consider the fact that...
2390
02:14:17,717 --> 02:14:22,013
...Cecep was not like an experienced
actor, he's purely a martial arts fighter...
2391
02:14:22,472 --> 02:14:25,934
...it's such an incredible thing
to kind of have these guys and face off...
2392
02:14:26,142 --> 02:14:28,311
...with not just
a complex fighting style...
2393
02:14:28,519 --> 02:14:32,273
...but also with the charisma involved
in terms of the character as well.
2394
02:14:32,649 --> 02:14:36,444
So this fight scene, actually,
this is a pretty long fight scene.
2395
02:14:36,653 --> 02:14:39,739
This is something we spent
a hell of a long time sort of designing.
2396
02:14:40,281 --> 02:14:42,784
We worked on it
for about a month and a half...
2397
02:14:42,992 --> 02:14:46,371
...to design the actual movements
and get all the structure in there.
2398
02:14:46,579 --> 02:14:48,748
The way we would do that,
we would go through...
2399
02:14:48,957 --> 02:14:52,001
...and create these bite-sized pieces
of choreography...
2400
02:14:52,210 --> 02:14:55,672
...that the guys would present to me
and I would end up going through it...
2401
02:14:55,880 --> 02:14:58,007
...saying, "Put this here, put this there."
2402
02:14:58,216 --> 02:15:01,219
Like a jigsaw piece.
You start stacking everything together...
2403
02:15:01,427 --> 02:15:04,389
...and figuring out
how the fight is gonna play out.
2404
02:15:04,597 --> 02:15:08,851
Once we had that structure sorted and
started thinking about different props...
2405
02:15:09,060 --> 02:15:11,020
...like I wanted this set in the kitchen--
2406
02:15:11,229 --> 02:15:14,565
Like, especially this shot here
with this sort of-- Sort of angle...
2407
02:15:14,774 --> 02:15:16,776
...a turn of the camera
to the work surface.
2408
02:15:16,985 --> 02:15:18,820
Something I wanted from the get-go...
2409
02:15:19,028 --> 02:15:21,614
...the fact we're gonna set it
in the kitchen space.
2410
02:15:21,823 --> 02:15:25,326
We could use that metal pang
of the work surface in the sound design.
2411
02:15:25,535 --> 02:15:28,496
So we would end up going off
and doing our video storyboard.
2412
02:15:28,705 --> 02:15:31,916
The video storyboard for this one--
This one actually took about...
2413
02:15:32,125 --> 02:15:35,962
...probably about a month and a half, on
top of that, where we'd shoot each day.
2414
02:15:36,170 --> 02:15:39,340
For every single shot-- Every single
movement in the choreography...
2415
02:15:39,549 --> 02:15:42,552
...we would do about five different
alternative angles for it...
2416
02:15:43,261 --> 02:15:46,222
...trying to find
which one felt like the right one to use.
2417
02:15:47,140 --> 02:15:49,434
Before we carry on,
a shout-out to Yandi there.
2418
02:15:49,642 --> 02:15:51,644
That's our stunt guy filling in
for Cecep.
2419
02:15:51,853 --> 02:15:53,479
Yandi did all of the glass work.
2420
02:15:53,688 --> 02:15:56,190
He doubled for Epy earlier on
in the porn den.
2421
02:15:56,399 --> 02:15:59,027
That's him again, being kicked out
through the window.
2422
02:15:59,235 --> 02:16:00,987
And poor Yandi, man.
I mean, he took--
2423
02:16:01,195 --> 02:16:04,032
Like, even though it's tempered glass
and it's made to be...
2424
02:16:04,240 --> 02:16:06,075
...safer than real glass, it still cuts.
2425
02:16:06,284 --> 02:16:08,536
You still get nicks and marks
every now and then.
2426
02:16:08,745 --> 02:16:11,539
And on that cut,
when he got kicked through the window...
2427
02:16:11,748 --> 02:16:14,834
...he had a pretty nasty gash
going down the back of his ear.
2428
02:16:15,043 --> 02:16:18,546
But he's a trouper and he's one
of those guys that's constantly kind of--
2429
02:16:18,755 --> 02:16:21,132
Everything we've thrown at him,
he's done for us.
2430
02:16:21,340 --> 02:16:22,925
So he's an incredible stunt guy.
2431
02:16:23,134 --> 02:16:25,219
So I'm gonna give massive props
to him here.
2432
02:16:25,428 --> 02:16:27,972
So basically after Merantau...
2433
02:16:28,181 --> 02:16:32,894
...we had a few people comment,
like, about Iko's karambit weapon.
2434
02:16:33,102 --> 02:16:35,063
Apologies if I'm repeating myself...
2435
02:16:35,271 --> 02:16:39,150
...but we've been recording
this commentary through a period of time.
2436
02:16:39,359 --> 02:16:43,112
So, yeah, with the karambit, like,
everyone wanted to see it in combat.
2437
02:16:43,321 --> 02:16:45,448
And I knew I was gonna use it
in this film...
2438
02:16:45,656 --> 02:16:48,743
...and the tone for this film
would allow me to go pretty brutal...
2439
02:16:48,951 --> 02:16:51,537
...and aggressive
in terms of the use of the knife.
2440
02:16:51,746 --> 02:16:52,872
What I love about it...
2441
02:16:53,081 --> 02:16:55,917
...and what I loved about using it here
in this space is...
2442
02:16:56,125 --> 02:17:00,380
...we have a pretty decent sized location.
I mean, it's not, like, very claustrophobic.
2443
02:17:00,588 --> 02:17:01,672
There's space around.
2444
02:17:01,881 --> 02:17:04,634
But the nature of that weapon,
because it's a short blade...
2445
02:17:04,842 --> 02:17:06,886
...it forces the fighters to be close...
2446
02:17:07,095 --> 02:17:09,889
...in order for that weapon
to become an impactful weapon.
2447
02:17:10,098 --> 02:17:12,475
And so then you end up
in this situation...
2448
02:17:12,683 --> 02:17:16,395
...where suddenly, even in this space,
the fight ends up having the feeling...
2449
02:17:16,604 --> 02:17:19,232
...of claustrophobia
because they're at each other.
2450
02:17:19,440 --> 02:17:22,360
The speed and the use of the weapon
is so brutal and so fast...
2451
02:17:22,568 --> 02:17:25,279
...but so close,
that you lose sight of the fact...
2452
02:17:25,488 --> 02:17:27,907
...that, you know,
it's such a wide-open space.
2453
02:17:28,116 --> 02:17:30,451
And that's, like, attributed
to the fact that...
2454
02:17:30,660 --> 02:17:33,579
...that weapon is just so short
and so brutal.
2455
02:17:37,625 --> 02:17:39,168
This is one of my favorite kicks.
2456
02:17:39,377 --> 02:17:42,213
That sort of sequence of kicks
is one of my favorite things.
2457
02:17:42,421 --> 02:17:45,675
And one of the things
we tended to do a lot of, it's--
2458
02:17:45,883 --> 02:17:50,012
It's kind of like something I've realized
now as I kind of make film after film now.
2459
02:17:50,221 --> 02:17:54,100
I'm starting to see little sort of recurring
shots and little recurring movements.
2460
02:17:54,308 --> 02:17:56,978
And one of those things
is the idea of using top shots.
2461
02:17:57,186 --> 02:18:00,273
I tend to use bird's-eye view shots,
especially in fight sequences.
2462
02:18:00,481 --> 02:18:02,817
And it helps me be able to--
2463
02:18:03,025 --> 02:18:06,529
The reason why I use top shots
usually in the fight sequence is, one...
2464
02:18:06,737 --> 02:18:09,240
...gives you an opportunity
to see the action in full.
2465
02:18:09,907 --> 02:18:13,786
At the same time, it allows me to reset
my position as well for the next scene.
2466
02:18:13,995 --> 02:18:16,205
So-- The next shot. Sorry.
So basically you go--
2467
02:18:16,747 --> 02:18:19,834
If you're on the right-hand side
of someone's shoulder...
2468
02:18:20,042 --> 02:18:23,254
...then suddenly you need to go over
to the left of somebody else's...
2469
02:18:23,463 --> 02:18:25,923
...without breaking
the 180 degree rule line...
2470
02:18:26,132 --> 02:18:29,552
...I'll throw in a top shot wherever I can
to help redress the balance.
2471
02:18:29,760 --> 02:18:31,804
So it's kind of a useful tool,
while also...
2472
02:18:32,013 --> 02:18:34,056
...looking very sort of,
like, striking...
2473
02:18:34,265 --> 02:18:37,268
...and visually interesting
for the fight sequences.
2474
02:18:37,727 --> 02:18:40,855
So this sequence here then
is where we started..
2475
02:18:41,063 --> 02:18:44,233
...to go a bit more crazy now.
At the beginning, we structure it...
2476
02:18:44,442 --> 02:18:48,154
...in a way where it'd be pure silat
and, like, a lot of sort of technique...
2477
02:18:48,362 --> 02:18:51,407
...and a lot of crisp choreography
which will end up making way...
2478
02:18:51,616 --> 02:18:54,410
...into this more brutal state
of the choreography...
2479
02:18:54,619 --> 02:18:57,622
...where it's much more hack and slash
and start to lose focus...
2480
02:18:58,039 --> 02:19:00,917
...as they start ripping
each other apart.
2481
02:19:01,125 --> 02:19:03,169
Earlier I mentioned about
our condom technique...
2482
02:19:03,377 --> 02:19:06,088
...and this is where
it really, really came into play.
2483
02:19:06,547 --> 02:19:08,925
So a lot of these shots,
a lot of these setups...
2484
02:19:09,133 --> 02:19:10,593
...were designed in that way...
2485
02:19:10,801 --> 02:19:13,721
...where we could maximize
the use of, like, practical blood.
2486
02:19:13,930 --> 02:19:15,973
I didn't wanna do much
with the CG on this.
2487
02:19:16,182 --> 02:19:17,808
There is CG in there...
2488
02:19:18,017 --> 02:19:21,896
...but if we added that practical element
by having those condom bursts...
2489
02:19:22,313 --> 02:19:24,774
...using the string technique
that we designed...
2490
02:19:24,982 --> 02:19:27,109
...then it would mean
that it would kind of...
2491
02:19:27,318 --> 02:19:30,321
...make it easier to sort of
sell those CG elements as well.
2492
02:19:30,529 --> 02:19:34,951
The big benefit of having that practical
blood is that it sticks to the clothing.
2493
02:19:35,159 --> 02:19:37,245
It sticks to everyone
and the floor as well.
2494
02:19:38,204 --> 02:19:41,874
So, yeah, the only things
like this with the throat...
2495
02:19:42,083 --> 02:19:45,419
...those were the kind of elements
where we did a lot of CG work on it.
2496
02:19:45,628 --> 02:19:48,881
Everything else
was kind of real and practical then.
2497
02:20:04,272 --> 02:20:07,942
So now we're back into the restaurant
and one thing I wanted to play on...
2498
02:20:08,150 --> 02:20:09,944
...was this idea that Rama is--
2499
02:20:10,152 --> 02:20:13,781
Obviously, he's been through so much
now, his body's almost breaking down.
2500
02:20:13,990 --> 02:20:16,826
And so when we were doing
the choreography for this scene...
2501
02:20:17,034 --> 02:20:19,578
...we're shooting this on set,
I started telling Iko...
2502
02:20:19,787 --> 02:20:23,624
...that every time you do a movement,
it's like you're about to lose your balance.
2503
02:20:23,833 --> 02:20:26,585
Every time you slash someone,
you're falling to the ground.
2504
02:20:26,794 --> 02:20:29,589
So it really helped sell
that sort of exhaustion of him...
2505
02:20:29,797 --> 02:20:32,717
...whereby every slash he does
has to be, like, you know...
2506
02:20:32,925 --> 02:20:34,343
...strong and powerful.
2507
02:20:34,552 --> 02:20:38,389
But then as soon as there's--
As soon as it's over, the release of it...
2508
02:20:38,598 --> 02:20:40,474
...is bringing him back down to earth.
2509
02:20:40,683 --> 02:20:43,352
It's realizing just how broken
his body is at this point.
2510
02:20:43,561 --> 02:20:47,064
He no longer is sort of, like, that
sort of sharp, focused fighter anymore.
2511
02:20:47,273 --> 02:20:50,401
He's lost a lot of blood
and he's lost a lot of energy now.
2512
02:20:50,610 --> 02:20:52,320
So he is vulnerable at this point...
2513
02:20:52,528 --> 02:20:55,281
...which is something
that's been an importance to us...
2514
02:20:55,489 --> 02:20:57,825
...whenever we make
any of these movies.
2515
02:20:58,034 --> 02:20:59,660
Quick side point though...
2516
02:20:59,869 --> 02:21:02,330
...the glass panels
that we shot out earlier...
2517
02:21:02,538 --> 02:21:04,498
...all glass panels were done with CG.
2518
02:21:05,333 --> 02:21:08,711
We had real glass panels put in there
and real squibs put in there...
2519
02:21:08,919 --> 02:21:12,423
...but there was a technical issue
which made it incredibly dangerous...
2520
02:21:12,632 --> 02:21:15,217
...for us to do,
so we ended up having to shoot that...
2521
02:21:15,426 --> 02:21:18,721
...completely clean with no glass in there,
and then later on...
2522
02:21:18,929 --> 02:21:23,100
...put in the CG glass elements then
for the actual stunt itself.
2523
02:21:23,309 --> 02:21:27,104
So here we go.
We're coming up to the head shot.
2524
02:21:27,313 --> 02:21:29,398
I'll give you a bit of detail on this one.
2525
02:21:29,607 --> 02:21:32,276
So for the head shot,
what we did in the end...
2526
02:21:32,485 --> 02:21:37,907
...was we basically made a replica
of Alex's face...
2527
02:21:38,115 --> 02:21:40,659
...and we had this camera
locked off here.
2528
02:21:40,868 --> 02:21:44,747
And so we ended up having to shoot
the version first of all with Alex reacting...
2529
02:21:44,955 --> 02:21:47,291
...and so you get his arm
and his body movement.
2530
02:21:47,500 --> 02:21:50,503
And then later on then,
we would position the body...
2531
02:21:50,711 --> 02:21:53,297
...just the body by itself
in the same position as him.
2532
02:21:53,506 --> 02:21:55,174
We would do this frame match...
2533
02:21:55,383 --> 02:21:58,511
...where we could position the head
in exactly the same spot...
2534
02:21:58,719 --> 02:22:00,096
...and then we would, like--
2535
02:22:00,304 --> 02:22:03,683
We'd put squibs inside his fake head
and just blow it up.
2536
02:22:03,891 --> 02:22:07,603
But in terms of making sure that the body
wouldn't shift or move too much...
2537
02:22:07,812 --> 02:22:11,273
...we ended up having to put, like,
about maybe six or seven sandbags...
2538
02:22:11,482 --> 02:22:13,984
...all over the body of the dummy...
2539
02:22:14,193 --> 02:22:18,322
...so that the head wouldn't kind of,
like, spring off or go anywhere too far.
2540
02:22:18,531 --> 02:22:22,034
It was a combination of that practical
element where we would match frame...
2541
02:22:22,243 --> 02:22:25,121
...and then also, like, some CGI
just to touch it up then.
2542
02:22:27,581 --> 02:22:31,961
One of the things that was important to
me when it came to this final sequence...
2543
02:22:32,169 --> 02:22:35,256
...the sort of-- The killing of Uco.
2544
02:22:35,464 --> 02:22:38,551
I didn't want it to feel the same way
as any deaths in the film.
2545
02:22:38,759 --> 02:22:42,304
I didn't want it to feel like a hero moment
for Iko, for Rama even.
2546
02:22:42,513 --> 02:22:45,015
And so when it came to, you know,
the Assassin fight...
2547
02:22:45,224 --> 02:22:49,145
...Baseball Bat, Hammer Girl fight, the
way they're structured, they're designed...
2548
02:22:49,353 --> 02:22:53,482
...that intensity is designed to make the
audience have this visceral reaction to it.
2549
02:22:53,691 --> 02:22:57,736
But here, I wanted to play on
the sadness of it, the tragedy of it.
2550
02:22:57,945 --> 02:23:00,030
And so when we were working
on this scene...
2551
02:23:00,239 --> 02:23:03,325
...me and Arifin, we were both
workshopping how he should respond.
2552
02:23:03,534 --> 02:23:07,538
The way we wanted him to respond,
the way to convey it was that idea of--
2553
02:23:07,747 --> 02:23:10,833
When he gets stabbed,
that there's a genuine fear in him.
2554
02:23:11,041 --> 02:23:13,711
That there's like a childlike fear in him.
2555
02:23:13,919 --> 02:23:17,298
You know, he's terrified of death
and he's scared at this point.
2556
02:23:17,506 --> 02:23:18,757
And it kind of-- It's--
2557
02:23:18,966 --> 02:23:21,510
It's been a tricky thing for us
to balance that idea...
2558
02:23:21,719 --> 02:23:25,055
...of playing with the audience in terms
of how they respond to Uco.
2559
02:23:25,264 --> 02:23:29,185
Because, like, deep down, like,
you know, he's a product of his father.
2560
02:23:29,393 --> 02:23:31,687
He's a product of the society
he's been raised in.
2561
02:23:31,896 --> 02:23:34,482
And he's kind of like a tragic figure
in a way...
2562
02:23:34,690 --> 02:23:37,443
...because there's a certain vulnerability
to him at times.
2563
02:23:37,651 --> 02:23:40,279
But at other times,
there's an intense cruelty to him.
2564
02:23:40,488 --> 02:23:43,449
There was this thing
where I wanted to make it feel conflicted.
2565
02:23:43,657 --> 02:23:45,951
So there's not like a celebration
of his death.
2566
02:23:46,160 --> 02:23:48,454
It's almost like sad.
It's almost that thing of...
2567
02:23:48,662 --> 02:23:51,290
...what if they had met
in other circumstances?
2568
02:23:51,499 --> 02:23:52,833
Could they have been friends?
2569
02:23:53,042 --> 02:23:56,337
Could they have been
like a normal person in society?
2570
02:23:56,545 --> 02:23:58,964
And so we wanted to make
that final death...
2571
02:23:59,173 --> 02:24:01,967
...more emotional
and for it to mean more.
2572
02:24:03,302 --> 02:24:05,596
So I'm gonna comment now
on this piece of music...
2573
02:24:05,804 --> 02:24:11,769
...which is "Ghost 13" from the album
Ghost by Nine Inch Nails.
2574
02:24:11,977 --> 02:24:14,855
I was so fortunate
to be able to meet with Trent Reznor...
2575
02:24:15,064 --> 02:24:18,400
...and talk about this project
and he was a fan of the first film...
2576
02:24:18,609 --> 02:24:22,154
...and then the V/H/S/2 short
that me and Timo had codirected.
2577
02:24:22,363 --> 02:24:25,241
And so I was desperate
to use this track.
2578
02:24:25,449 --> 02:24:28,452
I really wanted to have this feature
in the film.
2579
02:24:28,661 --> 02:24:30,913
And in actual fact, this shot here...
2580
02:24:31,121 --> 02:24:33,916
...when we were recording this shot--
Doing this take...
2581
02:24:34,124 --> 02:24:37,920
...I would listen to the piece of music
on my iPhone...
2582
02:24:38,128 --> 02:24:41,298
...and listening with my headphones
to make sure the timing is right.
2583
02:24:41,507 --> 02:24:44,093
I knew at one point
I wanted to cut to this shot.
2584
02:24:44,301 --> 02:24:48,389
And so it was one of those things
when we were making the film...
2585
02:24:48,597 --> 02:24:50,349
...I was editing and used the song.
2586
02:24:50,558 --> 02:24:54,103
And usually it's like a nightmare
when you put in some temp track music...
2587
02:24:54,311 --> 02:24:56,647
...to cut a scene
because you fall in love with it.
2588
02:24:56,855 --> 02:25:00,526
But then when it comes down
to clearing rights, you can't actually get it.
2589
02:25:00,943 --> 02:25:04,363
But, yeah, very fortunate enough
to be able to get Trent...
2590
02:25:04,572 --> 02:25:08,158
...to okay us on this
and I'm so grateful to him for that...
2591
02:25:08,367 --> 02:25:12,454
...because this piece of music for me,
it just ties up the whole ending together.
2592
02:25:12,663 --> 02:25:17,626
It gives it this sense of this stronger
sort of, like, emotional value to it as well.
2593
02:25:17,835 --> 02:25:22,214
It was actual a stylistic choice not to have
any of the dialogue play out in this scene.
2594
02:25:22,423 --> 02:25:23,924
We did shoot it with it...
2595
02:25:24,133 --> 02:25:28,512
...and it just felt wrong to kind of
incorporate that because it just sort of--
2596
02:25:28,721 --> 02:25:31,599
Music was so beautiful,
I felt it was getting in the way of it.
2597
02:25:31,765 --> 02:25:34,184
It was like--
It was creating these stumbling blocks.
2598
02:25:34,393 --> 02:25:38,230
Once you put the audio or the dialogue in,
you have to bring the atmosphere in too.
2599
02:25:38,397 --> 02:25:41,108
So I just felt it made more sense really
to let it hang...
2600
02:25:41,317 --> 02:25:43,944
...until those final two words
come out from his mouth.
2601
02:25:44,153 --> 02:25:47,531
Just for me then, that was the perfect
way to kind of end this film then.
2602
02:25:47,698 --> 02:25:48,741
-I'm done.
2603
02:25:50,326 --> 02:25:52,953
Thank you so much
for listening to this audio commentary.
2604
02:25:53,162 --> 02:25:55,372
I hope that it's been informative
in some way.
2605
02:25:55,581 --> 02:25:59,001
I hope I haven't been too repetitive.
2606
02:25:59,543 --> 02:26:03,505
Yeah, it's been quite the adventure
making this film.
2607
02:26:03,714 --> 02:26:05,924
And, you know,
we're very appreciative...
2608
02:26:06,133 --> 02:26:08,552
...of all the support
we've managed to have so far...
2609
02:26:08,761 --> 02:26:11,555
...since Merantau through to The Raid 1,
and now The Raid 2.
2610
02:26:11,764 --> 02:26:13,891
So, yeah,
I hope you guys have enjoyed it...
2611
02:26:14,099 --> 02:26:16,477
...and I'll see you on the next film.
Thank you.