To prepare the cast for the film, we sent them off...
...to a bootcamp for training sequence. That was in Kopaska.
Try to really take in as much as you can.
The information from them and really pay attention to everything.
They learnt all the sort of death and techniques for--
Like the strategy and how to control people in the environment...
...and about raid simulations as well.
Hey, hey, hey.
We want them to learn everything...
...about the weapons they were gonna use in the film...
...so they wouldn't look like amateurs.
They wouldn't look like they never picked up a gun.
But also to establish a sense of brotherhood...
...amongst them as a group...
...to get them having a working relationship...
...and to rely upon each other like they would in real life.
That was an important part of the bootcamp.
Not just for the technical side of the training...
...but also to build bonds between them as well.
I was interested to combine different martial arts styles into this film.
I didn't wanna have it just silat versus silat all the time.
That can kind of get boring quickly if you have all the fighters...
...and the good guys and bad guys...
...all using the same martial arts discipline.
- Good. - Move.
Okay, come further. Got his exit too far out of frame.
Iko, move back.
Stop. Okay, stop. Okay.
All right, get off from there, yeah?
Good. Slow, really slow.
Yeah, very good. Yeah.
Okay, yeah. Good. Good.
You go up to him, grab him. All they way out.
Action.
- Cut. - Cut.
Okay. That's good, but we need a reaction.
Very good, guys.
For our films, what we tend to do...
...is just as a sort of as a backup alternative, as a fail safe...
...is we shoot video storyboard...
...for the entire fight scene in pre-production.
What that helps me do is see how the fight is structured...
...see how it comes together in the edit...
...and then make decisions on what angles need to change...
...what parts of the choreography need to change before we get to production.
So, what happens in pre-production is we design the fight scene...
...from beginning to end.
So we look for every possible flaw...
...and every possible positive that we can find in terms of the scene.
And we try to polish it then as best as we can before production.
Action.
Okay. Cut.
Sometimes the choreography will end up dictating to us...
...how the set design needs to be.
We might have ideas which takes place, like, two or three months...
...before pre-production starts.
And we have specific ideas of movements and falls...
...which demand that we need props or certain structures for the rooms.
And action.
As a result of that then with our--
When we discuss with our art designer, Moti...
...we'll take all the choreography, let him know the layout of the room.
And action.
For Serbuan maut, I knew he wanted to go handheld style...
...but I still wanted to stick to HD...
...because when we do the fight and action sequences...
...we go through so many takes...
...that, you know, if we were using film, we'd waste so much product basically.
Go!
And we were looking at new cameras, different things that were coming out...
...and the new Panasonic AF100 caught our eye a lot.
Stop.
Very effective. We've had the cameras on Fig Rigs...
...so we can kind of do some more controlled movements.
It's not quite so bumpy and hand-held.
It gives us the freedom and flexibility to move the camera around a lot...
...doing the scenes, change position, change angles a lot.
Watch out for the wardrobe, man.
- Okay. And cut. - Okay. Cut.
And again.
The same again, yeah.
This time, we should control it again.
Yeah, he should've come forward last time. There you go.
For Serbuan maut, the lighting is a lot more atmospheric...
...than in Merantau.
In this movie, we're kind of going for a much more sort of noirish look.
So we got a lot of-- A lot more shadows, a lot more darker locations.
And because it's all interior, it means that we've been--
And because the camera moves around 180 degrees a lot...
...we've been looking for different ways to be able to light...
...with mobile lights, basically.
So, what we're doing is picking up LED lights that we can put on booms...
...and can follow and track along with the characters...
...and be able to be more flexible with our camera movement as well.
- Cut. - Cut.
Action.
They go up floor by floor, securing each floor.
They're on the sixth floor, get spotted, that's where the film takes off then...
...with them under attack, hunted by every gang...
...and every criminal on every floor in the building.
And action.
- Cut! - Cut!
When we do the shot pointing down and that being fired...
...all of them will be firing down as well.
They'll all change attention.
These guys are dead now, so they don't go shooting down here.
So once I got-- You sort of: Fire down.
We will out your shoulder, he's firing now...
...but then other guy's are firing down as well.
- Cut. - Cut! Cut.
Hey.
Okay. Cut. That was good. You covered your face.
- Next scene, yeah. - Next scene.
In Merantau, everything was more slower paced in the start.
We had to kind of build our drama and our story...
...before we got to the conflict, before we got to the action.
And I guess to a certain extent in Merantau...
...we took a bit too long to get to the conflict...
...and a bit too long to get to the action.
Serbuan maut is designed purely to be a full-on action film.
And so I kind of cut to the chase a lot faster in this one.
Cut.
All right. That's enough.
There we go. Again.
Not like immediately to the-- It's like coming--
And then:
- Round. - Yeah.
Okay. Cut. Okay, let's go again.
Go stab lower this time, yeah? Stab lower.
Not move yet. Don't come up too high.
Okay? As you-- You should go up.
Yeah. Okay, like that. Yeah?
Okay. Cut.
Careful with the target part of the gun, okay?
Close to your chest so it doesn't hit you in your face. Okay?
Stand by. And...
Cut.
Okay. Playback, please.
That's cut.
I've been interested in films set in one location.
It brings up a lot of challenges...
...to how to keep the action fresh and entertaining.
Hey, too fast.
Just hanging from there, barn, use it.
You grab the neck, pull out the--
You've got it. Yeah, all right?
And then you've got so much control, just punch him, right?
Yeah? All right.
Cut.
Drugs lab is basically, like, a-free-for-all fight.
We got three different people who have different disciplines to fight in.
Iko, obviously, with silat. We've got Eka...
...who has a sort of Tae Kwon Do background.
And then, obviously Pierre Gruno, who has basically a brawling style...
...that we kind of gave him for the choreography.
Action.
Cut.
Action.
Cut.
Okay. Playback, please.
You okay? You all right?
Quiet, please.
Don't-- You can't force him.
He gets punched to the face again.
I want to get this shot first before we go on to the next level, yes.
This is just another one of those swings.
All I need is action and what was prior again to the choreography?
Come on. Come on.
Next, again. Round, then it's the kick, right?
Okay, so on action, start with this.
Yeah. Come on, please.
Yeah.
And then you hit it again then, right. With your right. Straight away.
And then swing. Yeah? Okay.
So go as far as like stomach, face, face. Five.
What we're offering audiences is, like, more like a thrill ride of a film.
Something that starts and then stays relentless in its pace and the action...
...from beginning to end.
Okay, out. Let's do it again.
Action.
Cut.
I love Tama's office the most.
The lighting has been really nice in here.
All the furniture has been really great. The CCTV background is really nice.
And it kind of-- It's the closest that any of the sets have come...
...to being exactly as I imagined them in my head...
...when we were writing the script.
Roll, set and action!
And so we wanted to make Tama like the boss of this building...
...and he was very wealthy and a very powerful man.
But also somebody who's incredibly casual and incredibly laid back.
That's reflected in terms of his wardrobe design...
...his posture, his gestures...
...the way he moves is very deliberate, very slow.
And the way he approaches violence is very sort of casual...
...but cold and detached.
So it makes him much more of a cold-blooded killer...
...than anyone I've written before.
Action.
Cut. Okay, let's go again.
I wanted to create another gang...
...that would have their own identity, that would have their own presence.
And to really build them up to be, like, opponents that we look forward...
...to see in that moment when the inevitable happens...
...when lko finally gets to fight against them.
Action!
Cut.
- Okay, so are you okay? - Okay.
Playback, please.
And action!
Cut.
We do a lot of takes.
And when we do the fight sequences...
...every take, the actors will get more and more tired.
Action.
Rolling, stand by and...
So we have to get them right up with their stamina.
Cut. Playback, please.
It's not just about learning the choreography and the movement.
Run and jump and then come back and go here.
It's about having the right aggression.
It's about having the right skill and the right speed.
But it's also about stamina.
- Do I have to react? - No. No reaction needed.
- On the next shot, I show the head. - Okay.
Medic, please.
Cut.
Through our pre-production then, as he trained with the Yayan...
...they reached, like, a very good sort of a trust relationship.
Action.
Cut. Good. Nice. Playback, please.
We're still learning...
...as we go along how to make these films, how to do action films.
We cut it together and then we'll discuss and we'll figure out:
"Maybe this angle is right for this shot...
...but then how do we get to our next position?"
So we look for every possible flaw...
...and every positive that we can find in terms of the scene.
Cut.
We had to consider a lot of different things during postproduction.
One of which was the duration.
Action.
One of the things that was in development of The Raid...
...was to make this much more streamlined, much more faster-paced.
And so I kind of had the-- When I first started postproduction on it...
...I had a key target to reach around about 80 to 85 minutes maximum.
Then on the first assemble edit, it came in at around about one hour, 55.
So I knew then that it was never gonna be sort of just--
It was never gonna reach my original target.
So then after sort of doing a lot of fine tuning, a lot of editing...
...and then we managed to bring it down to run about 100 minutes total...
...at the end of the final offline cut of the film.
I think once we were able to start assembling the scenes together...
...with some of the other character moments, dramatic moments...
...we were able to help Gareth put it together in a way...
...that would enable the film to be ready for Toronto in September...
...which under their schedule wasn't easy.
So basically, while Gareth was still in production...
...we were advising Gareth day to day on these sequences.
Post is just as important as any other part of the filmmaking process.
I mean, so much of the film comes to life...
...when you're doing those final touchups to the film.
When you watch it, you can see certain areas working...
...but then a lot of it still have to use your imagination...
...still have to kind of figure out...
...how all of this is gonna come into place at the end of the day.
Because then you've got your online work...
...done by Andi, who did a fantastic job...
...on enhancing all of the practical effects...
...with sort of, you know, very subtle use of CG.
Then, obviously, the really, really complex sound mix...
...that we had in place then by Fajar and Yogi as well.
I tend to think of myself as the audience.
What do I wanna watch when I'm seeing this movie as well?
If I start making something...
...to be, like, you know, something that somebody else...
...would like, but not me...
...then, like, I'm not the right person to be making that film then.
So I kind of try to keep it-- it's what I wanna see in the film.
Hopefully, there are enough people who are like-minded...
...or who are sick enough...
...that they like watching the same films that I watch.