Hi, I'm Gareth Evans. I'm the writer-director of The Raid.
And in this commentary I'm gonna talk to you...
...about the sort of inception of this film, and how I ended up...
...being a Welshman living out in Indonesia.
So basically, when I was--
All throughout my life I lived in Wales, and up until I was 27, I kind of--
I'd dreamt of being in the industry, but not doing enough to push myself.
I hadn't done enough to get on peoples' radar in the UK.
And my wife was Indonesian-Japanese and so we were--
We were living in Wales for a while and we hadn't settled.
I hadn't done enough to get noticed.
She was sort of not comfortable where we were either...
...and so she got me a directing gig doing a documentary out in Indonesia.
And that documentary was about silat.
And all throughout my childhood...
...I'd been obsessed with martial-arts films...
...so I'd been a big fan of Bruce Lee and Jet Li and Jackie Chan...
...and all throughout my childhood I'd watched those films over and over.
And so I had a love and affinity for martial arts as a genre...
...but I never ever thought that I'd end up making these films.
And so when I ended up in Indonesia and seeing silat...
...it was the first time I'd seen that discipline.
So I'd been familiar with kung fu and Muay Thai...
...and, you know, aikido and karate and judo, but never silat.
The one thing I loved about silat was it had this very sort of fluid style to it.
It's got a-- It's very adaptable to sort of, you know, small, tight spaces...
...and then wide-open spaces and multiple attackers.
So when I ended up going out to Indonesia to do that documentary...
...it was my introduction to silat.
And throughout the six months that I worked on that documentary...
...I got to meet a lot of different masters...
...of a lot of different schools in Indonesia.
All of different styles and different backgrounds.
And throughout the course of that, I learned traditions, cultures, practices.
But then luckily, I met this guy, lko.
So he ended up being--
He was actually a delivery guy for a phone company when I first met him.
And so when I met him, it was at his master's house...
...and his master's from a style of silat called tiga berantai...
...which is Betawi-based, in Jakarta.
And so we went to the sort of-- The class.
And when I saw lko at first, when I met him...
...he didn't seem like anything special.
He was this unassuming guy, you know...
...nothing sort of, you know, too incredible about him.
But then once he did his practice session...
...and put on, like, the silat uniform and started practicing, he transformed.
In that transformation, I kind of saw--
I saw that he had a screen presence about him.
And something which I felt was, you know...
...great for film and great for cinema...
...so I ended up elbowing my wife, telling her we gotta get this guy...
...and we gotta make him a film star.
So since then we've worked together on the last two films...
...and this is The Raid. This is his second film.
With The Raid, I wanted to approach the film...
...a little bit differently from Merantau.
In Merantau, we took a long time to sort of get to the action.
You know, we dwelled a lot on, you know...
...setting out the drama elements, and the sort of--
The tradition and the culture.
And I spent a long time kind of, you know...
...getting character stuff out of the way before we could get to the fight.
The way Merantau was structured, we didn't get to our first fight scene...
...for like 45 minutes, which was way, way, way too long for us to do.
On this one, I wanted to come right out to bat...
...go into the fight scenes, go into the action...
...so I didn't wanna waste too much time doing that.
We had this streamlined introduction and then we go straight into the truck.
And the purpose of that is to kind of just jump right in...
...and have this, you know, fast start to the film...
...and, you know, set the tone and set the atmosphere...
...and then go all-out then with the action...
...and kind of have this relentless pace then.
Earlier we saw lko doing this sort of, like, preparation with exercise...
...and then prayer and, you know, saying goodbye to his wife.
It was important to me to have this moment in there...
...where we're showing his spiritual, mental and physical preparation...
...before he goes out on this mission.
It was quite the-- You know, without kind of being too political about it...
...there was a reason why we wanted to show that he was a Muslim.
Because, you know, living out in Indonesia for four years...
...and being there for that long a time and, you know, knowing lko...
...and knowing all the guys I've worked with...
...their religion, it's something that they carry in their heart.
It's something that they have in their everyday life.
And that's the way I wanted to present it.
Not for it to be, like, a political tool. I didn't want it to be like--
In a lot of media, there's two versions of it.
You see Islam as a negative thing and you see Islam as a preaching thing.
I wanted it to be an everyday thing.
This is our hero, this is what it is, it's part of his life.
But it's not preaching to anyone.
And I felt that that was an important element to the film...
...and element to his character as well.
So this is our introduction to Tama, the boss of the building.
I wanted to do something which would be more proactive for the way...
...we introduce him, because for most of the film...
...he's giving instructions and giving orders.
This was the one moment where we see...
...that he's willing to get his hands dirty too.
And it was important to us to kind of have this character.
Usually, in a gang film or a gangster movie...
...the boss is this guy in a sort of pristine suit, smoking a cigar.
I didn't want that, so I wanted him in a vest with a sarong, eating noodles...
...and then shooting five people in the back of the head.
The benefit of this role...
...is the fact that we had Ray Sahetapy play the character to perfection.
He's really great with understanding...
...that there was dark humor to this scene.
He played it pitch-perfect then.
So I'm very happy with Ray in this role as Tama.
The idea, originally, wasn't supposed to be five people being shot.
I'd written another scene where it was supposed to be five people...
...stood on top of a plank of wood in the atrium...
...and they were all supposed to have nooses around their neck.
And the original idea was to have them flipped off...
...and then, like, one by one, they all fall down to the bottom.
Number one would fall, his feet would bounce before he hits the ground.
Number two the same, three the same, four.
Then number five would kind of drop down, but the rope...
...would be too slack and he'd hit the ground, and crumple into pieces.
The punch line was Tama saying to Mad Dog, "That rope's still too long."
That was the original idea, but we didn't have the budget...
...or the capability to do that scene.
So then one afternoon...
...my sick brain started coming up with different ideas...
...that we could create dark humor out of that...
...so we decided to do the sort of the gunshot execution...
...and then the bullets in the drawer.
And that kind of comes more from, you know...
...the influence from Japanese cinema that I have.
I've always been a big fan of Japanese films.
Especially the sort of, you know...
...the darker, sort of black-comedy elements...
...that you get in films, like, by Takeshi Kitano or Takashi Miike.
So those are the main influence points for all the dark humor in this film.
I don't want to see any empty seats on this truck when we're done.
Now let's clean up this fucking city.
This shot coming up here soon is-- it was a tricky shot that we had to do...
...because we did this about maybe 13 to 14 times before we got it right.
Because we start off on a Pegasus crane.
We have to come down, but the camera's hand-held, it's on a Fig Rig.
So I got my DOP sort of stretching out over the end of the crane...
...and then once we get to the ground here, you'll see a little tiny bump...
...and that's them unhooking him from the wire to keep him safe.
We're able to kind of come straight off that crane...
...and follow on entirely in one shot...
...then, you know, track back along with the conversation.
It's one of those frustrating moments because of the setup.
Like, we couldn't actually monitor the shot from an external monitor...
...so I had to kind of just wait and pray and hope that the shot went well.
It was a case of waiting until we finished the scene...
...and then get it in playback later on to make sure it was good.
And a lot of potential fuck ups by kids who aren't ready.
This isn't the most ideal training ground, Jaka.
I'll keep them back.
Further, much fucking further back.
In the SWAT team, we have a number of--
We have a mix of people who are kind of experienced actors...
...and less experienced actors.
Joe Taslim, that we see looking up at the building...
...he's actually a national judo champion for Indonesia.
And he's done like two, three movies before this...
...but this was his first sort of, like, you know, big role in a film, for us.
He-- The way he got the role was he contacted me through Facebook...
...and said that he really loved Merantau...
...and wanted to see if there was anything we were doing next...
...and while I was looking at his profile page...
...there was this one photograph of him dressed in a SWAT team uniform.
And it was that thing-- I was looking for the face.
Looking for the look of Jaka, the character he plays, and he fit it.
And so I tend to have, like, this thing...
...where I rely a lot on gut instinct when it comes to casting...
...so I pursued the idea of getting him in to come in...
...and we did two auditions with him.
The first audition was a fight audition.
He came in did some choreography with lko and with Yayan.
And then the second audition then was purely drama-based then.
And we got very lucky because he nailed both auditions.
We're very happy with the work he's done on this film.
Like, he's proven himself...
...and hopefully he can kind of go on to bigger and better things.
He's someone I definitely wanna work with again at some point in the future.
Also in the cast here is Verdi Solaiman.
His father actually plays lko's father at the start of the film as well.
And they have quite a strong sort of acting family actually.
They're all performers.
And he's a great actor too.
Unfortunately, he had this one monologue...
...which was in the beginning of the film...
...that we had to cut for pacing issues.
But he's a great actor as well.
And, yeah, again, it was such a great experience working with these guys.
One of the things I wanted to play around with is the idea of shadows...
...and light in this film.
So we tend to do a lot with, you know, things emerging out of the darkness.
We have another scene where I'll come back to that...
...but for this one, I always--
We made sure in the grade that we could crush out the background here...
...so that those hands of the SWAT team do come out from the shadows.
We don't see any of the detail except for the hands.
And I was really happy with the way this kind of-- This scene turned out.
B-3 clear.
Okay, let's move.
One of the things we did to prepare the SWAT team for the shoot...
...is that we sent them on a boot-camp training session...
...and we sent to KOPASKA, which is like the Indonesian Navy SEALs.
We sent them there for a week to 10 days.
And they did this extreme boot-camp experience...
...where they got to learn how to operate guns, how to, you know...
...use grenades and specialists' strategy...
...and, you know, the tactics, and they did raid simulations as well...
...and it was sort of-- it was like twofold.
We wanted to make sure that whenever the guys were in the film...
...they felt like they knew how to handle the weapons.
They felt like they belonged as part of this unit...
...but further than that was to have this idea of creating a sense...
...of brotherhood between them that they could rely on each other.
And that was an important sort of chemistry-building exercise...
...as much as anything else as well.
We're gonna introduce another one of the actors.
Playing Gofar is lang Darmawan.
And he's actually from a comedy group called Project P...
...based in Bandung, Indonesia.
And he's more known for doing comedy sketches...
...and, you know, songs as well.
And so we-- When we cast him in this film...
...it was like a bit of a departure for him to play a serious role.
There's moments where he has the chance to show his comedy chops...
...and he kind of hits those notes pitch-perfect again.
- This is bullshit. - Listen.
You don't have much of a choice.
When we were casting for this film, we knew we needed a lot of fighters.
We needed a lot of extras, and what we did was actually--
Before we went into production on this film...
...we spent a year and a half to get finance in place...
...to do a different film called Berandal.
And we spent about two or three months then...
...doing a huge casting call for that film...
...where we searched for fighters all over Indonesia.
We ended up having about maybe 2- to 300 people come into our office.
We whittled that down to about 80 to 90 people that could perform...
...that could actually do the fighting that we required in the film.
So then when it came to actually start working on this film...
...we knew that we had that database of people...
...with different body heights, different shapes...
...that we could use for this movie.
I wanna point out that this guy there who just got flipped onto the table...
...his name is Yandi and he's one of the main members...
...of a stunt group that we used in this film called Pyranha Stunts.
One of the other senior members...
...is Eka, who plays Dagu, one of the SWAT team members.
We get to see him throw down his moves later on in the drugs-lab scene.
They came to us. They worked with us on Merantau.
They were key fighters in that film.
We gave them a bigger role on this one...
...by having them work as the stunt coordinators for us on this film.
Motherfucker!
Earlier, I told you how we kind of struggled for like a year and a half...
...to get Berandal off the ground.
And what happened with that was we were-- For Berandal...
...we were working on the basis of having a much bigger budget.
It was a much larger film in terms of scope and scale.
And we spent a long time just, you know, in meetings with investors...
...time and time again, you know, just being told, "No, no, no."
And the crux of it was that every time we'd go in to talk to them...
...they'd be willing to invest X amount into the film...
...only if it was the equivalent of 50 percent of that budget.
Every time we talked to them...
...it was only 20 to 25 percent of what we needed for Berandal.
That became the stumbling block that stopped us from doing that film.
And so when it came to--
You know, after a year and a half of not doing anything...
...and you'd be sat in the office and lko started to gather dust on our shelves...
...we decided we needed to do a second film with him. And fast.
So I came up with the idea to do The Raid, then, which was like--
Which was our plan B. It was our backup project.
Yeah, that became the thing whereby we could go back to those investors...
...and say, "This is a lower-budget project.
This is something we can do for, you know, that SO-percent input."
And so then it was a case of spending a year and a half...
...trying to get that first film made, not being able to get the money up...
...and then all of a sudden, we got the budget for The Raid...
...and we went straight into production.
Police!
This scene was a little bit of a bone of contention when we were creating it.
Because it's a-- Obviously, it's a very, like, harsh moment in the film.
Killing a child in a film is always seen as, like, a very strong...
...sort of no-no moment in any kind of movie.
And what I wanted to do was to have this moment in there...
...but sort of shoot it in a respectful way...
...so that when we actually see the impact of the gun--
The bullet, sorry.
--It's soft focus.
We don't actually see the detail of what happens to that kid.
And so we hint at it and we kind of--
It was more of a restrained way of shooting the action.
We have a little restraint when it comes to the rest of the violence...
...but that was one moment where I felt very strongly that we had to shoot it...
...and show that kind of scene with a bit more respect of the audience too.
I'll talk a little bit about the locations we used...
...because we looked everywhere throughout Jakarta...
...in order to find a real building that we could use.
But our designs and our requirements were so specific...
...that we were unable to find a real building that we could use...
...so we ended up doing a lot of studio work, so...
All of the corridors, like this stage, the atrium...
...you know, Tama's office, all of the rooms...
...and the stairwells, they're all built in the studio.
The only thing that's actually real is the sort of the big staircase...
...that they run up earlier on in the film.
And the drugs lab. The only other part, in terms of the exterior of the building--
The real building was only four stories high...
...and it was a very clean, nice little building with, like, offices inside it.
So my online guy would sort of take that, use that template...
...and add an extra 10 to four--
Ten to 11 floors up and just change the entire facade...
...so we made it look like this ominous, you know, building.
We knew that the building would be an important character in the film...
...so we looked at different ways that we could kind of keep it interesting...
...on an aesthetic level.
Not to kind of-- Not to let the audience get bored...
...about the idea of going from corridor to stairwell, from room to room.
So we worked hard to make sure...
...that every time we were in one of these locations...
...that there was a specific quality to it.
A specific set piece that set that location aside from the rest of them.
And I'll come back to those later on as the scenes unfold.
So there's a little bit of a back-story about the music in this film...
...because obviously, we have two versions.
What happened was, when we sold the rights to Sony...
...we were in the middle of production, actually.
I was two months into the shoot.
We sent some footage across to the Cannes Film Market.
And luckily, Scott Shooman, who was working with Sony at the time...
...he picked up the film and got on the phone with me...
...and said, "You know, we really wanna release this film...
...but would you be open to having a new score done for the film?"
With somebody off their label. And, yeah.
What happened was, they hadn't heard the original yet...
...and we went ahead and continued to make our film, make our version...
...using our musicians, Fajar and Ogi.
They are the guys that worked on the sound mix as well for the film...
...alongside Bonar, Sandika and Jack.
And so, yeah. I was so locked in with those guys...
...with the music we did on that film-- On the first version of the film.
--That when it came time to sort of discuss it then with Mike and Joe...
...about their approach doing the U.S. version...
...I didn't wanna give them, you know, specific notes.
When I spoke on the phone with Mike the first time...
...I didn't wanna tell him, "Let's go in this direction.
Here's your in point, here's your out point."
Because I was so wrapped into that version that we'd done...
...that it just felt like I'd only be giving him the same notes I gave my guys.
So I kind of said to Mike and Joe:
"You guys have some creative freedom to go off...
...and do what you think is right, to interpret the film the way you see fit."
And that phone call helped. It reassured me a lot.
Mike told me that his approach was gonna be to take it...
...from more of his classically trained background.
Not for it to be a bunch of songs, which are plastered on top of a film...
...but for it to actually be a score that aids the film.
And when he was talking about bringing in Joe...
...whose work I was a huge fan of...
...having, you know, loved the whole work they did on TRON...
Yeah, it just-- It made sense then.
The idea of being told they were gonna put songs in there...
...that would sit in the background and just aid the scenes...
...and moments where they were gonna lift it up even higher...
...make the music the forefront, drive the scene forward.
That balance between the two knowing that it was gonna be score-based.
And talking about references like John Carpenter films...
...and scores from the '80s, these films I love.
Just, you know, all the influences on this film.
It reassured me to the point where I just had this--
Just a full confidence in their ability then.
Belief that what they were gonna do was gonna be right for the film.
Fifth floor secure.
So now we're gonna start to see how we decided to kind of...
...create a scene where we could play around with a location...
...and set it aside from the rest.
The atrium was always gonna be about light and shadows, basically...
...and once we hit the lights on this, we were gonna play with that idea.
I wanted to explore different concepts that I hadn't seen done in films before.
And so one of those is the idea of when you look into the darkness...
...the more you look, the more detail you see.
The more things kind of appear in the shadows.
And once I kind of realized that I hadn't seen that in a film before...
...it became the sort of the driving force...
...behind designing this scene then, and it was literally, like, one night...
...probably when I was trying to go to sleep...
...trying to get some sleep, about midnight or 1 a.m...
...then I get this idea for these guys on different levels of different floors...
...who can't see each other, there's not enough detail there.
They're looking in the shadows, in the darkness.
And then I realized that we could play around and heighten it...
...and do something a little bit stylized...
...but something that made sense that could convey to the audience that--
When that muzzle flash of the shotgun goes off...
...that it would light up the space.
In the blink of that eye, these guys with AK-47s were trained enough...
...knew enough to be able to pinpoint their targets and then take them out.
That was something that developed over the course of a night.
That probably kept me up till about 3, 4 a.m., writing notes all night.
And that's how it goes sometimes.
So this shot, then, with Tama, speaking into the microphone...
...that was like a riff on a lot of different influences that came into the film.
When we were making the film, obviously, doing the film...
...inside one location and the idea of them being hunted...
...and being like, you know, chased after by all these bad guys.
I watched a lot of films that were classics of that sort of--
That sort of genre, that sort of style. And so, you know, that initial--
That initial influence with the microphone shot was...
...something that was, you know--
Came from, like, The Warriors, by Walter Hill.
Throughout the course of preproduction and designing the film...
...writing the script, I would watch a lot of films.
So I'd be checking out Die Hard, Escape from New York.
Assault on Precinct 13 was a big influence.
And what I kind of took from those films, like, especially with Die Hard...
...was the idea of how to create these big, bombastic spectacle scenes...
...these big action set pieces.
But then-- Mix in that, then...
...with the sort of more lower-budget scale...
...of Assault on Precinct 13...
...and figuring out ways that we could create this sense of danger...
...and, you know, people coming at them...
...from every corner of every room...
...but without having, you know, hundreds of extras at my disposal.
So the thing I got most from Assault on Precinct 13 was the use of sound...
...and the use of building up tension and dread...
...and trying to kind of create this atmosphere...
...of, you know, what's around every corner.
And I think the moment that clicked for me...
...was when I realized early on in the scripting process...
...that the concept was technically a survival horror film.
You know, the-- On the surface level...
...people will kind of always see it as a martial-arts action film...
...but for me, it was always a survival horror...
...that happened to have martial arts as the action discipline in it.
So once I kind of realized that, I was able to add a lot more detail in there...
...and add a lot more sort of, you know...
...elements from different genres...
...that don't normally exist in a martial-arts film.
I'm gonna talk a little bit about this shot while it's still on.
We wanted to do this shot, and we wanted it to feel...
...like 1000 frames per second with the shotgun shell coming out of the front...
...and the fire lighting up the guy's face.
We didn't have the budget to have an expensive camera to do that...
...so, what we did was we just shot in 60 frames per second...
...and just had the actor move slowly.
So he looked like an idiot and a dick for about five to 10 takes of the shot.
I told him, "You're gonna look like a fool. Trust me.
When we get it right, it'll look great."
And thankfully, a combination of the slo-mo and his acting...
...mixed with the great CG work by Andi...
...that's worked with us on two films now...
...makes our shot work completely then.
I'll talk a bit about the guns...
...because we didn't have real blank-firing guns at all in this shoot.
We used airsoft blowback guns.
So nothing was coming out of the guns at all and it--
What worked for us in terms of that...
...was we could shoot and shoot and shoot...
...and reset time would be immediate.
There was no need to go through the whole--
Sort of the safety processes you'd go through...
...if you were using blank-firing guns and blank-firing bullets.
So it meant that we had a lot of CG elements also then.
It was postproduction heavy in terms of that.
But one of the things that we had to do--
This situation, this scene was in the darkness.
--Was we had to have real light bounce around off the walls...
...and bounce off the weapons.
We came up with a cheap, low-budget technique where we had--
Our Art Department would use welding guns to create a spark...
...we'd use diffusion sheets...
...then we'd have about three or four of those set up.
Whenever we'd be ready for the gunfire...
...we'd count them down, like one, two, three...
...and the guys would fire their guns.
Other guys would be setting off sparks.
It would create this working environment that--
Where my online guy could be able to put in the muzzle flashes...
...and the bullet shells later.
And I got him right where I want him.
So I should probably mention about Doni Alamsyah and Yayan Ruhian...
...who play Tama's right-hand men.
Doni actually has played lko's brother twice now in two films for us.
He played his brother in Merantau.
In Merantau, it was a much smaller role...
...and he came to us after Merantau and said how--
Like he kind of regretted not being able to do any fighting...
...and not being able to do action in the first movie.
And so when it came time to set up The Raid...
...I wanted him to play this role...
...and he was hungry for it, and he came in.
And, yeah, he did a great job in this role.
Yayan was actually--
Who plays Mad Dog, is one of the choreography team from Merantau.
And for him, then, in this film, like, he--
When we were setting up Merantau...
...we weren't initially going to cast him as Eric in that film.
But after practicing all the choreography with lko...
...for months on end and not finding a person to play that role...
...Anne suggested that we should give him a try and give him an audition.
When he came in to do the audition, he nailed it.
So he was just as good on the drama as he was with the fighting.
And so when it came to The Raid, I knew I wanted to cast him again...
...and give him a challenging role because Mad Dog is kind of--
In Merantau, when we cast him as Eric, he had a redeemable quality.
This one, he was just pure evil.
I think Yayan actually relished the opportunity...
...to play a character that bad, that vicious then.
When I'm working on martial-arts sequences...
...I shoot with a very detailed video storyboard.
We work out every angle and every edit ahead of time.
This is in, like, the first three months' worth of preproduction.
But for all the gunplay stuff, like we're seeing now...
...I shot this without a shot list at all. We didn't have any kind of storyboard.
So the way we did it was we'd do a lot of long takes, where we tell the actors:
"You're bursting through the door, you arrest that guy. Pick up that sofa.
Pick up the wardrobe, put it in front of the door."
We'd give them these longer takes...
...so they could get an energy going and a real feel for the scene.
And then I'd sort of orchestrate my two cameras then...
...to kind of pick up different elements of that scene...
...as we were going through it take by take by take.
The benefit, I guess, of being my own editor...
...is whenever we're doing these shots...
...I know where the in and out points are for everything we do.
So I can kind of almost be able to conduct them...
...and tell them, "Come down low for the guy's close-up.
As soon as they've arrested him, go up to the cupboard."
And, yeah. That worked for us in this scene and it was a bit of a--
An experiment and we were a bit nervous...
...but after about a day or two, we found a flow...
...and we were comfortable to kind of finish this scene off then...
...without having the need to have a full, detailed shot list.
One of the decisions when it came to designing how we were gonna shoot...
...was that feeling that we wanted it to be almost semi-documentary in style.
So once we're sort of with that SWAT team...
...we follow them and discover everything with them.
We're over their shoulder.
Whenever we're with them, it's got a hand-held feel to it.
Like this shot, we have to go through the hole.
It was one of those things. To make that transition work...
...we wanted to follow lko as he jumps through.
And the way we did that shot, actually, was we had two camera guys...
...and we had the one up on top of the top floor with the camera on a Fig Rig.
And as lko would drop down through the hole...
...he would fall down with him, push half of his body through the hole...
...and twist the camera around.
Meanwhile, we got a second camera guy then, down on the bottom floor...
...stood on a table, waiting for the camera.
When it drops through, he takes hold of it...
...controls camera, continues the movement.
So it was like a-- It was a cool, like, low-budget DIY thing...
...that we did in order to sort of--
Yeah. In order to achieve what we wanted to achieve with the--
Sort of the camera movement and style.
Bowo, the ax!
I'm happy with the way this scene turned out.
We have, like, a lot of mayhem and chaos from--
With attacks coming from every possible place inside the room.
But one of the things I'm happy with is how we did the sound design on this...
...with Fajar and Ogi's work on...
...having this moment where the sound just drops.
And the reason why we did this, this idea of experiencing...
...the deafness of Bowo's character when he gets hit in the ear...
...is that we wanted to have a respite for the audience...
...because we have such a sort of relentless gunfire scene...
...which has gone on for a minute or two...
...that I wanted there to be one moment where we take a breath...
...and then go back into it as soon as Rama pulls out the gas canister.
This idea-- Again, this is one of those, like, 2 a.m., trying to sleep...
...and then suddenly something pops in my head.
So I was starting to think about how I could kind of end the scene...
...not knowing what I should do with it, and I wanted to finish on an explosion.
And in Indonesia, in a lot of our ovens...
...we have these big gas canisters underneath...
...and so maybe it was one of those very rare days...
...when I was cooking for a change, and I saw that gas canister...
...and I thought, "That would make a good combustible device."
And trying to figure out how we could channel that out through a doorway...
...putting it in a refrigerator seemed to make sense...
...and seemed to be, like, a logical solution for it.
When we discussed the idea...
...of whether that would work, like, on a sort of, like, a realistic way...
...I spoke to our military adviser and said:
"if I put a gas canister inside a refrigerator...
...and then threw a flash-bang grenade in there, would that be enough?
Would the charge of that be enough to create an explosion?"
And he told me yes. So I guess I've learned something...
...by watching lots of violent movies in the '80s.
They can cover the damage.
Both of you get down there. I want this situation under control.
Yes, boss.
One of the things that's been kind of said about this movie a lot...
...is that it's got a similar structure to that of a video game.
Usually a lot of people, when they get told that they take it as an offense...
...but for me, I actually take that as a huge compliment.
Because we did-- We set it up like this.
We set up, you know, the villains...
...to have this sort of almost-- They're the next step up, the next stage up.
Yandi, the guy we saw earlier pulling the machete from under the table...
...we set him up to be this guy...
...who's going to play a major part in the action.
But then through introducing, like, the new challenger...
...we kind of kill him off by showing the machete gang.
So the leader of the machete gang is played by a guy called Godfred...
...and he was found by our casting girl on Berandal, lcha.
She found him on a trip outside of Jakarta.
And in his real life he's actually an architect...
...and he's a really, really nice guy.
He happens to be capable of beating the shit out of people.
So, yeah, he was a real great find for us.
And, you know, like, same with Joe...
...the same with, you know, Yayan and lko, throughout my last two films.
Sometimes you stumble upon these people...
...that seem like they were, you know, born to do this type of thing...
...born to be in films, but they just never had the chance before.
One of the things we wanted to do...
...was to have a logical reason why we get to the martial arts.
So for the first 30 minutes of the film...
...we kind of stick to a lot of gunplay action.
And we do that on purpose because, like, I don't like--
I knew the film was gonna be a martial-arts film...
...but I don't like seeing films where guys have an arsenal of weapons...
...but they choose to use their fists, they choose to use their feet.
This is a SWAT team that have gone into this building...
...so we couldn't have them realistically use any weapons...
...or hand-to-hand fighting until they'd run out of bullets...
...until they had no option left, until they had no choice left.
And so this was one of those things where we had to figure out...
...logistically, how we could get rid of their equipment step by step by step.
So it was a case of, "Okay, we need to lose their guns...
...we need to lose their helmets, lose their gloves."
it was just finding these little moments throughout where we could do that.
I'm gonna spoil something for you now.
When we were shooting this, this was like...
...our schedule was all over the place. And that guy being carried...
...that's not Pierre Gruno, who played Wahyu.
That's a stand-in we had who came in just for that day.
So poor guy ended up being brought in, had his hair sprayed gray by us...
...and then was just bundled across to a doorway.
And that was it. That was his day.
A lot of this we shot low-budget. That last shot then...
...with the guys climbing up through the hole in the floor...
...I wasn't given the same kind of treatment as I was on Merantau.
On Merantau, producers spoiled me. It was one of those things where...
...any time I wanted a piece of rigging, piece of equipment, it was on standby.
Every day of the shoot, I could have whatever I wanted to.
On this it was like, "You've got seven days to have rigging...
...and you're not allowed to have more than one equipment."
So, like, doing shots like that where we needed to be high up...
...it was one of those things where we discuss it:
"We don't wanna spend our money...
...to get a crane for that type of shot or to get that extra height."
So it was literally just stand on the table, hand-held, and just, you know...
...just do what we did when we were making independent films...
...and use those tricks and techniques that we had...
...to figure out, like, how to kind of raise the production value on this film.
Earlier I was talking about the idea of survival horror...
...as the central concept, and this is one of those key moments...
...where we started to inject horror elements into the film.
The idea of him, you know, tapping that machete on the tiles...
...this is clearly sort of, you know, inspired by...
...all the horror films I watched as a child growing up.
It's one of those things where I wanted...
...to play on this whole idea of, like, claustrophobia...
...and the idea of being stuck with nowhere to go...
...being stuck with no escape and--
Yeah, this was the best way that we could kind of convey it then.
This I use whenever people talk about the idea of making films...
...as being this glamorous thing...
...where, you know, you have, like, big stars and beautiful shooting locations.
Yeah, three men in a dirty, danky toilet...
...in the middle of a rundown building in Jakarta, it's not glamorous at all.
When you think that we have lighting guys and sound guys...
...and then also, like, a camera inside that space...
...yeah, it's not quite as you kind of imagine it.
Initially, this was supposed to be a scene...
...we were gonna split up into two or three sections...
...and we were gonna intercut it with the fight in the hallway.
But after I kind of showed it to Todd Brown...
...one of the exec-producers of the film, runs Twitch Film website...
...he gave me advice. He said, "You know what?
The fighting in the hallway plays so much better as one entire fight."
If we kept breaking it up and shifting gears...
...and, you know, going back to that, you know...
...more tension building in the toilet, it would kill both scenes.
And so very rightly, like, he told me to treat them as two separate scenes...
...and just to kind of come back to that toilet at the end of this fight.
- Don't fucking leave me with that guy. - He's not one of them.
So when we designed the fight scenes for all of our films...
...what usually happened is that I'll give lko and Yayan...
...an idea of the location, the props, sort of the general setup of a scene...
...and then they'll kind of figure out the sort of the technical stuff then.
They have to fight their way out of those situations.
When it comes to the script, the detail we have on the script is saying that:
"Okay, so lko's character has a stick and a knife. Those are his weapons.
He also has Bowo sort of clinging to his shoulder.
So we have this moment where, at the start of the fight at least...
...he has to maintain Bowo's balance because Bowo can't stand on his feet."
And then the script is-- You know, you can't put...
...the punches, kicks, hits into the detail of the script...
...because no one's gonna understand that except for you as the writer.
And so I kind of keep it more to bullet points.
So we have the moment where he puts Bowo down...
...we have the moment where he loses a stick, when he loses a knife, and...
Like, that kind of informs the choreography then, in terms of:
"Okay, so we can explore different aspects of fight design."
This would probably be my mother's favorite scene in the entire film.
She has a problem with anything to do with knife violence in movies.
She can't stand knives in films.
So as you can imagine, this shot coming up right here.
Yeah, she loved that one, so...
You're welcome, Morn.
So when we're designing these fight scenes...
...obviously, we need to kind of be able to have different elements...
...from the Art Department, and for, like, certain parts of the location...
...that need to be protective for the stunt guys...
...whenever they come into contact with walls or doors or light fixtures.
And you'll see one of the best examples of that coming up.
We design, like, a miniature version of the set in preproduction...
...to map out where the choreography takes place.
So at this point we know exactly that this column and this wall...
...needs to be cushioned and needs to be soft.
The way we did that was we kind of...
...we Sellotaped a bunch of blood bags to the side of the guy's head.
All of those tiles are made out of foam and the wood is made out of rubber.
So when we sort of smashed his head along down there, the tiles crack...
...blood from the blood bags strapped to his head...
...they're leaving the mark on the tiles. You feel you're seeing something real.
And combined with the sort of sound effects then...
...it has exactly the desired effect.
It gets laughs from the audience.
So maybe a lot of you guys, you know, are just as sick as me then outside.
In this scene we have a combination of different things.
Whenever we can do it, we tend to use practical blood as often as possible...
...but every now and then we'll have, like, Andi, our online guy...
...sort of aid us and do a lot of CG blood.
So then that gunfire then, we had, like, a real explosion...
...for the door frame, for when the door splinters.
But then the blood that hits the wall, that was all CG.
And Andi, our online guy, is really, really good at doing CG blood.
He-- His attention to detail is something that makes the blood...
...work so well in this film that I feel, you know.
The main reason why is because he pays attention...
...to where the light sources are in all of the locations as well.
So he looks for where those shadows are and where the light spots are...
...so that whenever that blood comes out...
...it's reacting to the atmosphere on set...
...not just the idea of just painting blood onto an image then.
That level of detail is one of the reasons why we work with Andi...
...and, you know, look forward to working with him again and again.
Open the door!
So now, like I said earlier about that idea...
...of going from set piece and then, you know--
Once we end on one big set piece, like, a sort of an explosive moment...
...it was the idea of keeping that pace going...
...keeping the idea of this relentless feeling...
...of the story and the plot always driving forward.
And I had to almost immediately jump into this moment...
...where we start to build tension, and we start to build suspense.
So this is one of those scenes where I'm kind of probably most proud of...
...how we kind of built the tension and the suspense in this moment.
Open the door.
Please.
You can't turn your back on us.
Now open the door.
One of the things that I have is kind of a-- Not so much a phobia...
...but I feel very uncomfortable with, is that idea of claustrophobia.
And that idea of, not just claustrophobia...
...but being trapped in a position where you cannot escape.
We did it on a smaller scale earlier with the toilet...
...but this is that same situation, but in a much more extreme way...
...when they get to hide inside the wall, and...
It's just that whole concept of they literally have nowhere to go.
If Godfred finds that door panel and opens that wall...
...they're stuck, they're dead. Can't escape from that.
And that was something that kind of--
When I was coming up with the idea for this then, it just--
Again, it was all-- It's all coming from my love of the horror genre...
...my love of, like, thriller movies.
And truth be told, one of the influences is that idea of when I was a kid...
...I was terrified of the music video for "Thriller."
And there's a moment when, you know, she's in that room...
...and zombies come breaking in through the walls...
...and that stuck with me all the way throughout my childhood. I hated it.
So this was kind of like a riff on that then.
It was that idea of, you know, they're stuck.
And as soon as Godfred sort of, like, realizes...
...that something's up with this wall...
...it sets that idea in the audience's mind, "What is gonna happen next?"
And even though he doesn't pop open that panel...
...you could argue that what actually does happen is probably just as bad.
- You hiding anyone here, friend? - No, I swear it.
You wouldn't be lying to me now, would you?
This scene is really interesting.
This scene plays differently in different countries and audiences.
In Indonesia, they laugh so much...
...at the dialogue here when we do this scene...
...because there's something about Godfred's accent and his delivery...
...that for some reason people in Indonesia just crack up at it...
...whereas in, when we screen it in the U.K. or in the U.S...
...people tend to stay serious about it. They see it as a genuine threat.
But when it comes to the Indonesian audience...
...once he says:
It's like it's seen as this humorous thing.
So, yeah, it's kind of weird to kind of see a film play completely differently...
...with different audiences and the way they respond.
But to be honest, from my side of things...
...it doesn't matter which way the response is.
If there's a response and people are enjoying it, then it works.
So, yeah. Laugh or take it seriously. Go ahead.
This tends to get a reaction. When we watch this...
...this one tends to be one of those where people kind of respond big.
When we played this film in festivals, the first time we played it...
...was in the Toronto International Film Festival.
It was part of the Midnight Madness section.
And we'd finished postproduction on this film...
...literally one week before the screening.
And me and my producer, at that point, we were so...
We were so pessimistic about the film. All we could see were the problems.
All we could see were the sort of areas of picture break-up in the corner...
...or bits of sound that dropped that we wished we could fix, and you know...
We had no expectations going in.
And when it came to that actual first screening...
...all we hoped for was a couple of decent poster quotes.
That was all we expected.
That was the sort of height of our expectation on the film.
And then when it started to play, like, the Midnight Madness audience...
...they just took to it, and they just heightened the experience...
...and just elevated the film to a point where we were--
Me and lko and Joe were there, we went along for the screening...
...and we were blown away.
Like, we were so overwhelmed by the experience of it and...
Yeah, ever since then-- And to be able to sit in...
...and get the audience's reactions as they, you know...
...ooh and aah and sort of vocalize how they feel during the film...
...it's the best feeling as a director.
It's the best feeling in the world to know that those little ideas...
...and those little beats connect with an audience in some way.
So this is probably the example--
I was talking to you earlier about lang...
...the guy that plays Gofar, of his sort of, like, comic timing.
The situation is pretty grim. The idea of having to kind of do this operation...
...but I wanted to play it for a certain, like, dark humor to it as well.
And so when it came to that idea of needing a knife...
...that he brings back a butter knife, it's the worst thing he could find...
...the way he plays it, plays it completely straight.
He asks him if a spoon or chopsticks would work.
Whenever we were doing rehearsals, he cracked me up every single time.
And so it's kind of reassuring to know that it works with all audiences.
This has been one of those things where it's worked universally.
People seem to find it funny, so...
I'm glad that people share the same twisted sense of humor as me, then.
Maybe I can comment on the makeup. The makeup is done by Jerry...
...and for this entire sequence, that's all practical.
So we had like a latex effect then...
...where we could build up his stomach, so we could get that depth...
...so when lko put the butter knife inside, that we could actually...
...feel like it's gone really deep inside the guy's stomach, so, yeah.
Thanks to Jerry for that amazing piece of effect.
This scene in the elevator, this is actually--
It was just sort of another one of those, like, bone-of-contention moments.
This was something I was considering cutting from the film for a long time...
...and it wasn't until maybe the last final two or three days of--
Before we reached picture lock, we decided to keep it and leave it in.
In terms of plot importance--
Yes, it kind of hints at, you know, the fact that there's something more...
...to Andi's character, in terms of, you know, what his intentions are.
But for me, when I watched this film with an audience now...
...I feel like tonally it doesn't quite fit right yet.
We've just had such a strong visceral moment...
...and such a strong extreme scene of violence before this...
...with the hallway fight, you know, the machete through the wall...
...and then the operation on Bowo...
...that for me, whenever I watch this, every time it comes to that elevator...
...I feel like we still need another scene of respite.
Need another moment where we can breathe...
...before we go back to the violence.
So I guess, in a way, the only thing I would change would be to kind of...
...maybe take that scene out.
I don't know how it would play without it. Maybe I'd miss it again.
The problem of being a director, you mess around with your films.
You never are actually finished with them.
I wish I could, but the truth is Tama has this place completely in control.
Even if you find a spot away from his cameras...
...you'll be trapped in the corridors.
There's no escape route. No passage you can take.
If you make it, it will be the same way you came.
We're about to reach one of the sort of more memorable stunts soon.
So I kind of wanna talk a little bit about that before we reach it.
Whenever we design our stunt work in the film, we always have...
...the safety of our stunt guys in the forefront of our mind obviously.
We have an ambulance crew on standby.
We always have a paramedics team with us every day of the shoot...
...whenever we do these action sequences or stunt sequences.
When we come to design the stunts, we try to design them in a way...
...that is 100 percent safe for them. It's impossible to get 100 percent.
You try to aspire to reach a point...
...where in camera, it looks horribly dangerous...
...but when you're actually executing it, it's very safe.
And this stunt coming up with the back breaker on the wall...
...is one of those where we tried our best to make it as safe as possible...
...but just goes to show that, no matter what...
...things can go wrong from time to time.
So the way we did it--
I'll give this explanation before we get to it.
--Is that we took the wall out from the atrium first.
When the guy gets flipped over, we're controlling him with a wire...
...to make his path correct, so he has to land on a specific mark.
We took the wall out, put crash mats everywhere.
And then when he gets flipped over and lands on the crash mats...
...once we get that take locked, we lock the position of the camera...
...and then we put the wall back in.
We lift him up on a wire one meter up, drop him down...
...so his legs-- His back can come down one side.
Then we drop him so his legs come down the other.
And then all three shots are stitched together...
...to create that effect of his flip over the wall, smashing his back in half.
Where it went wrong, when we did that first take of it...
...the guys pulling the wire, they pulled too hard.
And so instead of coming down nicely on an angle and an arc...
...he ended up getting flipped across the way...
...and instead of dropping, he went across, smashed the back of his head.
And the guys with the wire, they lost balance and dropped him...
...and so, yeah, he ended up falling and missing the crash mats...
...and hit the concrete down on the ground below, five-meter drop.
And everyone on the crew, their heart was in their mouths...
...and we were freaking out.
We thought something terrible happened.
The paramedics came in, they checked him.
Ten minutes later he came to, and was sort of, "Okay, let's go again."
The usual sort of tough guy, stunt guy thing of, you know:
"I can take this kind of pain. I can take this kind of punishment."
So we told him, "No, you're gonna take a break, have a couple days off.
Come back to us four days later."
And truth told, he did, he did the shot and he nailed it then.
I want to give a shout out, because that guy's name is Rully...
...and he's one of the toughest stunt guys I've ever seen.
So huge respect to him, and he worked really hard on this film.
So we're coming up to the machete-gang fight.
And I was talking about the idea that every location should have...
...its one big set piece which defines it from the others...
...so that we could keep the film interesting to look at.
In the atrium we managed to have the scene with the lights going out...
...and then also the scene with, you know...
...the stunt with the back breaker.
And in the corridor, we already had a big fight scene.
There was lko with a stick and a knife...
...and that's the sort of-- I guess that's the iconic scene of that location.
And so for this one, when we were designing it...
...we always wanted to kind of take the fight-- We start in the corridors...
...but didn't want it inside the same space. It's not visually as interesting.
So we looked for a way that we could get the fight to start here...
...but then develop further and go into new locations.
So that informed us with the idea that we had to break one of the doors...
...and actually be able to go inside one of the rooms.
It was a way for us to be able to change the color of the film...
...and make sure that that room was designed in a way...
...that it would be visually interesting, different from everything we'd seen.
So we did a lot more...
...like, stronger reds and greens and blue colors inside that room then.
Yeah, okay. Everyone tends to get a reaction to that kill.
I'm ashamed to say it's my psychotic brain that came up with that one.
We worked on different things we could come up with...
...for how to do that transition into the room.
Once we realized we were kicking someone through the door...
...we sort of had a brain wave where we were thinking:
"We could have splinters, part of the door inside the frame...
...and have it like these jagged splinters."
And so then, yeah, it was just straightforward.
Jump backwards and pull the guy's neck onto it.
But that whole moment...
Like, we wanted to riff on different sort of martial-arts heroes...
...that we'd kind of grown up watching, so for that, it was the whole thing of--
When you watch, like, a Bruce Lee movie, and when Bruce Lee...
...kills a guy in his movies, like when he kills Oharra in Enter the Dragon...
...and he leaps up and jumps down and crushes his rib cage...
...it's a sadistic move, sadistic scene. It's all about his character...
...being overcome with the rage of the situation...
...and being overcome by the violence inside him.
And when you watch that scene play out...
...like, the look on Bruce Lee's face is one of pure anguish.
It's like he looks distraught and, you know, disturbed by the fact...
...that he went to that place, that he went to that dark side of his psyche.
That was something we riffed on.
That moment when lko jumps backwards...
...and slams his neck onto the door...
...there's that moment where there's a look on his face.
He looks into the eyes of the person he's killed.
Like, it's very slight and it's played out very quickly...
...but it was the idea of, like, having that part of him acknowledge...
...that what he's just done is, for want of a better word, fucked up.
That stunt took a long time to get.
We spent about four days shooting this.
And it was a lot-- Obviously, because of the fact that they're in tandem...
...it meant we had a lot of wire work going on to do that stunt safely.
We built the wall onto that building, as well.
We used a real building and just sort of...
...the Art Department designed an entire wall structure to go down.
The ledge that they bounce off then...
...was made out of soft rubber and foam actually, so...
Yeah, again, we did that as safely as possible as well for the stunt design.
But that was a long time getting that shot to work right.
And it took a lot of tweaking in post, a lot of rehearsals, a lot of shooting.
Here, for me, it was really important to have a moment like this...
...where we can kind of cut back to the wife...
...and show, you know, just what's at stake for lko's character...
...what he could end up losing, and to kind of...
...sort of regain that support of the audience...
...to realize that, you know, it's more than a string of action scenes...
...that there's some kind of an emotional hook there as well.
And what I've always been a fan of is that idea that, you know...
...that he's not just a killing machine.
That's the thing we wanted to bring into lko.
Like, when he's up against people who are not skilled, he's in control...
...but when he was up against the machete gang...
...they had a strength to them, they could have overpowered him as well.
So it's kind of like he takes as much of a beating as they take...
...and that's kind of important for us then.
It makes the audience relate to him more.
Makes them feel a stronger affinity to him...
...because he's not, you know-- He's not this unreal superhero guy.
If anyone other than his brother came out of that room to grab him...
...he's dead, and that's the end of his story.
That was something important for us, sort of the design of his character...
...and the design of how we present our heroes in our films then.
Keep watch.
So earlier I mentioned about Joe actually having a judo background.
And we're about to reach a scene soon where there's, like--
It's his opportunity to show off his martial-arts skills...
...when he fights against Mad Dog.
When Joe came in, we-- Once we knew that we were gonna cast him...
...we started to look at choreography we'd designed for that scene...
...started to look at ways we could approach it...
...to sort of better suit his skill set.
Whenever we design, it's me, lko and Yayan designing the fight scenes...
...so it tends to be a lot more sort of silat-oriented.
But then once we get to know who's gonna be in the cast...
...then we can kind of re-adapt that choreography...
...in order to sort of, you know, accommodate their skill set.
So when it came to this fight, we wanted it to be a lot more...
...like, upper body heavy for Joe's character.
So we're playing with, you know, two guys...
...who have very different styles, very different body sizes.
You know, Joe towers over Mad Dog.
But we wanted to kind of reflect that in the choreography.
So Mad Dog is the one that's coming in fast and close quarters...
...and trying to sort of, you know, take him down, you know...
...and high attacks, low attacks, all over his body.
Whereas Joe's character is sort of so overwhelmed...
...by the speed and ferocity of the attacks...
...that all he's capable to do for a long time...
...is to kind of use throws or pushes...
...to kind of almost keep a distance between him and Mad Dog...
...and to try to overpower him through strength as opposed to technique.
Another time maybe. I'll take my chances here first.
Suit yourself.
We're going back up there. We're going to find them.
And only then do we leave.
Any objections?
Thought not.
Everyone ready.
Move.
This is the first time we're gonna get to see Mad Dog do any kind of fighting.
And we-- At the start of the film, when we see him--
It's different because I know him and I know what he's capable of.
But an audience, when they see Mad Dog...
...he seems like this unassuming type.
Like, we don't really get this idea of him being such a badass.
And this was the time when we wanted...
...to, like, fully introduce that side of his character.
And so in this standoff, this sort of, you know, knife and gun standoff...
...we wanted to kind of have this sort of very cold, very detached, very--
Almost, like, purposefully slow buildup to the fight...
...to really set up this idea of what he's capable of...
...and what type of person he is.
Later on, when we come to the moment where he sets his gun aside...
...like, it wasn't designed in that way to be, you know, oh, the bullshit thing of:
Well, let's set up another fight.
He's gonna unload his gun and start fighting hand to hand.
It's not about, like, a code of ethics for him.
It's not about being respectful to Jaka.
It's just about the fact...
...that Mad Dog takes no pleasure from shooting someone in the face.
He takes no pleasure in killing someone that way.
The way he wants to kill someone is vicious. It's violent.
And he wants to feel like he's overpowered someone.
It's not enough to just--
It's not enough to have something mechanical in his hands...
...that kind of gives him that power.
And so when he's unloading the gun and putting it aside...
...he's talking about things like, "This is the pulse."
And it's that sense that when he fights these guys...
...he wants to feel that moment when the person--
He wants to know when that guy breathes his last breath.
He wants to feel that moment when the pulse in him starts to die down.
And it's that sort of--
That's what makes him a much darker character than I've written before.
And what makes Yayan so great in it...
...is that he totally committed to the role and he totally went in for it.
And, you know, I'll be honest, he surprised me even.
The way he performed this is just so great.
It was a surprise. I had no idea what he was gonna bring to this role...
...and how he was gonna perform it.
But he just played it right. He kind of-- He didn't go pantomime with it.
He didn't go OTT.
He just played it in a very cool, cold and calculated way.
So there you go. You're gonna see-- There's the first of our judo throws.
We kind of tried to-- Earlier I was saying...
...we tried to incorporate some of his skill set in terms of choreography.
Yayan's going crazy. He's trying to throw and push him away...
...and keep him at a distance then.
One of the things we wanted to incorporate...
...were like rough-looking throws.
So this is one of them. It's not a clean throw. It's kind of like--
There's a roughness and a rawness to it.
They're not-- They never kind of get a proper grip on someone...
...and they just kind of, like, hurl bodies into objects.
That was one of the things I wanted to do, to kind of--
When we were designing the fight scenes...
...we knew we were gonna have, like, crisp choreography...
...and, like, a complexity to it.
We wanted to mix it all in with these slightly rougher approaches as well.
Like, where we have a bit more desperation at play as well.
I want to, like, say one or two things about, you know, screen fighters...
...and their performance, which I think gets often overlooked...
...when it comes to people that...
...criticize actors for these types of films.
And it's like-- It's really hard what they do anyway...
...from purely on a choreography level...
...in terms of the timing and the precision required...
...for each of these shots to be executed properly.
But also it's maintaining that emotional connection to the fight as well.
And maintaining a performance for shot for shot.
You forget that we shoot these film--
These scenes, it takes us four days of doing fight scenes.
Every shot is about, like, one-second, two-second duration.
And we do like 30, sometimes 40 takes on each one.
And then in the process of that...
...they have to maintain that sense of where their character is...
...during that fight. There's a shift throughout.
There's, you know-- There's a gradual loss of control throughout the fight...
...and a gradual growing of desperation in the fighters.
That's something that's really hard for them to hold onto and maintain.
Soto me, you know...
...it's just as hard as any dramatic performance to do this type of thing.
And I'm really proud of Joe and Yayan for this scene. I think they nailed it.
One of the things we wanted to do...
...was to kind of make Joe's death count for something.
To make it have an emotional resonance with the audience.
And so we took out all the Foley.
We took out all the audio, all the live audio from the scene.
And we just had it as just purely down to score or a drone.
What happened with those is--
Actually, the way we came across it was by accident.
When I was in with Fajar and Ogi, we were designing the sound mix...
...they wanted to play the music they designed.
And when they were playing it back to me...
...they'd forgot to unmute the live action and the Foley channels.
So it played just the drone.
And as I sat there watching it play out...
...once the scene finished, they said, "Oh, sorry. We'll turn the live audio...
...and the Foley back on. We made a mistake."
And I said, "No, no, no. Go back and play it again."
And then when they played it again, I listened to it with just the drones...
...and it just felt like it had this-- It had a much stronger quality to it.
It kind of-- It sobered the film up almost, you know.
It kind of gave us this one moment where it wasn't about spectacle.
It wasn't just about, you know, blood being spilled...
...or inventive ways to kill someone.
It was giving you, like, an emotional connection.
And so we kind of played it back another two or three times.
We all came to a unanimous decision, thinking...
...it worked much better like this. You know, it was a--
It was a very sort of happy accident that we all stumbled across then.
You have to leave this place.
So here we got a scene where we start to kind of--
We got maybe a section here that's 10 or 12 minutes' worth...
...where there's like a respite from the action...
...and it's more dialogue-based.
And we kind of uncover a little bit more plot and a bit more character.
I was very cautious that when we were designing this film...
...that we had to move at a very sort of breakneck pace.
And once I kind of realized that it was all around one event...
...and sort of, you know, from dawn...
...until about 4:00, 5:00 in the afternoon...
...it's not a large period of time we're dealing with.
It's not even a full day.
So once I acknowledged that, it was one of those things where I felt...
...like if we put too much plot and too many details into the character arcs...
...it could overwhelm the film and it could kind of create an imbalance...
...between, you know, the spectacle that we were going for...
...you know, and sort of make it a little too drama heavy or forced.
So we decided to kind of have this one little moment here...
...where we'd put a breathing space and develop the plot a little further...
...and uncover more information about the brothers and their back-story.
And the reason why they haven't seen each other in such a long time.
And just to give the audience that little bit of an extra hook then.
So we had already kind of established a sense of, you know...
...we wanna follow Rama, lko's character...
...because of the fact that he's got this wife...
...and expecting child waiting for him back at home.
But I wanted that to be a reason...
...why we'd have an emotional hook to the brother too.
So this was one of those opportunities to kind of establish their relationship...
...and to kind of show why they care about each other...
...and why it was so important that lko would bring him out of this building.
A boy, due in two months.
I tend to--
When I'm writing these stories, I tend to try to kind of--
This might sound a bit cheese ball...
...considering the sort of situation that these guys find themselves in...
...but I tend to kind of try to put in elements...
...from my own life experience in these films.
Not that I've been in a building like this.
But more the idea of in Merantau...
...we had this moment where lko was talking about his brother...
...in, like, a concrete tube, and he was talking about their childhood...
...growing up together and what they were like.
And that came from, you know, me and my brother...
...because I'd moved to Indonesia at that time...
...and it was a big move.
Me and my brother have always been very close...
...and he's always been a major part of my life, supported me throughout.
And, you know, he's an older brother too.
So I'm always kind of the lko character then.
Like, he becomes my voice box in a way.
And, yeah, so in Merantau...
...it was all about being away from family, being away from home.
That was something I could bring to it from a personal level.
In this one, it was more about that idea...
...of knowing what it's like to be an expecting father.
And whenever you go somewhere, you know, you have that thing...
...where you make sure that you're gonna be there for that child.
That you're gonna-- There's no greater fear than not being able to be there...
...to see your child be born into the world.
There's no greater fear than not being able to see every day of their life.
So that was something I could bring to it from a personal level then.
- Where are your men? - Still hunting.
So this scene, we actually decided to kind of play this...
...like, pretty dry humor, really.
This is, like, I guess in a way, it's more like British humor.
But it seems to go down well with the audience. They get it.
And in a large part, that's down to lko and Dani's performance.
They-- We played it when we gave them direction, actually...
We had them play it almost like, you know--
Almost like schoolkids in a way.
The idea that they're both as stubborn as each other.
And it's kind of played very sort of very dryly and very abruptly. And the--
Down to the way we positioned the camera...
...the composition of the camera--
Just this sort of like almost a double act between the two of them.
I can point out there's a little bit of CG work there...
...that none of you guys will really, you know, realize.
When Jaka gets dragged into this elevator...
...that elevator's not actually there.
We just had a blank green-screen wall...
...and my online guy kind of put in the tiled wall and the elevator doors...
...and, you know, animated everything then.
Even down to the bloodstain on the floor.
So all of that was done in post then with CG.
So these are another couple of little tricks we did to kind of make--
This is the L-section corridor.
And again, like, we try to kind of make you feel like you're on different ﬂoors...
...that there's something different that you can kind of find interesting in it.
So, you know, this one was just simple--
You know, we just put a flickering light in there...
...just to give it a little bit of a different feel from the rest of the corridors.
And one of the design things that we did to kind of cheat...
...and to make it much easier for us to switch from floor to ﬂoor:
You'll notice on the doors, we actually write the numbers down in chalk.
The reason we did that was all we'd have to do is wipe off a number...
...and then re-write and put like fifth floor, sixth floor, seventh floor.
All we have to do is change the number.
It was a very quick and effective thing to do.
And he ran.
Sergeant ordered me to protect him.
Right now all we can do is try to survive this.
So I should talk a bit about Pierre Gruno, actually...
...who plays Wahyu, the corrupt cop in the film.
He came to us for an audition and sort of, like, nailed the role.
And we did a little kind of fight audition for him...
...because we knew that he had a small action scene later on in the film.
Obviously, Pierre is not gonna be able to do the same fighting...
...as lko and as Eka do in that scene, but he gave it everything.
He really, really did go for it with the fight scenes he did get.
And even in the rehearsal...
...when we showed him the choreography, he split the lip...
...of one of the fighters he was fighting against.
He had to slam the guy onto a table.
He just slammed him right into it.
And so the poor stunt guy came away from it with a split lip.
Pierre came to me and said, "Please, go a little bit easy with me...
...on the choreography," because he had an injured leg.
He had a bad kneecap from an old sports injury, I guess.
And, yeah, we gave him kind of--
All his choreography becomes sort of more brute force stuff than it's--
It's more like a boxing style really, with a little bit of silat in there as well.
But we'll touch on that later on when we get to the drugs-lab scene.
I guess I should really give a shout-out to Moti, my art designer of the film.
Because we talked earlier about the idea of, like, building sets...
...and not being able to use a real building.
And, yeah, like, Moti, I've worked with him since Merantau...
...and he's just such a great art design--
Art designer for this film.
And this location, Tama's office...
...was the closest to being almost exactly the same...
...as I had imagined it in my head.
You know, we wanted to go a little bit retro with CCTV monitors...
...using old television sets.
And, yeah, they did such a great job on it.
It-- You know, they didn't spend that much money...
...but they made it look really, really cool.
So, yeah. Just coming into this set...
...when they finally finished the design on it was kind of really exciting to see.
When the guys were putting up the lights, it came alive.
And so I was really, really happy with the work they did on it.
So this is another one of those things where you hint to the audience.
You put hints in there where the audience know what's gonna happen.
Because we've seen him cutting an apple with a really, you know--
It's not a kitchen knife. It's a knife to fight someone with.
We've got him playing with the idea of he must have something in his hands.
So you kind of put these little visual hints to the audience...
...so that they get the idea that something's gonna go wrong soon.
But you kind of-- It's that creating that level of expectation.
Waiting for that moment when that strike is gonna come in.
And, yeah. Here it comes.
So here's another example then of Jerry's fine work, using--
Making a sort of prosthetic hand for Doni.
He spent a long time on that, went into quite a lot of detail...
...in order to get the fingernails and the hair on the hand just right.
And when he first showed me that hand...
...maybe I'm just a wimp, but I just-- I don't like seeing that kind of stuff.
It just freaked me out, something so shocking, so...
The effect, actually, was a combination then...
...of the sort of fake blood and the practical effects...
...but with some CG as well.
We had a slight problem with the pressure of the blood inside the hand.
So when the knife went down into it, it trapped the valve.
When the blood was to come out, it was to seep out over the hand.
But as soon as the pressure was relieved off the knife...
...and he went to grab the monitor, blood just sprayed everywhere.
So again, one of those situations...
...where I had to turn to Andi, my online guy...
...and just give him another shot to fix.
And, yeah, that list got pretty long by the end of the shoot. It was--
I think almost every day, there was a moment where we would say:
"Oh, okay. We'll give that to Andi."
So poor Andi ended up having a lot of stuff...
...that he had to kind of fix up in the end of the film.
--If you were to die in front of him?
And so now, we're kind of setting ourselves up ready...
...for the final stretch of the fight scenes of the film.
And we're about to reach, like-- One of my favorite fights in the film...
...was in the drugs lab.
And it was a great opportunity to be able to show different fighting styles...
...but, like, all in one scene. So you've got--
lko is gonna be using silat then.
And Eka comes from a tae kwon do background.
And then we have Pierre Gruno, who plays Wahyu...
...doing more of a sort of rough street-fight style then as well.
I tend to-- I'm the, like, offline editor for the film.
And when it comes to the fight sequences...
...often the sort of more time-consuming process...
...is the fact that in between the shot setups, when we're getting ready--
Go from one scene to the next...
...I'm taking wherever the footage is coming...
...we load it in and start to edit the fight scene there and then.
So we have the laptops positioned somewhere off camera.
So every time you're watching this, maybe about five, 10 meters away...
...in some part of that location, we're sat there with the laptop and monitors.
And as soon as that shot is done and we locked on it...
...it's loaded in and we start to drop it into, like, a Final Cut timeline.
We do previs video storyboards, like I mentioned earlier.
We do, like, these previs video storyboards, which is shot for shot...
...edit for edit as we want it to appear in the final film.
And it ends up becoming like about-- Close to, like, maybe 95 percent...
...the same as what we do in the previs when it comes to this version.
Occasionally, what we'll do is...
...we'll shoot the opening of a fight scene for the first day.
We shoot the closing of a fight scene on day two.
And then if we have day three and day four...
...that's what we use to bridge between those bookends of the scenes.
So we know that no matter what, even if we have to drop choreography...
...we've got a beginning and an end to the scene then.
So that's kind of our sort of security. That's our safety net then.
We got a lot sort of short shots.
But here, we have our first sort of big, long moment.
This was the cam-- The cameraman had to go 360...
...so there was no room for us to be able to monitor the situation.
So throughout this entire take...
...because the camera's turning more than 360 actually...
...I had to hide in the corner, listen to those shouts going on...
...from all the fighters until my DOP would end up calling cut.
And then finally, we kind of rush out and check playback.
And we did about maybe 15 to 20 takes on that alone then...
...just to kind of get that shot done.
But I think, like, in our experiences...
...when it comes to action, we do so many takes...
...and it's really hard to get it exactly as we want it.
And I think one of the ways that we shoot fight scenes...
...is that everything has to be like a jigsaw piece.
You know, the in and out points of every shot are so specific...
...because of the choreography and the video storyboard...
...that we will go through those takes to make sure we get it done right.
So there's a really cool stomp to the face coming up soon...
...and I'm gonna share with you the cheat for how we can do this safely.
So it looks horrible. It feels like we're following...
...the stamp down into the guy's face, but it's actually two shots cut together.
Start off on the top one, where we point up at Dagu...
...and we do a whip tilt down.
And in the whip tilt down, we out to another shot then.
There's a blur in the movement that you can do a seamless edit.
And so the second part then...
...is we put Dagu's hand...
...through a pair of trousers and then into the shoe...
...so we have more control on the stomp.
He's hitting the guy in the face with his hand, but it's inside the boot.
Then we do that second shot.
We just continue a tilt down to the face and then it's the impact.
Both shots get chopped together, and you feel like it's all one movement.
You feel like it's all one sort of aggressive stomp to the face...
...but it just hurts a little bit. It's not a full hit to the face.
So now we're about to introduce the big final fight of the film.
This is the torture-room fight and this was the longest one...
...it took to design and the most--
The most complex as well in terms of the choreography layout.
And to be honest, like, you know, not to be too up myself...
...but we feel the most proud about this scene.
This is like-- We felt very strongly while we were shooting it...
...and when we kind of finished the film that this is probably...
...the best fight scene that we've ever done out of both of our films so far.
It was an intense shoot. it was a really, really tough shoot to do.
There's about six minutes' worth of fighting...
...and two minutes of drama wraparound.
Usually for that, if we were working on a basis of a Hong Kong schedule...
...maybe we'd get given about 15 to 20 days to shoot that.
But we had eight, and the guys were working--
Like, we were fight-- They were fighting 14 hours a day...
...six consecutive days in a row.
Now, the analogy that I prefer is that if you think about it this way.
If you go to the gym for one hour...
...and the next day you feel like shit and can't move...
...imagine fighting for 14 hours in one day...
...and then doing it again the next day, again the next day, again and again.
You've got some white guy telling you it's no good and you have to go again.
So that's the level of commitment and dedication the guys have.
I'm gonna give you a spoiler. This is gonna ruin the scene.
Watch the fan in the background. It changes direction.
Okay, so basically, what happened was...
...we had a fan built in but the motor was too fast...
...and it distracted in the background.
So for every single shot in this scene, whenever you see that fan turning...
...it's an art guy tapping it with his finger...
...to kind of keep the fan moving at a slower pace.
And we wound up-- Ekki was our guy who was turning the fan at that point.
We gave him so much stick for the fact that he turned it the wrong way.
So that poor guy got given a lot of shit by the crew then...
...but it was all lighthearted stuff and we all loved him, really.
He worked his ass off throughout the shoot.
He's just one of those guys where it's easy to make fun of him...
...and he'll take it seriously.
So, yeah, we gave him all sorts of hell on the shoot.
So this is kind of the epitome of Mad Dog being a complete badass...
...that when he's faced up against these two guys...
...it's like he knew that Jaka wasn't enough of a challenge.
So he's like, "Okay, two-on-one fight."
The main, like, influence for this...
...came from a Jackie Chan film in the '80s called Dragon Lord.
And more along the lines of the idea that there's a two-on-one fight in that...
...where the bad guy just owns them...
...and he's in total control of the two fighters that he's faced against.
I think it was Jackie Chan and Mars against Whang lng-Sik.
And Whang lng-Sik is just beating them relentlessly and pounding them.
It just takes the dedication of those two guys to just keep slamming him...
...and keep crushing him and keep breaking him until he can't move.
That's one of the things I wanted to reference with this fight scene...
...is that we have maybe, like, more complex choreography...
...but that same tone, that same type of atmosphere with the scene then.
Don't move!
Drop the gun.
So here is where we're gonna reveal, like, the sort of--
We've kind of hinted at it...
...but this is like that moment where we reveal Wahyu's true colors really...
...and reveal the link that he has with Tama.
The fact that, you know, he's probably in a way...
...worse than any of the bad guys inside the building.
Dagu, tie him.
Now you're going to get me the fuck out of here.
Amazing.
So now we go back into the fight.
We go back into the sort of the-- This is--
This is where the rest of the fight takes place. We never cut away.
One of the things we wanted when it came to designing this fight...
...was to have this idea that we don't have moments...
...where they stop fighting and look at each other and continue to fight again.
I wanted it to feel like when you watch a real fight in a bar...
...it doesn't end until somebody's on the ground, out cold on the floor.
That was one of the things we wanted to do is to have this relentless...
...aggressive fight that's constantly going on.
Now, of course, I mean, it's exaggerated.
Nobody can take this punishment and last as long as it does.
But we tried to keep the choreography grounded in a sense of reality.
We tried to make it so that all of the movements...
...and all the sort of the attacks and the exchanges, they're real moves...
...and they're things you can relate to as an audience.
You get this feeling that if you study the same martial-arts discipline...
...for long enough, you could do this too.
We tend to eschew the idea of having, like, too many acrobatics involved.
We kind of keep everything, you know, as close to realistic as possible...
...so that it's more relatable then.
We're really happy with some throws...
...and some of these, like, takedowns and the sort of, like, flips.
It took a while to design them, but it came from a place...
...of just, like, trying to figure out, like, basic body movement and momentum.
And this next one coming up...
...it came from me thinking about football...
...and, like, the idea of when you kick a ball through somebody's legs.
It was just that idea of if you swung your--
If he lifted his body up and swung his legs through the gap...
...that momentum would bring the person's body forward.
And so, yeah, that was the inspiration for that kind of movement then.
I think for this fight as well, it was one of those where we knew...
...it was gonna have to get very violent and very aggressive...
...and feel like it was relentless and just they're charging at you.
You know, its Mad Dog's final big moment.
We've kind of built up to this a long time.
And so when it finally comes, it has to feel like we're satisfying the audience.
We have to keep pushing it and keep going and just, you know...
...create this feeling of the fight going beyond the realms...
...of how long it could actually last.
So we start to have moments with lko falling off frame...
...and showing the exhaustion in the fighters then.
So we've come to, like, a certain kind of symmetry almost then...
...with Mad Dog...
...with the idea just before he killed Jaka...
...he has that moment where he kind of--
Kind of finds sort of, like, not inner peace in a way, but he--
There's almost a disappointment in his eyes then.
The actual kill blow, the actual choke hold...
...like when he killed Jaka earlier, it was a chore. it was the next step.
It was something to do to finish the fight.
But for him in his mind, the fight is over here.
And so it's that idea of, like, going over to kill off Rama, it's just that next step.
That was the thing. We wanted to bring that symmetry back.
So there's a similar feeling from the previous fight...
...to get the audience to feel, "Holy shit."
That Rama's gonna be in trouble.
What I tend to love about this moment here...
...is that the audience- Normally, when you have a moment like that...
...the audience are gonna be expecting it to be, "That's it.
That's the end of the fight." But for us, like, it's not enough.
We can't kill off Mad Dog that easily. He can't just get stabbed and dies.
So he actually continues to fight way longer than he probably should.
And the idea was to kind of take it to that extreme and to really push it.
Not just to get the audience to see it as being a little bit over the top...
...and a bit ridiculous, but the idea of, you know--
Mad Dog is in this position where he's bleeding to death...
...and all he cares about now is still killing these guys.
So he tries right up until the last drop...
...that he could kind of maybe, like, take them with him.
And unfortunately, he doesn't get to do it.
Now, that delightful little moment there...
...which is obviously another one of my mom's favorite scenes...
...actually comes from a scene at the end of my first film, Footsteps.
We did a similar sort of effect where a guy had a knife in his throat...
...then it gets kind of, like, dragged across to the other side of his neck.
It was one of those things where we figured out...
...what way can we kill Mad Dog?
How can we take him out and make it, like, this memorable big final moment?
And I took a look back at Footsteps and thought:
"I can steal that because it's mine."
So there's no issue about using that again.
We actually shot a close-up of Mad Dog's face and his neck...
...while that was happening.
While doing our first take, immediately it felt too much.
It felt too violent. it felt too graphic.
And while I agree, like, the film is definitely violent...
...and that moment in particular, it kind of makes the audience...
...have a very strong sort of visceral reaction to it...
...for me, we still kind of show a certain degree of restraint.
This shot is a wide profile shot.
You don't get to see that much detail.
It's mostly what it puts in your mind as you're watching it.
And, like, throughout the movie before this...
...you know, we're dealing with moments of violence where--
It's kind of, like, I didn't wanna linger on things too much.
I didn't want to feel like the violence in the film is exploitative in any way.
I wanted it to be, like, we hit you hard in the stomach and then we run off.
So it's like whenever we show these little outbursts of violence...
...from shot to shot, we show something aggressive...
...and, you know, explicit, but not repulsive.
And we cut to the next thing. We kind of-- We tee up the next shot.
And that was something that was kind of important to the film. And I feel like--
It just teeters on that line. It's right on the border...
...before it gets too much, before it gets, like, offensive...
...in terms of the violence content.
Because I know who to pay and more importantly, how much.
So this was actually probably one of the most difficult scenes, really...
...in terms of scripting and in terms of performance as well.
We're asking them to give a lot of information...
...at the last few minutes of the film, which kind of, you know--
Like, usually, it's kind of that sort of annoying exposition dialogue...
...but I wanted it to feel natural. I think one of the things that helped a lot...
...was definitely Ray and Pierre's performance here.
Because it kind of--
It does give across the information that we need, in terms of the plot.
But it never feels too forced.
It never feels like he's just giving this information for no reason whatsoever.
So it feels like it's come from a place of aggression and a place of anger.
And Pierre's sort of, you know, performance then...
...as he finally kind of realizes his life is over with and he has no choice left...
...it fits the scene perfectly then.
I'm really happy with the work that they both did.
This was a tough shoot. This was, like, maybe at the end...
...of, like, a 16- or 17-hour day...
...and we still had to shoot this scene.
This is like-- We were working into our 19th and 20th hour of the shoot.
None of us had any energy left, but they had to kind of raise their game.
They had to kind of find that inspiration and that energy...
...in order to kind of get through a scene, like, this tough then.
There was always no question...
...there was no way I would give Wahyu an easy way out.
There was no way we were gonna kill him off. And so--
Yeah. We kind of actually--
There's a reason why a lot of the things happen when he has that gun.
So when he kills that guy in the corridor...
...and there's two people in the corridor, it was so we could get him...
...to a position where he would've run out of bullets.
So assuming he has six in the chamber...
...then he kills three people in the corridor. He shoots Dagu.
He shoots at Rama in the stairwell...
...and then he shoots Tama. And that's his final bullet.
Actually, the number of people shot at and the number of bullets fired...
...we had to carefully think it through in order to make sure it was...
...that empty bullet-- Empty gun at the end of the thing.
Not everyone you salute is rotten.
Find Bunawar.
He's a good man.
So now we're kind of setting up some characters...
...that are actually gonna play an important role...
...in the sequel to this film.
The idea of introducing Bunawar who we have no idea who he is yet.
He's actually gonna play a major part in the sequel.
So it was interesting to kind of drop these names at the end of the film...
...without people having to actually know who they are...
...but feel like they have importance in the story.
And they'll be explored in a lot more detail now in the sequel.
One of the things I really wanted to kind of do with the ending of this film...
...was not follow the expected route of a film like this which is, you know...
...that the brother would go home with Rama with just--
That idea of in the perfect world, that the brother would go home...
...be a good guy again, reconcile with the father...
...and they'd all be having, like, supper together by the end of the night.
But for me, it was always important...
...that his character exists in this world because he belongs there.
He feels he's a part of it. It's something he succeeds at.
It's something he's good at.
And so that became an important element then...
...of how the film was gonna end then.
And so, like, again, we use that element of sort of a symmetry then...
...to the earlier moment when he tells Rama to change his uniform...
...and Rama says, "No. This is who I am."
So this is another moment then where we get to have Andi tell him then:
"That might be who you are, but this is who I am."
And so they have to separate. They can't go on the same path together.
There's a shot coming up here with lko's face...
...as he walks out to the building.
And we did a lot of postproduction work on this...
...because we were running out of time on this.
It was hard to get all this done in the daylight because in Indonesia...
...the clouds would form and break apart every five to 10 minutes.
And so we were playing against the sunlight on a regular basis on this.
And the makeup effect on lko's face, by the time we got this shot right...
...the makeup wasn't quite right. So Andi again, my CG guy...
...he had to make a CG cheekbone and a CG earlobe.
And then tidy up the effect as lko turns and walks away from the film.
My name's Gareth Evans, writer and director of The Raid.
I thank you for listening to the commentary...
...and I hope that everything I've said has been informative, not too boring.
Hopefully I'll get to see you when we do the next film, Berandal...
...the sequel to The Raid.