Malbatt: Misi Bakara | The-Making-Of
Based on a true story of the 19th Battalion Malay Regiment, deployed in a mission to rescue trapped American soldiers in the Bakara Market, Mogadishu
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Short filmTranscript
00:00 Gentlemen, we have a situation in Mogadishu.
00:03 And we need your help.
00:05 Smiling, smiling, we're going down!
00:07 We have Black Hawk down, we have Black Hawk down.
00:10 Parade!
00:12 Parade!
00:14 Stop!
00:15 We've been living in war for a long time.
00:18 In war,
00:20 no one wins.
00:23 Everyone loses.
00:25 [BOOM]
00:27 [MUSIC PLAYING]
00:29 [RUMBLING]
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00:47 [EXPLOSION]
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03:19 There is nothing you can do.
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03:25 [GUNSHOT]
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03:35 You're a loyal opposition.
03:37 Attract the other militants.
03:39 They already know.
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04:41 [GUN SHOTS]
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04:45 I worked with Sky Flames before for Pascal the Movie,
04:47 but it was different because Pascal the Movie
04:49 we shot in Turkey only for six days.
04:51 For Mawad, Mizi, Bacara, we had a tough ride.
04:53 [NON-ENGLISH SPEECH]
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04:59 At first, I thought, [NON-ENGLISH SPEECH]
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05:03 But then it eventually turns out that,
05:05 no, [NON-ENGLISH SPEECH]
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05:17 They thought the war is actually ongoing.
05:19 [NON-ENGLISH SPEECH]
05:21 So the Turkish government stopped us from shooting for one day.
05:23 The production house from Turkey, Sky Flames,
05:25 they helped us to have a meal with the mayor of Kasiantep.
05:27 They explained that, "Oh, no, it's all about movie.
05:29 We have all these props.
05:31 It's not real. It's not functional."
05:33 [NON-ENGLISH SPEECH]
05:35 The mayor of Turkey, she said,
05:37 "We need to do clarification on our own."
05:39 So [INAUDIBLE] arranged reporters coming to our set
05:41 to interview us, basically me and my main actors
05:43 and some of the crews.
05:45 That's how we managed to calm things down
05:47 and then to continue the shoot.
05:49 And, of course, Sky Flames helped a lot
05:51 in managing this kind of crisis.
05:53 My name's Paul Biddis.
05:57 I'm the military technical advisor for Bat Croft.
05:59 So my job starts very early,
06:01 during the pre-production.
06:03 I help with terminology or tactics
06:05 within the script to help get the film
06:07 or the production as realistic as possible
06:09 before we start filming.
06:11 Paul Biddis,
06:13 he worked on a lot of Hollywood titles
06:15 like Kingsman, Transformers,
06:17 1917,
06:19 a lot of big titles, right?
06:21 So when we wanted to do this project,
06:23 we needed a very good military advisor on this.
06:25 So I asked Jesse to send him an email.
06:27 He didn't reply.
06:29 To our surprise, he took it.
06:31 We're on.
06:33 Adrian is a very good director.
06:37 He's very easy and chilled out to work with.
06:39 And actually, I've enjoyed this film
06:41 more than what I enjoy some of the
06:43 very big budget movies
06:45 I've worked on in the past.
06:47 My name is Yong, I'm the cinematographer for this film.
06:49 I've worked with Adrian for a lot of movies.
06:51 I'm looking forward to this film
06:53 and I'm also stressed
06:55 because this film is different
06:57 from the ones we've worked on before.
06:59 So this time, I've been thinking
07:01 if I should do a lot of homework.
07:03 After the script was written,
07:05 I realised that it's almost a hundred times
07:07 harder than the ones we've worked on before.
07:09 So the process with Adrian
07:11 is just straightforward.
07:13 He's a very speedy and fast guy.
07:15 He knows what he wants.
07:17 He's a very easy-going person.
07:19 He has a big vision.
07:21 Adrian is a very responsible director.
07:23 He knows the story and how to shape the character.
07:25 Working with Adrian Teh,
07:29 the longer he worked, the more he challenged me.
07:31 He pushed me to the limit.
07:33 I shot the scene in Turkey.
07:35 I cried for five hours.
07:37 And it's something
07:39 that's very difficult to portray.
07:41 Especially when we're shooting
07:43 and the scene happens right in front of our eyes.
07:45 We have to imagine what's going on in the scene
07:47 and then we have to deliver.
07:49 So that's the challenge that Adrian gave me.
07:51 And it's interesting for me as an actor
07:53 when I'm challenged by the director
07:55 because we want to explore what we can do.
07:57 And Alhamdulillah,
07:59 he believed in me.
08:01 Adrian is a very focused director.
08:09 When you see him on set,
08:11 he's totally different. He's in the zone.
08:13 But I don't see him get overwhelmed.
08:15 You can imagine on set,
08:17 there's going to be a thousand different problems
08:19 that he has to solve as a director.
08:21 But I see Adrian, he keeps his cool.
08:23 He doesn't let it get to his emotions.
08:25 So working with Adrian has been amazing.
08:39 The budget of this movie is RM20 million.
08:41 With the support from
08:43 Tenteract Direct Malaysia,
08:45 we were able to accomplish the mission.
08:47 So far, it's a massive project by Act 2 Pictures.
08:49 I need to keep a close eye and
08:51 fully utilise the budget effectively.
08:53 I understand that the media call it
08:55 the most expensive movie ever made.
08:57 It's not a proud thing to me because
08:59 when you have that kind of expectation
09:01 from the media and you don't deliver
09:03 or the movie doesn't deliver,
09:05 it's a pressure. But I would say
09:07 RM20 million is a lot of money. I hope I deliver a good job.
09:09 The first three days,
09:15 I couldn't sleep. Because literally every day
09:17 we can only shoot 50% of what we planned.
09:19 Maybe I'll be able to finish shooting
09:21 in Turkey, or something like that.
09:23 That's when we decided to split the team.
09:25 On top of that, language I think is the
09:27 most painful barrier because
09:29 not everyone can speak English.
09:31 Every time, when you want to pass down the message,
09:33 it will take a long time because of the language.
09:35 I got injured.
09:37 It was a bit difficult to start from that.
09:39 I'm not just acting out a scenario.
09:41 I have to be in that scenario
09:43 when I'm injured.
09:45 I have to remember a lot of things.
09:47 I have to make sure everything is consistent.
09:49 It's a bit difficult.
09:51 I was in one of the scenes
09:53 where I was doing my body for the movie.
09:55 I couldn't get my body for more than two months.
09:57 I was on a diet.
09:59 It was a really heavy diet.
10:01 I was only allowed to do that scene.
10:03 So, who knows,
10:05 they know how I diet.
10:07 That's why I was able to eat
10:09 like, I ate like I was eating the world.
10:11 That's the best part.
10:13 I got injured near Turkey
10:15 in the scene where we were shooting.
10:17 That was my mistake.
10:19 At that time, the scene was
10:21 in the middle of a fight.
10:23 I wanted to get up in the kneeling position.
10:25 Suddenly, it was all messy.
10:27 My knees, boom,
10:29 hit the ground.
10:31 I let go of my weapon.
10:33 I was like, I was like,
10:35 I couldn't move my legs.
10:37 But I was in the mood for the Oscar.
10:39 I was really excited.
10:41 Even though it hurt,
10:43 I finished the night's shooting
10:45 until the morning.
10:47 I was proud of myself.
10:49 This is what challenged me.
10:51 But I did it until the end.
10:53 [Music]
10:55 [Music]
10:57 [Music]
10:59 [Music]
11:01 [Music]
11:03 I don't think we talk a lot.
11:05 We spend a lot of time talking about this character.
11:07 Because we know what his role is like.
11:09 My part and my scene,
11:11 or my functions,
11:13 are quite straightforward.
11:15 In terms of creative process,
11:17 it doesn't take up much time.
11:19 We have to look at it from a certain
11:21 terminology and protocol.
11:23 Certain SOP
11:25 that we have to understand.
11:27 And for that, we always have our own
11:29 experience and support.
11:31 [Music]
11:33 [Music]
11:35 [Music]
11:37 [Music]
11:39 A lot of people ask me about Duffy.
11:41 Why did you cast Duffy? Is it because he's the son of the Prime Minister?
11:43 No, no, no. Not because he's the son of the Prime Minister,
11:45 then I cast him. Because he must have very strong chemistry
11:47 with Sam. And Sam is a very strong character.
11:49 So I need them to play like buddy cops.
11:51 So Duffy has that fun side of him
11:53 that can blend with Sam.
11:55 I think it's a perfect combination.
11:57 Hairu? Yeah, Hairu again.
11:59 I know. But I think Hairu played very well
12:01 this time. He has a very convincing look.
12:03 And his physical look
12:05 is never in doubt. And also,
12:07 this time he's a bit different.
12:09 Compared to how he portrayed Arman in Pascal,
12:11 he's a very dedicated actor.
12:13 He knows how to craft
12:15 his own character for every character he plays.
12:17 I saw Sam.
12:19 Oh my god, Sam is really good. There are two shots
12:21 I remember when Sam shot it
12:23 at Turkey. I saw the playback
12:25 and I got goosebumps.
12:27 So I was really impressed. And then,
12:29 Sam's scene, the hit rate was 100%.
12:31 Dini.
12:33 I wanted a good-looking actor for that role.
12:35 I needed someone
12:37 who looks a bit like a Pasali
12:39 but a Malay. But then, it's just
12:41 me trying to give another
12:43 layer to Among the Malbat. Of course, I can
12:45 just cast anybody. But then, to me,
12:47 if I can have a different flavour, per se,
12:49 in terms of actor,
12:51 I think it's a plus point.
12:53 Which is why, when I needed someone
12:55 who looks macho, good-looking,
12:57 and looks a bit like a Malay,
12:59 immediately I thought of Dini.
13:01 Adil and Ramli and Abang Fauzi Nawawi,
13:07 they are old-timers. To tell you the truth,
13:09 one of my favourite scenes, they fight
13:11 in this movie. And on set,
13:13 when we were shooting at Johor, I already got goosebumps
13:15 looking at the playback.
13:17 They are very good and then they try to
13:19 outplay each other's energy, every single
13:21 line, and then push their energy up,
13:23 up to a point where, you know, that's it.
13:25 This is it. It's good. Very good.
13:41 Barkara is considered
13:43 the first Malaysian war movie.
13:45 So definitely, it's
13:47 a fresh and challenging
13:49 project for me and the crews.
13:51 The difficulty of this project,
13:53 well, definitely is working
13:55 remotely between Malaysia
13:57 and Turkey. So, we
13:59 had to work very closely
14:01 to overseas schools.
14:03 And cutting the APC is one of the
14:05 tasks on this project.
14:07 We were facing logistic and transportation
14:09 issues from the beginning.
14:11 Malbat Base,
14:13 another big challenge for this.
14:15 Original Malbat Base, we're going to
14:17 set at open space in KL.
14:19 Due to the bad weather,
14:21 we have to shift the whole set
14:23 to Iskandar Studio in JB.
14:25 We're having a total of
14:27 80 crews working in the studio
14:29 with countless of sand trucks,
14:31 construction vehicles to lay
14:33 the sand to create the base camp.
14:35 It's like on the middle desert.
14:37 We spent almost a week plus
14:39 to set up this whole scene.
14:41 When we shoot the IMS,
14:51 the stadium scene is basically
14:53 360 full blue
14:55 surrounding. We draw a floor
14:57 plan of the stadium.
14:59 Then I'm going to decide where the people
15:01 will be, where the APC will be, where the medic tent,
15:03 where the chopper will be. And then based on that,
15:05 based on the script, we refine, keep on refining
15:07 the location of each position,
15:09 each asset or each group position.
15:11 After that, we have storyboards.
15:13 90% of the
15:15 script, we drew it up.
15:17 We had like 400 pages of storyboards.
15:19 When we shoot that scene, every angle
15:21 that we put, my CG supervisor
15:23 Peter and Ming, they're always there with me
15:25 on set. Every time we put
15:27 the camera down facing that, they already know
15:29 what should be behind it because the shots
15:31 all have been arranged. They don't have to
15:33 crack what should be in the background of the shot.
15:35 So they know everything already because
15:37 every single shot, we have storyboards
15:39 and to indicate clearly. The commenting
15:41 is not something too difficult, it's just a lot
15:43 of work.
16:01 It's basically from not so much BFX shot
16:03 because every shot is a BFX shot.
16:05 We want to actually build any 3D elements.
16:07 We have to have a rough
16:09 guide on the measurements.
16:11 In terms of exact measurements, in terms of
16:13 height or width or so on
16:15 because otherwise, it's pretty hard
16:17 for us to do tracking as well.
16:19 We don't have things to track because everything is so
16:21 dark, right? So you need something
16:23 that you can track on.
16:25 To be honest, this time, CG for Mabat
16:27 is not as difficult as the films
16:29 I've done before. For example, The Assistant,
16:31 Viraka or others.
16:33 But the biggest challenge for
16:35 CG this time is the
16:37 amount of it. In Mabat Misibakar,
16:39 in total, we have
16:41 more or less 900 CG shots.
16:43 Which is why, this time, we kind of
16:45 split the CG into a few companies
16:47 to do it. And the CG work
16:49 this time, took more or less a year
16:51 for this movie.
16:53 [Music]
17:05 [Music]
17:13 [Music]
17:21 [Music]
17:33 My AD strongly advised me
17:35 against using it because
17:37 it will take a lot of time.
17:39 They said, "Director, are you sure you want to just find
17:41 some other way to shoot? You can find some other angle.
17:43 You can shoot slow-mo but don't use Phantom
17:45 because Phantom is first, cost.
17:47 Second, you need to break the wall.
17:49 And you need to set the track. It's a
17:51 big setup. But I said, "No,
17:53 I want the shot." And we managed to crack it.
17:55 It was a very troublesome setup. We managed
17:57 to get it after like, 4-5 takes.
17:59 [Music]
18:01 Good one, bro. This is only
18:03 day 2 for me. I've only been here
18:05 2 days already. Action! Go!
18:07 [Music]
18:13 So, the training is really
18:15 crazy, right? We
18:17 wake up early, do PT.
18:19 And then, we hold,
18:21 how to hold the weapon, how to aim
18:23 the weapon. And then, we also got
18:25 the actual APC, the real
18:27 APC. I am as
18:29 a driver, so I need to know
18:31 how to bring the real APC.
18:33 So, that's where I really try
18:35 to make the APC. This training
18:37 is how we learn
18:39 to handle the weapon. For me, it's like
18:41 an experience for me to hold the weapon,
18:43 right? The weight of the weapon
18:45 is around 10 kg,
18:47 but it doesn't include the bullet.
18:49 So, how to shoot,
18:51 how to hold it properly, how to open it properly.
18:53 So, training with others, I learn
18:55 a lot of things. We have a shoot,
18:57 communication. That's also one of
18:59 the things I like, using the
19:01 real set, right? So,
19:03 I think training in PD,
19:05 I learn so many things about military.
19:07 [Music]
19:15 I want to say thank you
19:17 so much to the Indonesian Army
19:19 for the full
19:21 support from the bottom
19:23 to the top. Of course,
19:25 in terms of assets, we
19:27 can see the best
19:29 assets. The support
19:31 given to us,
19:33 to the production, to
19:35 the actors, to every
19:37 job we do
19:39 for the medical team of Bakara
19:41 is very top.
19:43 If there was no help
19:45 from TDM,
19:47 this story would not have happened.
19:49 [Music]
20:01 Okay, one word
20:03 to describe Bakara.
20:05 Kebak.
20:06 Berani.
20:07 Impactful.
20:08 Kebabum!
20:09 Because this film will give you
20:11 a spirit that
20:13 is explosive. When you watch this,
20:15 it will explode
20:17 in the audience. This film
20:19 will give a big spirit
20:21 to all who watch, to the army
20:23 who have sacrificed for the country.
20:25 The production team is brave,
20:27 challenging to tell the
20:29 perspective of the army in Malaysia.
20:31 I hope that at least
20:33 one Malaysia will know
20:35 what really happened
20:37 at that time
20:39 that involved
20:41 Malaysian army members.
20:43 [Music]
20:45 Malbat film is
20:47 the next level of Malaysian film.
20:49 Bakara film is very great
20:51 because it is great
20:53 for the Malaysian army.
20:55 [Music]
21:01 I think in Malaysia,
21:03 there are many stories that we don't know.
21:05 [Music]
21:08 Stories like this, we have many heroes,
21:10 we have many heroes.
21:12 So, I think Malaysians should know about them.
21:14 And through the film, it's the best
21:16 and the fastest way to introduce them
21:18 to the audience
21:20 that we have heroes among us.
21:22 This is also one of the reasons why
21:24 I'm very motivated.
21:26 In my ability,
21:28 I can tell the story
21:30 of the Malaysians to the Malaysian people.
21:32 And by doing this also, as a Malaysian,
21:34 I feel proud because I'm doing something for my country,
21:36 I'm doing something for my nation.
21:38 And it's based on a true story.
21:40 So, to me, I feel very proud and honoured
21:42 to be given the chance to do this.
21:44 [Music]
21:53 Slate 1000.
21:55 I hope the audience will open their eyes
21:57 and move to watch this film
21:59 because it's one of the most patriotic films ever released.
22:02 And it's one of the events
22:04 or events that we must remember.
22:07 And we see how they fight
22:10 that we haven't seen with our own eyes.
22:13 In this film, we show it.
22:15 So, Malaysians, please watch this movie.
22:18 [Music]
22:20 The Malbat film, Misi Bakara,
22:23 is another level film.
22:26 Because of the quality and value
22:29 of this film,
22:31 and I hope this film will be seen
22:34 all over the world.
22:36 Because this is our story,
22:38 Misi Bakara.
22:40 [Music]
22:42 Ladies and gentlemen,
22:44 it's a production wrap for E-Diew.
22:47 It's a wrap for Thiebane and Bob.
22:49 It's a wrap for Hyrule.
22:51 [Applause]
22:52 Okay, guys.
22:53 It's a production wrap for Duffy.
22:55 It's a production wrap for Ikhlaq.
22:58 It's a production wrap for Nick Zainal,
23:01 the girl turkey.
23:03 Thank you.
23:05 Thank you, guys.
23:06 Guys, get a picture.
23:08 [Music]
23:11 It's a wrap for Hamid.
23:13 It's a wrap for Dua.
23:15 [Applause]
23:17 I will miss you.
23:19 I'll see you when I get back to Malaysia
23:21 when the film comes out.
23:23 It's a production wrap for Musa.
23:27 [Applause]
23:29 It's a production wrap for Syafwan.
23:31 [Applause]
23:33 Ramli wrapped with us.
23:35 Ramli.
23:37 [Applause]
23:39 After three months of hard work and shooting,
23:43 I thank you, everybody.
23:45 Malbath Misi Bakarap is a wrap.
23:48 [Applause]
23:55 [Music]
23:57 The US military tried to save their members four times,
24:00 but failed.
24:02 Go, Peru!
24:04 Only Malaysia offered to save them.
24:08 [Music]
24:11 [Explosion]
24:15 [Music]
24:17 [Explosion]
24:19 [Music]
24:20 [Speaking in foreign language]
24:24 We are from Malaysia.
24:26 [Speaking in foreign language]
24:34 [Speaking in foreign language]
24:38 [Speaking in foreign language]
24:41 We are risking the lives of our men to save your countrymen.
24:44 Now, either you do the same for us,
24:46 or we will pull out.
24:48 Are you clear?
24:49 [Speaking in foreign language]
24:54 Load it!
24:55 [Music]
24:58 [Speaking in foreign language]
25:00 [Speaking in foreign language]
25:07 [Music]
25:16 [Speaking in foreign language]
25:22 [Music]
25:27 [MUSIC PLAYING]