Behind Dangerous Film Scenes

KOMPAS/PRIYOMBODO

Muhammad Yazid and Rahmadia

The position of stuntmen in place of actors in the film industry is very important. It’s these people who perform dangerous actions like jumping from buildings and running through blazes. For the purpose of preparing professional stuntmen, Muhammad Yazid and Rahmadia have pioneered a community, Piranha Stunt Indonesia.

Piranha Stunt Indonesia, set up in 2005, is engaged in its activity on Jalan Madrasah 22, Cilodong district, Depok, West Java. This community has converted a plot of 300 square meters into a training ground complete with various kinds of equipment for dangerous stunts, such as safety devices for flying and jumping scenes, mattresses and trampolines.

At least twice a week, on Wednesdays and Sundays, over a dozen young men and women gather in this place for training in punching, kicking, arrow shooting and fighting feats. They also choreograph fighting scenes. Beyond their routine exercises, they train according to their respective film production needs.

Rahmadia, commonly called Eka, said originally the stuntmen were involved in the Indonesian Stuntman’s Association. In the 1990s, members of this association joined a number of colossal films adapted from Indonesian comics and legends like Jaka Tingkir. Following their film shooting, the stuntmen lost their jobs.

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With this experience, several stuntmen organized themselves in a flexible community. They formed Piranha Stunt Indonesia, arranging routine training at Studio Alam TVRI (Indonesian Television Broadcasting Station).

“We call it Piranha because we used to be frequently out of work with no income. Whenever food was available, we quickly devoured it out of hunger, just like a piranha does,” said Eka, a stuntman and combat actor who appeared in the films The Raid 1 and 2.

Of the nine people pioneering the community, only four have remained active, namely Yazid, Eka, Hendra Suprawijaya (Cep Hendra) and Madi.

The community pioneers train around 20 stuntmen from several regions in Indonesia. The number is gradually increasing. Now they plan to recruit new members to anticipate a rising demand for stuntmen when the film industry reawakens in the post-pandemic period.

KOMPAS/PRIYOMBODO (PRI)

Muhammad Yazid

In this community, the pioneers prepare professional stuntmen capable of performing a number of dangerous actions safely. They are also trained to act out uncommon fighting scenes. While generally self-defense

movements in fighting emphasize power and speed, combat scene movements for films accentuate litheness and beauty. They certainly always take account of the aspect of danger.

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In this way, their movements are pleasant to watch when filmed. The stuntmen also often train to use additional weapons like spears, bows and arrows as well as toy guns.

Trying luck

The involvement of Eka and Yazid in the film industry began with their interest in action films. Watching such great actors as Dede Yusuf and Barry Prima in combat action movies prompted them to try their luck by acting in front of the camera. In 1997, Yazid read a vacancy for paid spectators in a TVRI broadcast. He decided to pursue the opportunity from Lampung to Jakarta. He succeeded in doing the job in several programs.

Later, he was “promoted” to become an extra in a film. Finally, he got the roles of a stuntman and supporting actor for fighting scenes.

Now Yazid is concerned with not only action films, but also horror movies.

Yazid still remembers his role in the films Tutur Tinular (historical drama. 1997) and Misteri Gunung Merapi (Mystery of Mount Merapi, 1998). He acted as a stuntman for the iconic character Sembara. Now Yazid is concerned with not only action films, but also horror movies.

Yazid’s part in the film industry also inspired his younger brothers, Eka and Madi, to work in the same area of activity. In his first shooting, Eka played in the TV drama Ibnu Sabil in the early 2000s. His role was a member of the local community. “My action was running around when fighting broke out in the market or settlement,” he recalled.

Kompas/Priyombodo

Rahmadia

As time went by, Eka learned challenging scenes to meet the demands of action films. Claiming to have no martial arts basics, this youth maintains self-confidence before the camera. He has been trained in fighting feats by his seniors who previously worked as stuntmen.

His experience and skill in conducting fighting scenes are also handed down to other members of the younger generation wishing to follow in his footsteps as a stuntman.

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Piranha Stunt Indonesia has so far been engaged in hundreds of silver screen and television video projects. They are involved not only in the film projects of local cineastes but also those of foreign filmmakers. Under normal conditions, this community can join 5-6 big screen, television video, web-series and commercial projects per month.

Eka said the community’s income from films had mostly been spent on paying players and buying land for the training site. Meanwhile, for his place of residence, Eka still rents a tenement house for Rp 600,000 per month.

Life challenge

During over 20 years in the community, Yazid and Eka have felt the joys and sorrows of working in film projects. They feel happy when their challenging scenes are well accomplished.

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Besides, they can be close to famous actors and take part in shooting in several regions in Indonesia. Their joys multiply when the movies in which they act become box-office hits.

“My most impressive role was in The Raid because the film drew a large audience. I enjoy it in terms of popularity,” said Eka, who appeared with actors Iko Uwais and Joe Taslim in this action flick.

The dark side of the stuntman profession in Indonesia is the uncertain income and protection. Their pay is often equivalent to the minimum wage. In fact, they execute many tasks at a time, such as playing a role, performing combat feats, even preparing safety equipment themselves. What should not be overlooked is the very high risk of their job.

Like other film workers, they have been forced to stay idle for months.

During the Covid-19 pandemic, they face an even greater challenge. Yazid and Eka said offers to get involved in film production had drastically decreased over the past year. Like other film workers, they have been forced to stay idle for months.

This situation has compelled Eka and peers to take on side jobs as welders, construction workers and growing crops. They do whatever they can to meet their daily needs.

According to Eka, he has no problem with changing his profession to serve as a casual worker because before entering the film industry he was already accustomed to hard work.

“I don’t feel embarrassed because I’ve never been choosy over work so far. I do whatever job. When I work, I’m not just thinking of myself, but also other people,” he remarked.

They do casual work while carrying on their training by observing health protocols, such as limiting the number of those gathering at the training arena and practicing self-isolation after training.

Kompas/Priyombodo

Rahmadia at the Piranha Stunt Indonesia Studio in Depok, West Java, Friday (26/3/2021).

During the pandemic, the community also spend time fixing the training site, preparing auxiliary equipment and mulling over a business model they wish to develop. All this is done so that the position of stuntmen will be more appreciated in the future.

Muhammad Yazid

Born: Lampung, 10 December 1977

Education: Development Senior High School, South Lampung (1996)

Rahmadia

Born: Lampung, 24 January 1983

Education: Development Senior High School, South Lampung (2002)

(This article was translated by Aris Prawira)