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The Score and Sound Design
THE RAID's (original cut) score was done by Aria Prayogi and Fajar Yuskemal while THE RAID: REDEMPTION'S (U.S. and International release) was done by Mike Shinoda and Joe Trapanese. Both versions of the scores pleased the director, but on THE RAID 2 he wanted to do something different. He wanted to be able to protect the work of the Indonesian artists. When the sequel film's production was announced, Joe Trapanese contacted him and showed interest in being involved in scoring THE RAID 2.

"I spoke to the guys and decided to do a fusion composition where we would be able to bring in western and Asian influences into the score, and have them collaborate and create something unique" (Evans)

A connective element between THE RAID: REDEMPTION and THE RAID 2 was very important. Trapanese, Prayogi and Yuskemal individually started to look to their previous work to see what they could bring back to the sequel: a certain melody, instruments or beats. Aria and Fajar came to Los Angeles to brainstorm with Joe and determine the feel they wanted for the score:

"It was intense, we had a lot of music to write and produce in only four weeks! I was very nervous about the collaboration at the beginning but quickly realized how much talent Fajar and Ogi have, and how quickly they can write. Once we began writing, it was mostly easy, just a lot of hard work! We did our best to help Gareth tell the story and bring proper energy to The Raid 2, and I found with three of us writing -- sometimes together and sometimes separate -- it was much faster and less challenging than if I was doing it alone. We wanted to keep the energy from the original while building on the new setting and the new characters of the sequel. That is why we began with the more intimate, mysterious, and tense cues. Through these moments we were able to help uncover the soul of the film, which informed our writing, especially for the action scenes". (Joe Trapanese)

The three musicians have attempted to bring out different emotions depending on the scenes. The rhythm in the fight sequences is very dynamic in order to mimic the action. One scene in particular displays a Reog performance, an Indonesian traditional dance form. Music was recorded on set during the performance and slightly edited later so that it feels part of the world of the film. This is also evident in the fight between Rama and the assassin:

For the silat vs silat fight, which lasts about seven to eight minutes, Aria wanted the score to have a traditional Indonesian feel to it. She used traditional Indonesian instruments such as Gamelan (Javanese small gongs) to give the sound an authentic cultural identity. (Evans)

Some more complicated sounds required extra work during postproduction. Foley and final mixing was done at Skywalker Audio Post in San Francisco.

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