Khadam | Behind-The-Scenes - video Dailymotion

Cinema Online

When Khadam, a supernatural spirit begins replacing her as wife and mother, Melor must fight to reclaim her identity before she disappears completely.  #CinemaOnline  ---------------- Visit https://www.cinema.com.my Now showing in Malaysian cinemas: https://bit.ly/4nqzVYZ Movies coming soon: https://bit.ly/4n3vyU6 ---------------- Follow us on:  Dailymotion - https://www.dailymotion.com/CinemaOnline Facebook - https://www.facebook.com/cinemaonline Instagram - https://www.instagram.com/cinemaonlinemy/ TikTok - https://www.tiktok.com/@cinemaonlinemalaysia Telegram -  https://t.me/cinemaonlinemy

Transcript

00:00He said that if he doesn't give him food,

00:02he will be back.

00:03I don't want you to stop!

00:04I'm tired of keeping them!

00:05I don't know!

00:11Let's do it with him!

00:16I don't want to do it!

00:25From the Lord,

00:26I'll continue to become the king.

00:42When we got the script, it was so good.

00:45Feezy did a really good job and we thought, wow, it's not just a horror movie,

00:51but it comes from the heart. It's about the relationship between a mother and a doctor

00:56and how they will fight the evilness around her in order to protect her family.

01:01So, I feel more than a horror story, it's also a dramatic story

01:05that will pull at your heartstrings.

01:07This is the best story I read.

01:10I told all my guys and said, okay, we have to do this.

01:13What is the story of Adam's story?

01:18When I was given a script to Adam from Feezy in 2019,

01:26when I read it in the night,

01:28I got the story from the first scene.

01:31It was really a gripping story.

01:33It was very unique.

01:36The main story is about a mother,

01:39a woman who had a lot of responsibility in life.

01:48Okay, what's interesting about the script of Adam's story?

01:53The story is that it unfolds naturally.

01:57I mean, the scene is very interesting,

01:59but during the same time, we don't know the direction of the story.

02:02So, there are a lot of questions,

02:05a lot of things that are interesting,

02:08that when I read it,

02:10I want to know what will happen next to me.

02:13What will happen next to me?

02:15What will happen next to me?

02:15The viewers who will see the film of Adam's story will feel the same.

02:19What will happen next to me?

02:20What will happen next to me?

02:27What will happen next to me?

02:28I have been working with Feezy.

02:30I was working with Feezy.

02:30When I was first,

02:32I was working with him.

02:33After I was writing a second film called Songlap,

02:36I didn't know how Feezy works.

02:39She had to take a lot of research.

02:41This story is that the writer

02:43that he has to put his soul into his writing.

02:47I've worked with Shamil for more than 20 years.

02:51For me, Shamil is a leader who is very intelligent from all sides.

02:57So, to combine a leader who is very intelligent and a writer

03:01that brings a career that has all the focus on many elements in this story,

03:10you get a career that, for me, will pop on the screen.

03:15This combination is the best combination in terms of creative and technical.

03:25So, when we talk about Saka,

03:29the people of Malaysia and the people of the Melayu

03:31all have a story about Saka,

03:34from their Dato' Moyang.

03:36For people from Indonesia,

03:38they also have a story about their stories.

03:41If you don't have a mistake,

03:42they don't call Saka, they call Kodam.

03:46This story, although it's set in Malaysia,

03:49I feel that it has a relationship

03:53with the culture or life of people in the Nusantara region.

03:58I feel that people of Indonesia can relate to this story.

04:07We are a leader of Agni from the time she was doing

04:11to curate Radin Saleh,

04:12and KKN after the death of her death.

04:14So, we thought she was such a versatile actor.

04:16And we know that she is also a very athletic person.

04:28So, for us, it's also for us to show that our productions can appeal

04:34across the outside of Malaysia as well,

04:39by using an Indonesian star.

04:40And we thought that pairing her up with also a Malaysian A-Lister,

04:44which is Remy Ishak,

04:46would be a very, very good thing to do.

04:47Because the two of them are considered,

04:49their acting chops are really, really good.

04:51They are really good,

04:52and their chemistry is really real.

04:55In the rehearsal,

04:56we've already seen their chemistry.

04:57So, I think that's why we thought

05:00the only logical pairing for Agnini

05:03could be Remy.

05:05And the only logical pairing for Remy is actually Agnini.

05:08And when they were on screen together,

05:11I think you will see the chemistry.

05:22Excited, but also nervous.

05:26Tapi juga semangatlah.

05:30Hello, my name is Agni.

05:32Berperan sebagai melor di film Kadam.

05:36The first time I read the script, I think it's not just a sad story, but it's very human and

05:49emotional.

05:50Lalu juga watak melor ini sangat sunyi, tapi juga berani untuk melawan, dan aku juga sangat suka bagaimana produksi Malaysia

06:05mengangkat folklore, tapi juga dengan sentuhan yang sangat jujur.

06:12Itu yang membuat aku bilang, yes, aku ambil perannya.

06:20Aku manjat sampai sana, guys.

06:22Cuma lihat.

06:25I'll be okay, kan?

06:27Bila saya fikir pasal watak melor ini, dia adalah yang tidak bercakap.

06:33Saya fikir yang kita perlu cari seorang pelakon yang emosinya boleh datang daripada mata, daripada ekspresinya.

06:41Bila saya tengok filem-filem ini yang sebelum ini, saya tengok macam memang dia punya muka dia, dia punya matanya,

06:49kita tahu apa watak itu rasa.

06:52Tak ada pergerakan kerjaya saya sebagai seorang pelakon.

07:04Saya mengikut umur yang dimainkan dalam naskah.

07:10Jadi untuk awang, dia adalah satu yang berbeza.

07:13Mungkin penonton-penonton pernah melihat saya melakonkan watak lelaki yang baran.

07:23Tapi dalam masa sama, masih lagi mempunyai naluri seorang lelaki pencinta.

07:29Level of thinking dia sangat berbeza dari apa yang saya pernah mainkan sebelum ini.

07:37Itu adalah antara sebab kenapa saya mengambil peluang untuk turut sama berada di dalam naskah ini.

07:50Masa saya baca skrip itu, saya lihat watak awang ini, dia walaupun memang secara zahirnya, kita fikir macam dia watak

08:00antagonis.

08:01Pada masa itu, saya fikir kalau kita nak pilih pelakon untuk awang ini, dia kena ada kualiti dua-dua.

08:09Kualiti antagonistik, maksudnya kualiti awang yang baran, yang dangerous.

08:17Tapi pada masa yang sama, dia ada satu vulnerability.

08:21Sebenarnya dalam, dia sayang kepada benda.

08:23Tapi dia tak tahu macam mana nak tunjuk.

08:25Dan saya rasa Remy Ishak salah satu pelakon yang memang dia boleh bawa dua-dua benda itu.

08:50It's a lovely character gitu.

08:52Because with not talking, she must play with eyes, expression, and also with body weight.

09:01And I learned a lot about the piano film.

09:05And I learned a lot about people who lost the sound.

09:09How to talk about how to express yourself.

09:12And for me, my lord is not able to talk.

09:16It doesn't mean that it's a bad thing.

09:18But it's strength.

09:22What do you think about the role of the human beings?

09:26I like to play this role.

09:28Because I can show a part about the typical human beings in a year before.

09:40I've been able to enter into a group of people like this.

09:45So, that's one of the research that I have done.

09:49As far as my observation about them.

09:52And other than the discussion with the director, Shamil Osman, and the script.

10:02Thanks.

10:04Thanks.

10:04I have a lot of experience of learning.

10:05It's hard to meet the single ones.

10:08I'm happy to hear.

10:09but in this scene she has a lot of feelings,

10:13she has a lot of feelings,

10:14she has a lot of feelings and fears.

10:17She has got integrity to her.

10:28from the other side.

10:30It's not just soft,

10:31but it's strong,

10:34and it's a desire to provide

10:38the traditions that are not good

10:42in the future of their family.

10:49The skin and the skin

10:52has a little bit of a difference.

10:56Siti Khadijah is one of the optimists.

10:58She is very happy.

11:00She is also one of the things like that.

11:03She is very optimist.

11:05I feel like there is a difference.

11:08Although Siti,

11:10as a friend of Anini,

11:14she looks very good when they are together.

11:18I feel like there is a light trick.

11:22She is very happy.

11:24She is the one who is who is a son.

11:26She is the one who is a son.

11:27Do not see the one.

11:28Yes, yes, yes!

11:28Yes, yes, yes.

11:30Yes, yes!

11:30We are too worried when I read the script

11:32for the red and red, I feel like, wow, the kids' kids' kids are very good.

11:39For a year-to-year-old, we're doing audition, we're looking for a band.

11:43So, we're calling a lot of kids' kids' kids.

11:47The most good is to find a band of their son,

11:52because we really want to find a size and age, 8 years old.

11:59I, secara randomly, ternampak mak dia post a story dekat WhatsApp.

12:04Dia punya size, dia punya ketinggian, dia punya umur tu dah betul-betul.

12:08Macam yang kita betul-betul nak lah.

12:11So, kita panggil Zara dengan adik dia untuk casting sama-sama.

12:14This is the pair yang kita betul-betul nak lah.

12:16Hi! Nama saya Zara, membagat watak sebagai putih dalam film Khadam.

12:21Putih lah seorang yang ceria, bertanggungjawab, mengambil berat dan juga seorang yang cerdik.

12:26Putih dengan mak dia dan adik dia tinggal dalam rumah ni.

12:31Ah, bukan mak. Putih tak banyak, dia bangga.

12:34Tidak sini.

12:36Jadi, macam mana Zara menjiwai watak dan filem Khadam ni?

12:42First, Zara buat preparation dulu untuk pergi acting kelas,

12:48pergi workshop, acting workshop.

12:50Tapi sebelum tu, Zara baca dulu skrip.

12:53Zara cuba lakonkan depan cermin sama ada ni okey untuk Zara atau tak okey.

12:59Lepas tu, bila dah baca skrip tu, kita risal dengan adik sekali.

13:03So, lagi senang bila adik betul-betul jadi adik kita dalam cerita.

13:10Dia macam ada chemistry tu lagi.

13:12Nak, depan dia. Nak Khadam betul je kan?

13:16Kan? Kan?

13:17Haa.

13:17Hai, nama saya Khad.

13:20Saya dalam filem ni,

13:22memegang sebagai hitam.

13:25Dan ini adalah rumah saya.

13:27Saya duduk di sini,

13:29mak saya dengan kakak saya.

13:32Bapa saya jarang nak balik rumah.

13:34Dan cuba tamuk juga kan?

13:44Sebagai seorang penerbit kan, kita lihat skrip kan?

13:47Kita tengok, okey, okey.

13:49Satu, mungkin kita rasa satu lokasi saja.

13:52Okey, rumah melut.

13:53Dan tempat ni tahun 1950-an,

13:56kita mesti cari satu tempat yang tidak ada apa-apa di,

14:00di, di, di surrounding, di keliling ni.

14:02Kita buat satu dunia.

14:04Dalam dunia melut.

14:07Kita kena cari tempat yang cantik,

14:10yang juga sesuai untuk buat produksi.

14:18Tabaran nak cari lokasi tu,

14:21sebab first,

14:23the main premise is rumah melut tu.

14:26Ikutkan skrip di era 1950s.

14:28So, dia ada bentuk rumah,

14:31mereka bentuk rumah tu sangat spesifik.

14:34Banyak tempat,

14:34kita cuba cari untuk rumah kampung,

14:37cuba cari kat dalam KL Selangor,

14:39tak jumpa.

14:40So, kita harus,

14:40look outside of KL Selangor.

14:43Eventually,

14:45jumpa satu rumah ni,

14:46dekat Raup.

14:48Tapi,

14:49rumah dekat Raup ni pula,

14:52dia punya,

14:54environment dia,

14:54tak bersesuaian dengan cerita.

14:56Apa yang kita buat,

14:57ialah,

14:59kita,

15:00angkut rumah tu,

15:02daripada Raup,

15:03kita,

15:04transport dia,

15:05ke,

15:06our,

15:07location,

15:08Atelikopeng.

15:09Dia rumah papan kan,

15:10setiap papan tu,

15:11kena buka,

15:11mereka kena label.

15:13So, masa pemasangan tu,

15:15kita tahu,

15:15ok,

15:15ada,

15:16maybe certain kayu dah tak boleh nak pakai,

15:18and then,

15:19kita kena cari lagi,

15:20kayu-kayu lebihan untuk,

15:22pasang dia.

15:23Structure dia,

15:24berubah sedikit daripada yang,

15:27kena,

15:27the,

15:28the benefit is that,

15:29we also get to,

15:31pasang dia balik,

15:32with the structure that,

15:33we want.

15:34Ini kawasan saya,

15:36main dengan kakak,

15:37lari-lari semua.

15:44Dan,

15:44Inah telah reban jalak,

15:46orang dulu-dulu,

15:48toilet dia,

15:49kat luar rumah.

15:50Tengok,

15:51kawan-kawan,

15:52nak masak ke apa,

15:54semua guna kayu api.

15:56Kalau zaman sekarang,

15:58guna gas je.

16:00Tengoklah kawan-kawan,

16:02ini adalah dapur zaman dulu.

16:04Susah,

16:05zaman dulu nak masak semua.

16:08Tengok.

16:10Gas mana ada,

16:11semua guna kayu api je.

16:13Saya rasa susah nak jadi mak.

16:15Sebab,

16:16kena masak semua.

16:18Saya main ayam je.

16:26Tengok.

16:40Mencari tempat ini,

16:41di Gopeng,

16:43adalah satu ilham.

16:45Kerana,

16:45saya dulu datang sini,

16:46untuk membuat

16:47white water rafting.

16:48Bila saya datang,

16:49tengok balik tempat ini,

16:51memang ada tempat kosong,

16:53yang kita boleh guna.

16:54Dekat juga dengan Nomad Adventure,

16:56yang mempunyai semua amenities yang kita perlukan.

16:59Jadi,

17:00bagi saya sesuai lah tempat ini.

17:02Sangat sesuai.

17:08Cerita ini,

17:09set di sebuah rumah kampung,

17:10yang disolong.

17:11Pada masa yang sama,

17:13tempat lokasi tanah itu,

17:15dekat dengan sungai,

17:16lepas itu dekat dengan sebuah gua.

17:20It was,

17:20macam,

17:21very coincidental,

17:23very lucky that,

17:24kita jumpa sebuah lokasi,

17:26kita jumpa rumah itu,

17:28kita jumpa tanah yang,

17:29semuanya,

17:31lokasi yang kita perlukan,

17:32semuanya berdekatan.

17:33So,

17:34kita punya production designer,

17:35Tam Khaled,

17:36he had a real challenge,

17:38the head of him.

17:38Dia kena,

17:39bina semula rumah Melo ni,

17:41lepas itu,

17:41dia kena,

17:42bina,

17:44satu,

17:45anex,

17:45untuk dijadikan sebagai rumah manis,

17:48adalah perigi dekat belakang,

17:51dengan reban ayam.

17:52So,

17:53cabaran utama,

17:54bila kita build set ni,

17:56is,

17:56kita tak nak benda tu look,

17:57macam set.

17:58Kita nak,

17:59tempat tu nampak macam real lah,

18:01macam dah bertahun rumah tu ada kat sana.

18:02So,

18:03untuk dapatkan feel,

18:04era lewat,

18:05lewat lima puluhan tu,

18:07so,

18:07segala prop yang kita,

18:09ada dekat rumah tu,

18:10apa yang digunakan oleh pelakon semua tu,

18:12kena era accurate lah.

18:14Dari segi kostum tu pun,

18:16kita,

18:16aa,

18:17nak pastikan yang,

18:19walaupun baju tu,

18:20kita dibuat khas untuk filem ni,

18:22tapi dia nampak,

18:23cukup lusuh,

18:24sesuai dengan,

18:25apa,

18:25era dengan,

18:27apa,

18:27lokasi tu lah.

18:29So,

18:29salah satu cabaran,

18:30dari segi penataan cahaya pula,

18:32ialah,

18:33macam mana kita nak,

18:34buat lighting untuk cerita ni,

18:37dimana rumah tu memang,

18:38tak ada elektrik,

18:39tak ada lampu,

18:40tak ada apa.

18:40Saya dengan Haris Yu,

18:42dengan Tam,

18:43production designer,

18:44so,

18:44kita pastikan yang,

18:46aa,

18:46dimana,

18:47setiap kawasan di rumah tu,

18:49kita ada satu,

18:50aa,

18:51natural,

18:51realistic flame,

18:52source light.

18:54So,

18:55so,

18:55source light,

18:56semua actually,

18:57kita dapatkan daripada,

18:59sama ada dia lilin ke,

19:01atau pelita ke,

19:02atau lampu kerosin ke,

19:04so,

19:04dari segi blocking,

19:05dengan pergerakan pelakon pun,

19:07kita terpaksa,

19:08keep in mind,

19:09okay,

19:09kalau dia jalan ke sini,

19:11aa,

19:11dia bawa ke tak,

19:12aa,

19:12logik tak dibawa,

19:13lampu kerosin dengan dia,

19:14so,

19:15we,

19:16had to think of ways,

19:17to,

19:17solve the lighting issues,

19:20aa,

19:20in creative ways,

19:22so,

19:22it's all,

19:22natural sources,

19:24yang kita try to,

19:26aa,

19:26create,

19:27recreate.

19:32Jujur,

19:3390% itu,

19:34semua scene-nya susah,

19:36karena,

19:36Melor ini kan,

19:37tak bersuara ya,

19:39dia hanya,

19:39dia hanya memainkan,

19:41eh,

19:42sign,

19:42dan juga ekspresi,

19:43bagaimana,

19:44dia melihatkan,

19:45emosi yang,

19:46sangat dalam,

19:47tapi tidak bisa,

19:49meledak,

19:49apalagi ketika dia,

19:51menjadi tameng,

19:52untuk anak-anak,

19:52oke,

19:53aku suka sekali challenge,

19:55karakternya,

19:56didatangkan,

19:57sangat baru,

19:58untuk aku,

19:58aku belum pernah,

20:00memerankan,

20:01peran,

20:01ibu dengan dua anak,

20:04lalu,

20:04aku juga belum pernah,

20:07memerankan,

20:07watak yang,

20:09mute,

20:09perempuan,

20:10perempuan di zaman itu,

20:11sudah,

20:11menikah muda,

20:12mempunyai anak,

20:14mungkin tidak memiliki,

20:15banyak pilihan,

20:16dan juga,

20:17mereka kadang,

20:19seringnya,

20:20diam,

20:20ketika disakiti,

20:22tapi,

20:22buatku,

20:23diam itu,

20:24adalah,

20:25kekuatan,

20:26bukan karena,

20:27mereka tidak bisa,

20:27bersuara,

20:28tapi,

20:29kekuatannya itu,

20:30datang,

20:30karena,

20:30mereka bertahan.

20:32sakit tengkuk,

20:33malam tadi,

20:34tidurkan empat,

20:35dengan kadang,

20:37memang susah,

20:38untuk saya,

20:39imbangkan,

20:40panas barang,

20:41dan dalam masa yang sama,

20:43saya,

20:44mencintai,

20:45there is a one scene,

20:46yang saya minta,

20:46dengan Camille,

20:47to reshoot,

20:48you know,

20:48the moment,

20:49bila,

20:49awang dia dah start,

20:51dia dah,

20:52dia dah turn to,

20:53soft side,

20:53tapi,

20:55kita tak boleh terus,

20:58drastically change,

20:59awang ni,

20:59jadi,

21:00like 360,

21:01punya soft,

21:01saya cakap dengan Camille,

21:03saya cakap,

21:03saya kenal awang ni,

21:04saya dah,

21:06tergelincir sikit ni,

21:07daripada watak ni,

21:08sikit tergelincir,

21:09dia akan jadi kacat,

21:10untuk watak,

21:11awang punya side eh,

21:12lelaki,

21:13memang kerja dia,

21:13pergi mencari rezeki,

21:14dan bagi duit kepada family,

21:17untuk,

21:18untuk,

21:19kelangsungan hidup,

21:20tapi sebenarnya,

21:21dalam masa yang sama,

21:22sebenarnya,

21:22seorang lelaki itu,

21:23perlu berikan kasih sayang,

21:24kepada isrinya,

21:25kepada anak-anak,

21:27dia adalah tiang kepada keluarga,

21:29kalau dia gagal,

21:31membimbing keluarga itu,

21:33maka,

21:33bincanglah segalanya.

21:40Perwatakan melur dengan manis,

21:42dia ada banyak beza,

21:44melur ni,

21:45seorang yang,

21:46sedikit keras,

21:48manis pun,

21:48lebih pendidikan,

21:49jadi mungkin,

21:50apa yang dia fikir itu,

21:51dia fikir,

21:52lebih mendalam.

21:59Bagaimana ya,

22:00aku harus,

22:02kontroli bot,

22:03tapi juga beraktif.

22:05Di dalam hati,

22:06aku mahu nangis teman-teman.

22:08Bagi saya,

22:09river scene itu,

22:10susah nak execute,

22:12kerana,

22:12bahaya juga,

22:13kerana,

22:14airnya deras,

22:15bila hujan kan,

22:16river itu akan naik,

22:18dan,

22:18kita juga menghubungi Nomad Adventure,

22:20untuk membantu kita dengan

22:21sajalahan dengan sajalahan,

22:22dan perjalanan.

22:23Ya.

22:24So,

22:25our guides

22:25are certified

22:26by Rescue 3 International,

22:28so he actually trains,

22:29you know,

22:30water rescue teams,

22:31firemen,

22:32civil defence,

22:33you know,

22:34apart from river guides,

22:35on water safety.

22:36So,

22:36it's really a pleasure

22:37to also,

22:38be able to instruct

22:40your talents.

22:41Ya.

22:41And my goodness,

22:43they're really, really good,

22:44actually.

22:44Ya, ya.

22:49Tiga kata untuk describe kadang,

22:52amazing,

22:55quality,

22:57wow.

22:58Seram,

23:00sedih,

23:01kejam.

23:03Heritage,

23:04haunting,

23:05sama love.

23:07Menyeramkan,

23:08ia realistik,

23:10dan,

23:10ia penuh emosi.

23:12Kenapa harus menonton?

23:13Karena,

23:15kalian,

23:16tidak hanya akan mendapatkan cerita seram saja.

23:19Kalian akan diingatkan,

23:20betapa ibu kalian itu sangat menyayangi kalian.

23:23Jadi,

23:23jangan sampai terlewat.

23:24Oke,

23:25kepada penonton-penonton di luar sana.

23:27Jangan lupa,

23:28saksikan filem kadang.

23:29Ini pawagam berdekatan anda.

23:32Take one.

23:34It's a wrap for...

23:36...

23:37...

23:40...

23:40Mak kata,

23:41kalau tak bagi makan,

23:43...

23:44...

23:45...

23:46...

Khadam | Behind-The-Scenes

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