According to a Gareth Evans interview, this is the explanation about how he shot the car chase scene: "The pass started with the director of photography on one side of the car. The second DOP is actually dressed as one of the seats. The camera comes in through the window and he just grabs it. On the other side of the car crouching right by the tires on a platform is another camera assistant, so the second DOP passes it to him through the back window."
Originally, Berandal was written before The Raid: Redemption (2011). When funding fell through for Berandal, Gareth Evans (director) decided to do a film that required a lower budget that would eventually become the first movie.
Iko Uwais had trained together with the other fighters for 6 months, so that they would meet every day and build that mutual trust before shooting the fight scenes, so that when one of them missed, they wouldn't want to punch back harder.
Berandal's choreography was already in place before The Raid: Redemption (2011) went into pre-production, however, Gareth Evans decided to keep Berandal's choreography for the sequel and use all new 'silat' (Indonesian martial arts) choreography for the first movie.
According to director Gareth Evans, The Raid 2 starts two hours after The Raid: Redemption (2011) finishes. There were plans for a third movie, which would have started three hours before The Raid 2 finishes. However, in 2018, Evans stated that after doing two Raid movies, he was eager to do some other projects first. As time went on, he felt that the series had already reached its natural conclusion in the second movie, and he felt increasingly less compelled to return to the franchise. Fearing 'franchise fatigue', he concluded that him making a third movie would be unlikely.
According to an Iko Uwais interview with Variety, one of the key differences between fighting on- and off-camera is that he can't show weakness while battling in a ring, but on camera he must convey his physical reaction to the punches, kicks and blows.
According to Gareth Evans, the idea of "Hammer Girl" came to him from his first feature film, Merantau, where one of the silat styles featured is called "tiger style" because the hits are made with the palm of a hand while the fingers are kept in a claw-like position. Evans wanted an "extension" of the tiger style where a weapon would be used, and the only weapon he could think of was a claw hammer.
Evans says that Sam Peckinpah, John Woo and Jackie Chan define action cinema. "When they do an action sequence, you're always aware of your surroundings. You always have an understanding of the geography of the place. There's a clarity in the detail there and also a willingness to show the choreography full and clean."
In the revised Berandal script, the main character's motivation was changed and turned into the main role of Rama, an undercover cop. By giving a new identity and role for Rama as an undercover cop, the script gained a new thrill element. Also, in the new script, Evans added an action scene which takes place in a taxi.
An action scene which takes place in a taxi was inspired by a true story that Evans heard from a friend of his when he was polishing the new script. The new script was completed by the mid-end of 2012 and pre-production started straight after.
The Pencak Silat fighting skills of Iko Uwais (Rama) and Yayan Ruhian (Prakoso) got the attention of Nina Gold, who cast them as Razoo Quin-Fee and Tasu Leech for director JJ Abrams in Star Wars: Episode VII - The Force Awakens (2015).
The name of Rama's undercover identity is Yuda. This name bears a strong resemblance to Judas, one of Jesus' twelves apostles. Judas betrayed Jesus. Rama uses his undercover identity to infiltrate the crime family of Uco and Bangun.
In the final kitchen fight scene, the Assassin delivers a horizontal cut to Rama's right cheek. This is likely an homage to the first movie, when the Machete Thug cut Rama's left cheek through the wall.
When Bangun asks Eka to give a peace package to the Goto family, it contains the area of "Menteng" and "Sabang". In reality, those areas are the most expensive areas with high profile residence (including the Indonesian vice president's house, Jakarta's governor house and also most of the embassy residences) in Jakarta.
In all of Bejo's scenes, he's only shown to lose control of himself twice: at the beginning of the movie when he's talking to Andi and near the end when he's dining with Uco and Commissioner Reza. It's interesting to note that in both of these instances, after he loses control of himself before quickly regaining it, at least one major character is killed by a shotgun shortly afterward. In the first instance, after he regains control and says a few more words to Andi, one of his men executes Andi with a pump shotgun. In the second instance, a little while after Bejo picks up his dropped walking cane off of the floor and resumes eating with Uco and Reza after his brief outburst, he attempts to throw a shotgun to Reza to defend them against Rama when he breaks in before it is instead caught by Uco, who proceeds to kill both Reza and Bejo with it.