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CODE SWITCHING AS SEEN IN HITAM PUTIH TALK SHOW

IN 12 JUNE 2013

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements

for the Degree of Sarjana Sastra

in English Letters

By

CORY ADRIANI KAPA

Student Number : 104214061

ENGLISH LETTERS STUDY PROGRAM

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS

SANATA DHARMA UNIVERSITY

2014

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJIPLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

ii

CODE SWITCHING AS SEEN IN HITAM PUTIH TALK SHOW

IN 12 JUNE 2013

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements

for the Degree of Sarjana Sastra

in English Letters

By

CORY ADRIANI KAPA

Student Number : 104214061

ENGLISH LETTERS STUDY PROGRAM

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS

SANATA DHARMA UNIVERSITY

2014


vii

JANGAN PERNAH MEMBATASI HIDUPMU DENGAN PIKIRANMU

DON’T LIMIT YOUR LIFE WITH YOUR THINKING

(Joel Oesteen)


viii

Dedicated to

Jesus Christ

and

Morizon B. D. Kapa

&

Salomy Leonora Welkis


ix

ACKNOWLEDGEMENTS

First of all, I would like to thank Jesus Christ for His everlasting

blessings. He is always beside me and gives me strength in every condition until I

finish this thesis. I thank my great advisor Adventina Putranti, S.S.,M.Hum., for

guiding me to finish this thesis. I thank Miss Venti for her help, her suggestion,

and her time for the consultation. I also thank my co-advisor Harris Hermansyah

Setiajid., S.S, M.Hum. and Dewi Widyastuti, S.Pd.M.Hum. who give advice to

make this thesis much better.

I would like to thank Kementerian Pendidikan dan Kebudayaan Republik

Indonesia for giving me chance to get scholarship, Beasiswa Unggulan, until I

finish my study in Sanata Dharma University.

To my beloved parents, Morizon Kapa and Salomy Leonora Welkis and

my lovely siblings Loudya Ester Kapa and Triyanto Deni Kapa, I would like to

say thanks for their love, their prayers, supports, and their care for me. I also

thank my other family Endang Koli for her suggestions and her help.

I would like thank all lecturers and my friends at English Letters

Department, AIESEC UPNVY, UKM Taekwondo USD, Great Community at

English Cafe, Komisi Pemuda GKI Gejayan, and Sanata Dharma University for

teaching me many valuable things. I thank my lovely and greatest friends in

Class C English Department 2010 especially Dea, Ray, Gita, Kiky, Dien, Ciko,

Gradi. I thank them for giving me many beautiful things to learn.

I also thank my sweetest friends, Hanny, Mbak Puteri, and Okie for their

prayers, support, and their help to make me enjoy this life with happiness. For

Anak bimbingan Miss Venty: Nino, Osa, Mayang, and Yanis, I thank them for

their supports in finishing this thesis. The last for my lovely boyfriend, Kristian

Adi Perbowo, I thank him for coloring my days with smiles and supports.

Cory Adriani Kapa


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TABLE OF CONTENTS

TITLE PAGE………………………………………………………………. ii APPROVAL PAGE…………………………………………….................... iii ACCEPTANCE PAGE …………………………………………………… iv LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH …………………………………………………………………….

v

STATEMENT OF ORIGINALITY ……………………………………… vi MOTTO PAGE ……………………………………………………………. vii DEDICATION PAGE …………………………………………………….. viiiACKNOWLEDGEMENTS ……………………………………………… ix TABLE OF CONTENTS ……………………………………………….... x ABSTRACT ……………………………………………………………….. xii ABSTRAK ………………………………………………………………… xiiiCHAPTER I : INTRODUCTION ………………………………………. 1

A. Background of the Study………………….………………………. 1 B. Problem Formulation ……………………………………………… 3 C. Objectives of the Study ……………………………………………. 3 D. Definition of Terms ………………………………………………… 3

CHAPTER II : REVIEW OF LITERATURE …………………………. 4

A. Review of Related Studies …………………………………………. 4 B. Review of Related Theories ………………………………………....

1. Sociolinguistics ………………………………………………… 2. Code Switching ………………………………………………… 3. Types of Code Switching ………………………………………. 4. Functions of Code Switching ………………………………….. 5. Indonesian Grammar …………………………………………...

5 5 7 8 10 13

C. Theoretical Framework …………………………………………….. 17

CHAPTER III : METHODOLOGY …………………………………….. 18 A. Object of the Study …………………………………………………. 18 B. Approach of the Study ……………………………………………… 18 C. Method of the Study ………………………………………………..

1. Data Collection ………………………………………………… 2. Data Analysis ……………………………………………………

19 19 20

CHAPTER IV : ANALYSIS RESULTS AND DISCUSSION ………….. 22 A. Types of Code Switching in Hitam Putih Talk Show 12 June 2013

1. Tag Switching …………………………………………………… 2. Intersentential Switch …………………………………………… 3. Intrasentential Switch ……………………………………………

22 22 24 30

B. Functions of Code Switching in HItam Putih Talk Show 12 June 2013…………………………………………………………………... 1. Quotation ………………………………………………………… 2. Interjection ……………………………………………………….

36 36 39


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3. Reiteration ……………………………………………………….. 4. Message Qualification …………………………………………… 5. Personalization versus objectivization …………………………... 6. Lexical Gap Filling ………………………………………………

CHAPTER V: CONCLUSION ………………………………………….. BIBLIOGRAPHY ………………………………………………………….. APPENDICES ………………………………………………………………

A. Script of conversation in Hitam Putih talk show …………………… B. List of Code Switching data ……………………………………….

41 43 45 47

50 52 54 54 67


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ABSTRACT

CORY ADRIANI KAPA. Code Switching as Seen in Hitam Putih Talk Show 12 June 2013. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2014.

Nowadays, most people use more than one language in communicating for some considerations such as to whom they speak, choice of topic, and situation. They produce utterances and even they may decide to change one language to another language. This phenomenon is considered as code switching. Based on this background, this study is conducted to discuss the use of code switching in some aspects which one of them is talk show. In this case, the writer focuses on code switching occurring in Hitam Putih talk show 12 June 2013 because the host of this talk show mostly does code switching to the guests.

In this study, there are two problems to be discussed. The first problem is what are the typex of code switching occurred in Hitam Putih talk show in 12 June 2013? The second problem is what are the functions of code switching occuring Hitam Putih talk show 12 June 2013? The objectives of the study are to identify and analyze the types and the functions of code switching in Hitam Putih talk show 12 June 2013.

In identifying those two problems, the writer uses purposive sampling method that is focused on the judgment. The writer applies critical case sampling in collecting the data. The critical case sampling here is used to explain further on the phenomenon of the study. In this study, the writer collects the utterances consisting of code switching from Hitam Putih talk show. Furthermore, the writer analyzes the problems based on the structure and context of sentence.

According to the results, the writer finds that the three participants in Hitam Putih talk show 12 June 2013 employed three types of code switching. The first type is Tag Switching which is the switch occurs as a tag.The second type is Intersentential switch that is the switch occurs between sentences or after pause employment and the last Intrasentential switch which is the switch occurs within one sentence. The writer also finds that the functions of code switching occurred in Hitam Putih talk show. The first function is Quotation which means to quote what people say. The second function is Interjection, the switch is functioned to mark a sentence filler. The third function is Reiteration, the switch occurs to clarify what is said by the speaker. The forth function is Message qualification, the switch appears to convey the main message of the sentence. The fifth function is Personalization vs Objectvization means that the switch occurs to show speaker’s knowledge or opinion. The last function is lexical gap filling which the switch occurs to fill the relevant word of other language in Indonesian utterances.


xiii

ABSTRAK

CORY ADRIANI KAPA. Code Switching as Seen in Hitam Putih Talk Show 12 June 2013. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2014.

Sekarang ini, banyak orang menggunakan lebih dari satu bahasa karena beberapa pertimbangan seperti kepada orang yang diajak bicara, pemilihan topik, dan situasi. Mereka dapat menghasilkan beberapa ungkapan dan mengubah ungkapan-ungakapan tersebut dari bahasa satu ke bahasa yang lain. Fenomena ini disebut alih kode. Berdasarkan latar belakang tersebut, penelitian ini dilakukan untuk mendiskusikan alih kode dan salah satunya di acara talk show. Dalam hal ini, penulis fokus pada alih kode yang terdapat di Hitam Putih talk show.

Pada penilitian ini, ada dua masalah yang diidentifikasi. Rumusan masalah pertama apa tipe alih kode yang terdapat pada Hitam Putih talk show tanggal 12 Juni 2013? Rumusan masalah kedua apa fungsi alih kode yang terdapat di Hitam Putih talk show? Beberapa tujuan dari penelitian ini adalah untuk mengidentifikasi dan menganalisa tipe-tipe dan fungsi-fungsi alih kode yang terdapat dalam Hitam Putih talk show.

Dalam mengidentifikasi dua rumusan masalah tersebut, penulis menggunakan metode pengambilan data secara purposive yakni berfokus pada pertimbangan. Penulis mengambil sampel secara kritis yakni dipakai untuk menjelaskan fenomena alih kode secara mendalam. Penulis mengambil beberapa ungkapan yang mengandung alih kode dari talk show tersebut. Penulis menganalisa dua rumusan masalah sesuai struktur dan konteks kalimat.

Berdasarkan hasil penelitian, penulis menemukan bahwa ketiga peserta talk show di Hitam Putih talk show menggunakan tiga tipe alih kode. Tipe pertama adalah alih kode buntut kalimat, alih kode muncul sebagai label. Tipe kedua yakni alih kode antar kalimat atau alih kode yang muncul di antara kalimat. Tipe ketiga adalah alih kode dalam kalimat atau alih kode yang muncul di dalam sebuah kalimat. Penulis juga menemukan fungsi dari alih kode seperti Kutipan atau alih kode dipakai untuk mengutip perkataan orang, Interjeksi atau alih kode berfungsi sebagai penanda label atau pengisi kalimat, Pengulangan atau alih kode berfungsi untuk mengklarifikasi hal yang telah dikatakan sebelumnya, Kwalifikasi pesan atau alih kode dipakai untuk menyampaikan ide utama sebuah ungkapan, Personalisasi lawan Objektivisasi atau alih kode berfungsi menenjukkan pendapat atau pengetahuan pembiacara, dan Pengisian batasan leksikal atau alih kode berfungsi mengisi kata yang tepat dari bahasa lain ke dalam ungkapan Indonesia.


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CHAPTER I

INTRODUCTION

A. Background of the Study

Language is very important because it is used as a tool to communicate and

also deliver messages to each other. People use language as a system to convey

their ideas, their thoughts, and also their attitudes. According to Palmer, if

language is regarded as an information system, or more strictly as a

communication system, it will associate the main message with a set of signs that

means the sound of language of the symbol of the written text (1997: 6).

Nowadays, most people use more than one language in communicating for

some considerations, such as to whom they speak to, choice of topic, situation etc.

When two or more people communicate to each other, they produce some

utterances. People employ a system of communication called code. According to

Wardaugh,“code is a system used for communication between two or more

parties” (1992:103). They use code whenever they want to speak and they may

decide to change one language to another language. This phenomenon is regarded

as a language feature called code switching. Code switching involves two

languages or linguistic varieties in the same utterance or conversation (Hoffman,

1991:110). The examples of code switching are; Anyway bagaimana kabar

kakakmu? And Tolong searching data-data ini di komputer anda. The examples

are the mixture of English and Indonesian. The speaker inserts English word into

Indonesian utterance.


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In fact, code switching exists as well in some fields for example in social

media like facebook, twitter, mass media like newspapers, magazines, and

journals, and in entertainments like talk show, reality show, soap opera, etc.

Although code switching occurs in various fields, the writer will only focus in talk

show because today code switching appears more often in conversational or

spoken occasions and it is also found in talk show. Talk show is part of television

or radio show which is hosted by one person and the guests can be more than one

person. According to Morissan talk show is a program that shows some persons

to discuss about a certain topic and the program is guided by a host (2008:222).

In this study, the writer chooses Hitam Putih talk show as the source of code

switching data. The writer selects Hitam Putih talk show because the host always

does code switching to the guests who are bilingual speakers. Then, the writer

identifies the use of code switching by the host and the guests in 12 June 2013. In

this study, the writer analyses the utterances created by Dedy Corbuzier, Joe

Taslim and Daniel Mananta which consist of code switching. The writer finds that

the episode in 12 June 2013, they do more code switching since the guests in this

episode are bilingual speakers which can be seen from the background of the

guests. This motivates the writer to conduct a research to reveal the types of code

switching and the functions of using code switching in Dedy Corbuzier, Joe

Taslim, and Daniel Mananta utterances in Hitam Putih talk show in 12 June 2013.


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B. Problem Formulation

This study has two problem formulations to be answered. The problems can

be formulated below:

1. What are the types of code switching that occur in Hitam Putih talk show in

12 June 2013?

2. What are the functions of code switching appearing in Hitam Putih talk

show in 12 June 2013?

C. Objectives of the Study

The first objective of this study is to identify the types of code switching

that occur in Hitam Putih talk show 12 June 2013. According to the identification

on the types of code switching, the writer also find the functions of code

switching. Therefore, the second objective of this study is to analyze the functions

of code switching in Hitam Putih talk show 12 June 2013.

D. Definition of Terms

Code is a system used for communication between two or more parties

(Wardaugh, 1986:103). It can be understood that code is a tool that people may

employ to communicate to each other.

Code Switching involves the alternate use of two languages or linguistic

varieties within the same utterance or conversation (Hoffman, 1991:110). It means

that code switching is a language mixture of two different languages used that

occurs in the same speech.


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CHAPTER II

REVIEW OF LITERATURE

This chapter consists of three important parts namely review of related

studies, review of related theories, and theoretical framework. The review of

related studies presents the relation of this study with some researches which are

Mandiri’s and Murniati’s. The review of related theories explains the theories are

used by the writer to show the goal of this study while the theoretical framework

gives the step arranged to accomplish this study.

A. Review of Related studies

1. Mandiri’s thesis “The Occurrence of Code Switching within Social

Networking Website Facebook “.

This undergraduate thesis discusses the occurrence of code switching in

Facebook. Mandiri tries to identify the language that is used by Facebook users in

updating their status. Mandiri sees that most Facebook users today like to update

their status with language feature called code switching and they sometimes

employ word, phrases, or sentences from English language juxtaposed with

Indonesian words, phrases, or even sentences to create interesting language

utterances. In Mandiri’s thesis, his objectives are to identify the types of code

switching occur in Facebook users’ status and the reasons of using code switching

by the Facebook users (Mandiri, 2010:2).

Actually, the focus of this study is different from Mandiri’s thesis in a way

that Mandiri observes the use of the type and the reason of code switching and not


5

examining the functions of code switching that occurs in Facebook users’

utterance. The difference can be seen from participants who used code switching.

In Mandiri’s thesis, he analyses Facebook users’ utterances while in this study the

writer identifies the participants’ utterances in Hitam Putih talk show.

2. Murniati’s article on Celt journal “An analysis of Indonesian – English

Code Switching in Electronic Mails”.

This article explains the analysis of Code Switching in Electronic Mails. In

Murniati’s article, she identifies the types and the functions of Indonesian –

English code switching in Electronic Mails. She observes that code switching is a

common phenomenon in Indonesian because most people in Indonesia are

bilingual. Murniati sees that the upper middle class teenagers are already familiar

with English in their daily life given that they are also exposed to Western movies

and films and the high competition to enter the most prestigious schools in

Indonesia and abroad. In her study, Murniati takes the electronic mails as the data

from University graduate, students of undergraduate and graduate programs in

Ohio, and the Indonesian Fulbrighters in the US who speak English well

(Murniati. 2004:127). Related to this study, the writer takes the conversations

among three participants in Hitam Putih talk show as the data.

B. Review of Related Theories

1. Sociolinguistics

The study of language used by society is called sociolinguistics. This

comprehension is supported by Hudson (1980:4-5) “sociolinguistics is the study

of language in relation to society”.


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Wardaugh also stated that sociolinguistics is focussing on the relationship

between language and society with the purpose to have a better understanding of

the structure of the language and of how languages function in communication

(1992:13).

According to Trudgil (1978:11) as cited by Wardaugh sociolinguistics also

covers some works such as structure of discourse and conversation, speech acts,

studies in the ethnography of speaking, investigations of such matters as kinship

systems, studies in the sociology of language such as bilingualism, code-

switching, and diglossia and certain practical concerns such as various aspects of

teaching and language behaviour in classroom (1992 : 14).

In this case, bilingualism, code switching, and diglossia are related to each

other in terms of sociology studies of language. Bilingualism here more concerns

to one person and his knowledge of certain languages. According to Wei,

bilingualism is considered as the alternate of two or more languages by the same

person (2000:27). It can be said that bilingual speaker is a person who speaks

more than one language.

On the other hand, diglossia is defined as the situation which two or more

persons will switch their languages only in a particular situation. According to

Asher said that there are two distinctive varieties of code that exist in diglossic

communities, namely high (H) and low (L) variety. High (H) variety is the

prestige variety which is used in formal discourses, while low (L) is used in less

formal discourse (1994:581). People will use (H) in formal situation such as in


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interview, workshop, presentation. People will also use (L) in informal situation

such when they speak to close friend or family at home.

Based on the theories above, it can be concluded that a person who switches

his language to another language is obviously a bilingual speaker and it happens

for some particular reasons which is one of them is a setting or situation.

Therefore, this phenomenon is called code switching.

2. Code Switching

There are several definitions of code switching viewed by some linguists.

They have different ways in defining code switching. Thus, in order to have in-

depth understanding of code switching, this study presents several definitions of

code switching from several linguists.

Code switching occurs amongst people who can speak more than one

language and this is also agreed with the idea from Shana as cited by Duran that

“code switching is the juxtaposition within the passage of someone’s speech

which involves items of two different languages” (1984:10). This can be

understood that code switching occurs when the speaker inserts two different

languages in his utterance.

The other linguist states that code switching is language mixture is

Akmajian. He stated that “Code switching refers to a situation in which the

speaker uses a mixture of distinct language varieties as discourse proceeds”

(2001:307). It means that code switching is a situation when the speaker combines

two different languages in a speech.


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Code Switching relies on the meaningful juxtaposition of what speakers must consciously or sub-conciously process as strings formed according to the internal rules of two distinct grammatical systems (Gumperz,1982 : 66).

Besides, Hoffman stated that code switching includes two languages or

linguistic varieties in the same utterance or conversation (1991 : 110). Therefore,

code switching is a situation when the speaker juxtaposes two different languages

to communicate and it occurs in the same speech event.

Furthermore, there is code mixing that also relates to code switching.

According to Wardaugh (1992:107) “code mixing occurs when conversants use

both languages together to limit that they change from one language to the other

in the course of a single utterance”. It means that code mixing is also juxtaposition

of two languages that occurs in a single sentence. According to Muysken,

Poplack, and McLaughin as cited by Hoffman, code mixing refers to

intrasentential switch (1991:104). The difference between code mixing and code

switching can be seen from their occurrences. Code mixing occurs at the lexical

level within sentence. Code switching occurs within phrases or sentences

including tags and exclamations at the end of the sentence (Hoffman, 1991:104).

3. Types of Code Switching

There are three types of code switching according to Stockwell (2002 : 33)

that are described as follow:

a. Tag switching

This type of code switching only switches an interjection, a tag, or sentence

filler in the utterances of the interlocutor. According to Poplack (1980) as cited by


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Romaine (1989:122) also mentioned that tags are easily inserted at a number of

points in monolingual utterance without violating syntactic rule.

The example can be seen below:

Guys, ikutan yukz donor darah...hari ini jam 10.00 s/d 13.00 di HKBP

Rogate Jl. Cemara Raya No. 16.

(Mandiri, 2010 : 40)

b. Intersentential Switch

Intersentential switch occurs between sentences made by the speaker. The

topic of the conversation may be switched by pause employed by one of the

speaker. The pause employed here shows a brief suspension of the voice to

indicate limits or relations of sentences. Intersentential Switch occurs between

more than one sentence.

The example can be seen as follows:

Awal dr hari yang indah. Sunday with full member of my little family.

Feel so happy.

(Mandiri, 2010 : 38)

c. Intrasentential Switch

Intrasentential switch occurs within a sentence or a clause. The form of code

in this switching can be in the form of a single word, a phrase, or clause.

The instances can be seen below:

Bersiap untuk pelatihan contract drafting hari ke-2 dr jam 7-17.30.

(Mandiri, 2010 : 40)


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In addition, Intrasentential switch has the same occurrence with tag

switching but Intrasentential switch is not a sentence filler. If the intrasentential

switch is omitted, the sentence will produce the ambiguity and often violate

grammatical or syntactical rule of certain language.

3. Functions of Code Switching

According to Gumperz (1982:75-81), there are five functions of code

switching that explained as follows;

a. Quotation

Code switching here is used to mark direct quotations or reported speech.

Here is the switch from Slovenian to German, The conversation from an

informal business discussion among neighboring farmers, called to discuss the

sharing of farm machinery. The speaker is reporting on a conversation with a

German speaking businessman:

Pa prawe (then he said) wen er si nit calt gib I si nit (If he does not pay for it, I will not give it).

From the conversation above, the switch shows what is said by another

speaker previously and the farmer reports the one’s speech in German.

b. Addressee specification

The switch here serves to direct the message to one of several possible

addressees. The example is the switch from Slovenian to German and it is shown

from informal conversation about the weather in a village home (a strong wind is

blowing and there is a danger of rain and of the fruit being blown off the trees):

A : (Speaking to B) Nceaba prisu, vo ki su vaitar (it wil not come, it will pass by)


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B : (Speaking to A ) Ya ki teke naBasan zapkama pa ye zie ciu stem ye pastrane ( it is so overloaded with apples and the entire tree is bent already).

B : (B continues turning to C sitting apart) Regen vert so ain vint is drausen

(It will rain, it is so windy outside).

Based on the example above, after speaking to A, B switches his language

in speaking to C. It seems like B does not agree with A, so that he gives his

opinion to C by switching his language. Therefore, the switch from B is

functioned to direct the message to C.

c. Interjection

The function of code switching here is to mark the sentence filler or the

interjection in the sentence. For instance; here the main message is in Spanish and

the speaker switches into English, A is talking to someone else later on in the

same situation

Pero como (but how) you know la Estella y la Sandi relistas en el telefon (Stella and Sandi are very precocious on the phone).

Based on the sentence above, the switch “you know” is the sentence filler.

The function of the sentence filler is to signal to other addressee that A has paused

but A has not finished speaking yet.

d. Reiteration

Sometimes a message in one code is repeated in other code either literally or

in somewhat modified form. The function of the repetition here is to clarify what

is said and often to emphasize the message. For example : Father in India calling

to his son, who was learning to swim in a swimming pool. The switch is Hindhi

into English:


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Baju-me jao beta, andar mat (go to the side son, not inside) Keep to the side.

The switch “keep to the side” here has the same meaning with “Baju-me jao

beta” or go to the side. The speaker reiterates his calling by switching to English.

Then, the function of the switch here is to clarify what has been said in the

beginning.

e. Message qualification

The function of the language switch is to qualify the message or to convey

the main message. The form of switch here such as sentence, verb complements,

predicates following a copula.

The example from college student conversation and B :

A : Bina vet kiye ap a gae ( without waiting you come) B : Nehi. I came to the bus stop peccis per (about nine twenty-five).

According to the example above, B switches Hindhi to English. The

switch of English is functioned to convey B’s main message.

f. Personalization vs Objectivization

The code is related to some cases such as; a message whether a statement

reflects personal opinion or knowledge and whether it reflects in specific

instances or has the authority of generally known fact. For example: Austrian

village farmers making plans for sharing machinery and dealing with problems

that might come up.

A : Ale mormaya teke nadrita (O.K. let us do it like this) dann von etwas is, no guet (then if something happens, O.K. fine). Pa tole gax wikolna (if sometimes the motor must be rewound) kos sibn axthundert siling (it costs seven or eight hundred shillings)

B : Ja jap aye denar tau (O.K., O.K., then the money is there) [later in the same discussion]


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A : Yes sak leta dien oli nter (I put in oil every year). Kost virzen siling (it costs fourteen shillings).

According to example above, A begins with a personalized statement

suggesting what the group should do. The function of the switching from A in his

first utterance is to reflect his opinion. Then, in his last utterance, he shifts to

German as to imply the, as is the cost of the oil. The shift to German gives the air

of objective factuality and it can reflect his knowledge toward how much cost

they need.

4. Indonesian Grammar

Since the data are about the insertion English into Indonesian, the writer

uses Indonesian grammar. According to Chaer (1988 : 329 – 347), there are seven

sentence structures in Bahasa Indonesia that explained below:

1. Simple sentence (Kalimat Tunggal)

Simple sentence is formed by one clause that consists of simple word or

phrase. In Indonesian simple sentence, subject and verb are required.

The examples can be seen as follow:

a. Ayah membaca koran

My father reads newspaper.

b. Temanku seorang dokter

My friend is a doctor.

In English, the simple sentence should also consist of subject and verb in

example (a) the sentence consists of subject (ayah), predicate (membaca), and

object (koran). The first example explains the similarity in simple sentence


14

between Indonesian and English. The difference can be seen from the example

(b). The sentence in example (b) consists of subject (temanku) and predicate

(seorang dokter). The words seorang dokter are a predicate because those words

represent the verb adalah that can be omitted. When it is translated into English,

the verb (is) is required because it has the function as a predicate.

2. Elliptical Sentence (Kalimat Luas Rapatan)

Density compound sentence or elliptical sentence is formed by integrating

the same element in the sentence.

For example: Ayah makan nasi goreng dan minum teh (My father eats fried

rice and drinks). The sentence is formed from two clauses:

a. Ayah makan nasi goreng

My father eats fried rice

b. Ayah minum teh

My father drinks tea

Based on the example above, the similarity between Indonesian and English

grammar is seen from the integrating of the same element which is the verb. The

difference is that in Indonesian the example belongs to compound sentence, while

in English the example belongs to simple sentence that consists of compound

verbs (eats and drinks). In Indonesian not only the predicate that can be integrated

but also the object, subject, and complement.


15

3. Compound Sentence (Kalimat Luas Setara)

This sentence is constituted by two clauses. The role of each clause in this

sentence is same. The clauses are connected by the conjunctions dan, tetapi, atau,

apalagi, and kemudian.

For example:

a. Ibu memasak di dapur dan Ayah menyiram tanaman

My mother cooks in the kitchen and my father waters the plants

b. Saya ingin melanjutkan belajar ke perguruan tinggi tetapi orang tua saya

tidak mampu membiayayainya.

I want to continue studying in university but my parents do not have enough

money.

This kind of sentence is similar to English sentence. In English, this

sentence is called compound sentence and in this sentence, the clauses are also

connected by the conjunctions and, or, but. Besides, the clauses in English

compound sentence are always called independent clauses. This is similar to

Indonesian sentences that the clauses have the same role. Furthermore, In

Indonesian equivalent compound sentence, the clause can be connected by the

conjunctions apalagi (moreover) and kemudian (then) while in English

compound sentence, the clauses can only be connected by and, or, so and but.

4. Complex Sentence (Kalimat Luas Bertingkat)

This sentence consists of two clauses which are main clause and minor

clause. Below are two examples of complex sentence;

a. Ia hanyut terseret air karena Ia tidak pandai berenang.


16

He is drowned because he cannot swim

b. Monumen nasional itu dibuat ketika kamu masih kecil.

The national monument was built when you were a kid

c. Orang yang duduk di depan itu gendut sekali.

The one who sits in front is very fat

On the other hand, the clauses in this type of sentence are also connected by

other conjunctions such as sehingga (so), kalau, agar (in order to), meskipun

(athough), kecuali (except), bahwa (that), and seperti (alike).

Actually the sentences above are similar to English sentence which is called

complex sentence. The English complex sentences are also connected by because,

when, although, in order to, except etc. Azar (1941 : 239) also added When the

conjunctions are because or although in the English complex sentence, the

clauses are divided into main clause and minor clause which is called an adverb

clause.

5. Complex Compound Sentence (Kalimat Luas Kompleks)

This sentence is established from two or more clauses. The clauses in this

complex compound sentence are connected by the conjunctions of compound and

complex sentence.

The first example is connected by the conjunctions tetapi and karena while

the second example is connected by the conjunctions karena and dan.

a. Orang itu meminta tolong kepada saya, tetapi saya tidak mau menolongnya

karena dia adalah seorang penipu.

That person asks me for help but I refuse it because he is a liar.


17

b. Kemarin saya tidak masuk kantor karena hujan lebatnya bukan main dan

kesehatan saya agak terganggu.

Yesterday I did not go to work because the rain was so heavy and I got

headache.

Based on the examples above, the sentences consist of two or more

independent clauses and one dependent clause. The clauses of the sentences above

are connected by the conjunctions tetapi/but, karena/because, dan/and. This

sentence also similar to English that these sentences are called complex

compound sentence. In English complex compound sentence, there are also two

or more independent clauses and at least one dependent clause.

C. Theoretical Framework

The objectives of this study are to identify the types and the functions of

Code Switching that occurs in Hitam Putih talk show in 12 June 2013. The first

problem is the identification of the types of code switching that occur in Hitam

Putih talk show in 12 June 2013. In answering the first problem, the writer uses

theory of type of code switching from Stockwell and then the writer will also

apply the theory of Indonesian Grammar from Chaer because the form of the data

is in oral type so that the Indonesian Grammar can help the writer identifying the

types of code switching in Indonesian sentence.

The second problem is the analysis on the functions of code switching

which occur in in Hitam Putih talk show in 12 June 2013. In discussing the

functions of code switching, the writer will use the theory of conversational

function of code switching from Gumperz.


18

CHAPTER III

METHODOLOGY

A. Object of the Study

The object of the study is the conversation consists code switching. As

mentioned previously, Hitam Putih talk show in 12 June 2013 was chosen as the

source of the data. In this study the writer identified code switching that occurs in

Joe Taslim, Dedy Corbuzier, and Daniel Mananta utterances in Hitam Putih talk

show. Therefore, the writer identified all forms of code switching when it occurs.

B. Approach of the Study

The topic of this study is about the use of code switching. As code switching

is used in some certain communication by people, the approach of this study

belongs to Sociolinguistics. As seen from the characteristics of the data,

sociolinguistics approach is more appropriate.

Sociolinguistics is the study of language used by society. According to

Trudgill (1974:2), these two aspects of language behavior are very important from

a social point of view; first, the function of language in establishing social

relationship; and second the role played by language in conveying information

about the speaker.

When people communicate with each other, they employ code. According

to Wardaugh,“code is a system used for communication between two or more

parties” (1992:103). People employ particular code whenever they want to speak


19

and they may decide to switch from one code to another code. Here, code

switching has the effects of enabling speaker to signal two identities at once.

C. Method of the Study

1. Data Collection

According to this study, the researcher found that there are 343 data that

belong to population study. In this study, the researcher took 197 data as the

sample. Since this study is a sample study, the writer will use the purposive

sampling method which the data investigated based on the judgment. The writer

applied purposive sampling which is critical case sampling. Purposive sampling

focused on the judgment of the writer when it comes to the units selected. In this

study, the writer took some pieces of the data to be analyzed deeper.

“Critical case sampling is a type of purposive sampling technique that is

particularly useful in exploratory qualitative research, research with limited

resources as well as research where a single case (or small number of cases) can

be decisive in explaining the phenomenon of interest”

(http://dissertation.laerd.com). In fact, there were many episodes Hitam Putih talk

show but Hitam Putih talk show’s episode that consists of code switching is

limited.

Exploratory qualitative research is an initial research where a researcher has

observed something and tried to understand more about it (http://education-

portal.com). In exploratory qualitative research, this type of purposive sampling

was used to explain further on the data of the study. In this study, the writer


20

applied critical case sampling in identifying the data based on structure, context,

and main idea of the sentences.

According to this study, the writer took the utterances that consist of code

switching as the sample of the data. The writer collected the data by taking the

video of Hitam Putih talk show in 12 June 2013 from Youtube and made the script

of the conversation in the talk show. In the script, the writer numbered on every

exchange of speaker’s role and named the exchange; Utterance Number or UN.

The writer took the utterances that consists of code switching into a table and

analyzed them. After that, the writer numbered the utterance which was analyzed

and named them Data Number or DN. In taking the data the writer used code like

A- DN/2–UN/5 which means Appendix 1, Data Number 2, and Utterance Number

5 or B-DN/1-UN/5 that means Appendix 2, Data Number 1 and Utterance

Number 5 .

2. Data Analysis

In organizing the data, the writer inserted the utterances consist of code

switching in the script into a table. Thus, the writer categorized and explained the

data based on the types of code switching. In the first problem, the writer

classified the data according to the three types of code switching and analyzed

them based on the structure of the sentence. The writer also added some

explanations about Indonesian grammar related to the explanation toward types of

code switching especially intrasentential and intersentential switch. Then, the

writer related the type with the function of code switching. In the second problem,

the writer identified the data based on the functions of code switching. In


21

analyzing the second problem, the writer analyzed the function of code switching

based on the context of the data. Therefore, the conclusion was given after whole

analysis and discussion done.

Table of code switching data can be seen below:

Data Number Utterance Number Utterance Analysis


22

CHAPTER IV

ANALYSIS RESULTS AND DISCUSSIONS

This research has two problems formulation that are stated previously. The

problems are the types of code switching and the functions of code switching

occur in Hitam Putih Talk show 12 June 2013. Therefore, this chapter presents the

findings and the discussion on those problems.

A. Types of Code Switching in Hitam Putih Talk Show 12 June 2013

In revealing the language feature occured in Hitam Putih talk show, the

writer used some literature reviews focusing to that language feature. It directs the

writer that the language feature occurred in Hitam Putih talk show 12 June 2013

was regarded as code switching.

After the whole data were analyzed, the writer found that the three

participants in Hitam Putih talk show applied two kinds of language which were

Indonesian and English or vice versa. Besides, the three types of code switching

were also employed by the participants in their utterances during the talk show.

1. Tag Switching

Tag switching means the switch of language occurs as a tag or sentence

filler. The occurrence of this type of code switching will not change the main

point of the sentence because it does not violate the syntactic rule of a sentence.

This type of code switching occurs almost anywhere. Based on the findings, there

are 23 data which are categorized as Tag switching.


23

These are three evidences of Tag switching that occur in Hitam Putih Talk

show:

A-DN/48-UN/52

Utterance

“Jadi sebenarnya basically dia bikin kerangka suatu pertarungan. Jadi dia bikin kerangkanya dari sini ke sini dan beberapa angle dan kita latihan dulu untuk dapetin flow-nya”

In A-DN/48-UN/52, the switch in this case appears in the middle of the

sentence. Based on Daniel’s utterance the phrase “basically” is categorized into

tag switching because it occurs as a tag and its occurrence will not change the

meaning of the sentence such “Jadi sebenarnya basically dia bikin kerangka suatu

pertarungan”. The message of the sentence is about Joe’s statement about Bruce

Neyder who made a flow for the fighting scene. Therefore, the phrase “basically”

is omitted, it does not change the main message of the sentence for example;

(omit “basically”) “Jadi sebenarnya dia bikin kerangka suatu pertarungan”.

A-DN/38-UN/42

Utterance

“Umm. Gak secepat ini, I mean like pasti butuh kerja keras yang banyak. ”

In A-DN/38-UN/42, the switch appears in the middle of the sentence. The

clause “I mean like” is Tag Switching because it occurs as a tag, “Gak secepat ini,

I mean like pasti butuh kerja keras yang banyak”.Whether it does exist or not, it


24

does not change the point of the sentence. The idea of the sentence is about hard

working to join in Hollywood team work. When the form is omitted, the idea is

still similar. “Umm, Gak secepat ini (omit I mean like) pasti butuh kerja keras

yang banyak”.

A-DN/3-UN/6

Utterance

“Bangga aja sih, tapi ada royalti of course”

In A-DN/3-UN/6, the switched language exists on the last part of the

sentence. The phrase “of course” is Tag Switching because it occurs as a tag and

its occurrence will not change the main point of the sentence. It can be seen from

“bangga aja sih, tapi ada royalti of course”. In this case, the point of sentence is

about Joe’s pride and royalty. When the phrase is omtted, it will be; “bangga aja

sih, tapi ada royalti”. Therefore, the point of sentence is still same.

2. Intersentential Switch

Intersentential Switch is the switch that occurs between sentences and it

occurs after pause employment. The writer sees that the data of Intersentential

switch occur in various Indonesian sentences. Based on the findings, there are 18

data that belong to Intersentential switch. Below are six examples of

Intersentential switch that occur in Hitam Putih talk show:

A-DN/17-UN/28

Utterance “Kalo film Box Office so far sih kayaknya jarang. I don’t know. Tapi gak berani bilang belum pernah tapi kayaknya jarang banget.


25

In A-DN/17-UN/28, the clause “I don't know” is the evidence of

Intersentential switch because it occurs after pause employment. This can be seen

from, “Kalo film Box Office so far sih kayaknya jarang (pause) I don't know.

Tapi gak berani bilang belum pernah. Tapi kayaknya jarang banget”. The pause

here occurs to indicate the limit of sentences. In this case, it points out the limit

between the first sentence, “Kalo film Box Office so far sih kayaknya jarang” and

the switch “I don’t know”. The switch is also categorized into Intersentential

switch because it occurs within sentences and in this case it occurs between three

simple sentences, “Kalo film Box Office so far sih kayaknya jarang”, “tapi gak

berani bilang belum pernah”, and “tapi kayaknya jarang banget”.

A-DN/86-UN/118

Utterance

Jadi ceritanya memang itu grup kan multiculture, dan kita udah kerja bareng di beberapa proyek sebelumnya. Emang gak terlalu di-explore terlalu banyak. So we understand each other. Kita bicara 4-5 bahasa, gue ngerti bahasa dia dan dia ngerti bahasa gue. Kita udah seperti demikian satunya.

According to A-DN/86-UN/118, the clause “so we understand each other” is

the evidence of Intersentential switch because it occurs after pause employment. It

is seen from, “Emang gak terlalu di-explore terlalu banyak (pause) so we

understand each other. The occurrence of the pause here is to indicate the limits

between the second sentence “Emang gak terlalu di-explore terlalu banyak” and


26

the switch “so we understand each other”. The clause is also the evidence of

Intersentential switch because it occurs within sentences. It appears between

simple sentence, “Emang gak terlalu di-explore terlalu banyak” and complex

compound sentence; “Kita bicara 4-5 bahasa, gue ngerti bahasa dia dan dia ngerti

bahasa gue”.

A-DN/193-UN/340

Utterance

“to be honest, gue sendiri masih liat dulu ya dari segi timnya sendiri gimana nih untuk marketing Killers-nya dan feed back dari masyarakat sendiri film Killers-nya. Next-nya sih kita udah ngeliat beberapa script yang gue suka banget to be honest, dan gue pengen banget nge-produce beberapa film dari beberapa director ini. So we’ll see. Ini gue masih open banget sih, jadi gue masih belum tau apa-apa.”

Based on A-DN/193-UN/340, the switch “so we'll see” is categorized into

Intersentential switch because it occurs after pause employment. It is shown from,

“Next-nya sih kita udah ngeliat beberapa script yang gue suka banget to be honest

dan gue pengen banget nge-produce beberapa film dari beberapa director ini

(pause) so we’ll see”. The pause occurs to indicate the boundary of the sentences.

In this case, it indicates the boundary between the second sentence “Next-nya sih


27

kita udah ngeliat beberapa script yang gue suka banget to be honest dan gue

pengen banget nge-produce beberapa film dari beberapa director ini” and the

switch “so we’ll see”.

The clause also belongs to Intersentential switch because it occurs between

complex compound sentence “Next-nya sih kita udah ngeliat beberapa script yang

gue suka banget to be honest, dan gue pengen banget nge-produce beberapa film

dari beberapa director ini” and second compound sentence is “Ini gue masih open

banget sih, jadi gue masih belum tau apa-apa.”

A-DN/170-UN/327

Utterance “ya ya lumayan kayak Paul Walker dia sering banget ke Indonesia. He is a surfer. Kayaknya dia lebih tahu banyak tentang pelosok-pelosok Indonesia untuk surfing dibanding gue. Dia nyebutin beberapa pulau yang gue gak pernah denger kan, “ I’ve been there, I’ve been here.” Dan waktu gue di Spain, gue ketemu Chris Hemswort yang main Thor yang pernah ke Sumba island”.

According to A-DN/170-UN/327, the clause “He is a surfer” is the evidence

of Intersentential Switch because it occurs after pause employment. It can be seen

from; “ya ya lumayan kayak Paul Walker dia sering banget ke Indonesia (pause)

He is a surfer”. The occurence of the pause here is to indicate the limits of the


28

sentences. It indicates the boundary between the first sentence “ya ya lumayan

kayak Paul Walker dia sering banget ke Indonesia” and the switch “He is a

surfer”.

This switch is categorized into Intersentential switch because it appears

between complex sentences; “ya ya lumayan kayak Paul Walker dia sering banget

ke Indonesia” and “kayaknya dia lebih tahu banyak tentang pelosok-pelosok

Indonesia dibanding gue”.

A-DN/172-UN/327

Utterance “ya ya lumayan kayak Paul Walker dia sering banget ke Indonesia. He is a surfer. Kayaknya dia lebih tahu banyak tentang pelosok-pelosok Indonesia untuk surfing dibanding gue. Dia nyebutin beberapa pulau yang gue gak pernah denger kan. “ I’ve been there, I’ve been here.” Dan waktu gue di Spain, gue ketemu Chris Hemswort yang main Thor yang pernah ke Sumba island.”

In A-DN/172-UN/327, these clauses “I've been there, I've been here” are

Intersentential Switch because they occur after pause employment; “Dia nyebutin

beberapa pulau yang gue gak pernah denger kan (pause) I’ve been there, I’ve

been here”. The pause employed occurs to point out the limit between the third


29

sentence of the utterance “Dia nyebutin beberapa pulau yang gue gak pernah

denger kan” and the switch “I’ve been there, I’ve been here”.

Besides, these clauses are also categorized to Intersentential switch because

they occur between complex sentence “Dia nyebutin beberapa pulau yang gue gak

pernah denger kan” and complex compound sentence “Dan waktu gue di Spain

gue ketemu Chris Hemswort yang main Thor yang pernah ke Sumba Island”.

A-DN/71-UN/79

Utterance it’s imposible karena I think untuk bikin set selebar itu akan lebih makan waktu. Which is mereka ngejar waktu karena scene-scene-nya Vin Diesel dan Ben Jonshon udah gak bisa digeser sama mereka pake actual lokasi. Jadi mereka block Waterloo station untuk ekstrati ada 200. Jadi mereka hire extras untuk ngisi. Which is cost lot of money.

In A-DN/71-UN/79, the clause “which is cost lots of money” is

Intersentential Switch because it occurs after pause employment. It is shown

from; “Jadi mereka hire extras untuk ngisi (pause) Which is cost lot of money. In

this case, the pause occurs to indicate the boundary between the forth sentence

“Jadi mereka hire extras untuk ngisi” and the switch “which cost lots of money”.

In this case the switch occurs after complex compound sentence; “Which is

mereka ngejar waktu karena scene-scene-nya Vin Diesel dan Ben Jonshon udah


30

gak bisa digeser sama mereka pake actual lokasi” and compound sentence “Jadi

mereka block Waterloo Station untuk ekstrasi ada 200 jadi mereka hire extras

untuk ngisi”.

3. Intrasentential Switch

Intrasentential switch means the switch occurs within a sentence or a clause.

Based on the data, the writer sees that the data of Intrasentential switch also occur

in various Indonesian sentences. Based on the findings, there are 156 data that

belong to Intrasentential switch. These are some evidences of Intrasentential

switch that occur in Hitam Putih talk show:

A-DN/32-UN/36

Utterance

“Really nice. Jadi sangat-sangat dibantu oleh The Raid kan. I think hampir semua industri di Amerika, Film maker,casting director, director, rata-rata udah nonton The Raid semua. Jadi setelah gue nyampe di sana ketemu orang, mereka langsung I love your movie, I love the Raid. Jadi udah break the ice. Mereka bilang we really love you to be in our project,


31

let's work together. Jadi gak awkward”.

In A-DN/32-UN/36, the switch occurs as a phrase. The phrase “break the

ice” is the evidence of Intrasentential switch because it occurs within sentence. In

this case, the phrase occurs in forth sentence; “Jadi udah break the ice”. In

addition, based on Indonesian grammatical rule the switch appears in a simple

sentence.

A-DN/73-UN/81

Utterance

“mungkin, it is one of the land mark, gue rasa sih untuk orang di London Waterloo Station otomatis banyak sih kayak film Borne syuting disitu. Jadi kayak suatu tempat yang catchy sih.

According to A-DN/73-UN/81, the switch occurs as single word. The word

“catchy” is categorized in Intrasentential switch because it occurs within sentence.

In this case it occurs in the last sentence “Jadi kayak suatu tempat yang catchy

sih”. According to Indonesian grammatical rule, the switch occurs in the sentence

named simple sentence.


32

A-DN/84-UN/118

Utterance

“Jadi ceritanya memang itu grup kan multiculture dan kita udah kerja bareng di beberapa proyek sebelumnya. Emang gak terlalu di explore terlalu banyak, So we understand each other kita bicara 4-5 bahasa, gue ngerti bahasa dia dan dia ngerti bahasa gue. Kita udah seperti demikian satunya”

In A-DN/84-UN/118, the switch occurs as single word. The switch

“Multiculture” is categorized into Intrasentential switch because it occurs within

sentence. The word “multiculture” occurs in the first clause of the first

sentence;“Jadi ceritanya memang itu grup kan multiculture.” In this case, the

phrase occurs in the first sentence which is a compound sentence.

A-DN/42-UN/44

Utterance

“sebagai seorang aktor di Indonesia tentu aja sih pengen setinggi-tingginya dan sejauh-jauhnya untuk berkarya sih


33

tapi setelah The Raid keluar semua pintu kebuka. Mereka melihat talenta yang ada di The Raid keluar dan gue sangat beruntung dipilih which is sempat di Hollywood deadline, www.deadline.com sempat bilang "Joe Taslim in fast land". Sebenarnya untuk masuk ke industri sebesar itu sulit. Biasanya harus dari TV dulu, extra supporting baru bisa.”

Based on A-DN/42-UN/44, the switch occurs as a phrase. The phrase “extra

supporting” is categorized into Intrasentential switch because it occurs within

sentence. In this case the switch occurs in the last sentence; “Biasanya harus dari

TV dulu, extra supporting baru bisa”. In Indonesian grammatical rule, the last

sentence is named compound sentence. So, the switch here occurs in compound

sentence.

A-DN/43-UN/45 Utterance

Karena ini Live jadi anda yang ada


34

di rumah kalo anda ingin bertanya, anda bisa langsung gunakan hashtag ask Joe. Sebelumnya untuk mengingatkan sedikit dulu, kita akan melihat adegan fighting Joe Taslim di fast & furious.

In A-DN/43-UN/45, the switch occurs as single word. The word “fighting”

is the evidence of Intrasentential switch because it occurs within sentence. In this

case it occurs in the second sentence and specifically in the second clause. It is

seen “kita akan melihat adegan fighting Joe Taslim di fast & furious”.

According to Indonesian grammatical rule, the phrase occurs in the second

which is a complex sentence. It is shown from “Sebelumnya untuk mengingatkan

sedikit dulu, kita akan melihat adegan fighting Joe Taslim di fast & furious”.

A-DN/116-UN/208

Utterance

“Tapi kadang-kadang kita tidak boleh melupakan siapa Joe Taslim sebenarnya, siapakah dia dulu. Jadi setiap manusia tu ada yang namanya ugly truth yang orang sudah lupa sebenarnya.”


35

According to A-DN/116-UN/208, the switch occurs as a phrase. The phrase

“Ugly truth” is categorized as Intrasentential Switch because it occurs within

sentence. It can be seen from; “Jadi setiap manusia tu ada yang namanya ugly

truth yang orang sudah lupa sebenarnya”. Based on Indonesian grammatical rule,

the phrase in this case appears in the complex sentence.

A-DN/11-UN/20

Utterance

“Kalo emang karakter itu nggak penting untuk ngomong, dan mereka ngerasa kayak nggak ada kebutuhan untuk di cerita, they don't give them lines. Biasanya seperti itu”

In A-DN/11-UN/20, the switch occurs as a clause. The clause “they don’t

give them lines” is the evidence of Intrasentential switch because it occurs in a

one sentence. In this case, it occurs in the first sentence. According to Indonesian

grammatical rule, the first sentence is a type of complex compound sentence.

Therefore, the switch here occurs in complex compound sentence.

A-DN/63-UN/77

Utterance

“ya tapi karena untuk adegan itu kita harus nge-block Waterloo Station which is salah satu stasiun


36

yang sangat padat, dan it costs lots of money”.

Based on A-DN/63-UN/77, the switch appears as a clause. The clause “it

costs lots of money” belongs to Intrasentential switch because it occurs only in

one sentence. The occurrence of the switch can be seen from; “ya tapi karena

untuk adegan itu kita harus nge-block Waterloo Station which is salah satu stasiun

yang sangat padat, dan it costs lots of money”. According to Indonesian

grammatical rule, the switch here also occurs in the complex compound sentence.

B. Functions of Code Switching in Hitam Putih Talk Show 12 June 2013

According to the theories mentioned previously, there are six functions of

conversation code switching. After the whole data were analyzed, the writer found

that code switching that were employed by the three participants in Hitam Putih

talk show only have functions as Quotation, Interjection, Reiteration, Message

Qualification, Personalization vs Objectivization. Nonetheless, the writer also

found new function of code switching aside the theory from Gumperz which is

lexical gap filling.

1. Quotation which means the switch is used to mark a reported speech.

Based on the findings, there are 4 data of code switching that functions as

quotation. The evidence of quotation that occurs in Hitam Putih talk show can be

seen as follow:

B-DN/30-UN/30 Utterance

Really nice, jadi sangat-sangat dibantu oleh The


37

Raid kan. I think hampir semua industri di Amerika, Film maker, casting director, director, rata-rata udah nonton The Raid semua. Jadi setelah gue nyampe di sana ketemu orang mereka langsung "I love your movie, I love the Raid", jadi udah break the ice. Mereka bilang we really love you to be in our project, let's work together. Jadi gak awkward.

The function of the switch occurs in this data is closely related to the main

idea of every sentence. According to B-DN/30-UN/30, the main idea of the first

sentence is The Raid film was very helpful. In the second sentence, the main idea

is almost all American industries have watched The Raid. The main idea of the

third sentence is Hollywood team work were happy to work with Joe and already

break the ice. The idea of the forth sentence is Hollywood team workers’ feeling

of happiness to welcome Joe. The idea of the last sentence is Joe’s conclusion that

he did not feel awkward.

In this case, the writer focuses on the switch which is functioned as

quotation. According to this data, the switch “we love you to be in our project” is

considered to be quotation. The switch here has the function to clarify a reported

speech. It can be seen from the last sentence; “Mereka bilang we really love you

to be in our project, let’s work together. Jadi gak awkward”.


38

The occurrence of the switch is to show the Hollywood team workers’

welcoming statement to Joe. In this last sentence, there is change of the subject as

the characteristic of reported speech. The change can be seen from the word

mereka (they) into we. In this switch, the pronoun “we” refers to Hollywood team

workers and the pronoun “you” refers to Joe. This can be said that Joe switched

his language into English by reporting the speech from Hollywood team workers.

B-DN/166-UN/327

Utterance

“ya ya lumayan kayak Paul Walker dia sering banget ke Indonesia. He is a surfer. Kayaknya dia lebih tahu banyak tentang pelosok-pelosok Indonesia untuk surfing dibanding gue. Dia nyebutin beberapa pulau yang gue gak pernah denger kan. I’ve been there, I’ve been here. Dan waktu gue di Spain, gue ketemu Chris Hemswort yang main Thor yang pernah ke Sumba island.

The function of code switching is closely related to the main idea of every

sentence. Based on B-DN/166-UN/327, the main point of the first sentence is

about Paul Walker who often comes to Indonesia. The main point of the second

sentence is about Paul’s knowledge toward some small islands in Indonesia for

surfing. In the third sentence, the main point is about Paul’s statement about some

islands. In the fourth sentence, the main point is about Paul’s visit in some places


39

in Indonesia. The main idea in the last sentence is about Joe’s meeting with Chris

Hemswort who has been in Sumba island.

According to the data, there are some switches that occur in the utterance

above. The switch in this case is considered as quotation because it marks a

reported speech. There is the changing of the subject as the characteristic of in

from word “Dia” into I. The pronoun “I” in the switch form refers to Paul Walker.

So, in this particular object, Joe reports what is said by Paul Walker.

Based on the explanation above toward quotation, the writer finds that the

types of code switching are also involved. In B-DN/30-UN/30 , the switch occurs

as Intrasentential switch and in B-DN/166-UN/327, the switch occurs as

Intersentential switch. Therefore, it can be said that the type of code switching

that are functioned as quotation can be Intrasentential and Intersential switches.

2. Interjection which is the switch serves to mark an interjection or sentence

filler. Based on the findings, there are 24 data of code switching that has the

function as interjection. The examples of interjection in Hitam Putih talk show

can be seen as follows:

B-DN/38-UN/42

Utterance

Umm, Gak secepat ini, I mean like pasti butuh kerja keras yang banyak.

The function of the code switching occurs in the data above is related to

main point of every sentence. Based on B-DN/38-UN/42, the main idea of the


40

first sentence is without the Raid he cannot be in Hollywood. In the second

sentence, the main idea is about the need to work hard.

In the data above, there is a switch which occurs in tag form. In this

particular object, the switch is functioned as interjection since it serves to mark a

tag or sentence filler. It can be said that the switch is used for short pause. The

sentences filler used by Joe to signal to Dedy that Joe has paused to think but has

not finished speaking yet. In addition, the switch “I mean like” in this context is

also used for an emphasis. Since the main point of the utterance occurs in the first

sentence, so the switch here occurs in the second sentence to support the idea in

the first sentence.

B-DN/45-UN/52

Utterance

“Jadi sebenarnya basically dia bikin kerangka suatu pertarungan. Jadi dia bikin kerangkanya dari sini ke sini dan beberapa angle dan kita latihan dulu untuk dapetin flow-nya.”

Based on the data above, the main ideas of each sentence are needed to find

the function of the interjection switch. The idea in the first sentence is about the

making of frame of the story. The main idea in the second sentence is about the

making of frame and some angles then practice to feel the flow.

In B-DN/45-UN/52, the switch “basically” is regarded to be functioned as

interjection because it serves to mark a sentence filler. In this case the switch

occurs in the first sentence which is the actual main point of the utterance above.


41

This can be said that the switch “basically” here is functioned to fill the time when

Joe thinks about the main point that he wants to say.

After the analysis toward interjection part, the writer finds the type of code

switching that is functioned as interjection. Since the switch that occurs in both

tables above is tag switching, this can be understood that the type of code

switching that is always applied as interjection is tag switching.

3. Reiteration means the switch serves to clarify what is said or to emphasize

the message. In the findings, the writer found that there are 7 (seven) data that

have the function as reiteration in Hitam Putih talk show;

B-DN/100-UN/184

Utterance

“Tapi gimana pada saat lu ada disana? apa bedanya dengan mungkin pernah Premiere di Indonesia?. Jadi what’s the difference disana dengan disini?”

According to data above, the main idea is relevant to find the function of

reiteration. In B-DN/100-UN/184, the main message of the first sentence is about

question of what Joe feel when he was in US. The main idea in the second

sentence and the third sentence is about the difference between Indonesia and US.

In this particular object, the clause “what's the difference” is categorized to

have the function as reiteration: “tapi gimana pada saat lu ada disana (how do you

feel when you were there), apa bedanya dengan mungkin pernah di Premiere di

Indonesia (what is the difference with Premiere in Indonesia). “Jadi (so) what's


42

the difference disana dengan disini (between there and here)?”. The underlined

sentence in this case has the same meaning with the switch form. In this case,

Dedy reiterates his question by switching to English in order to clarify what he

wants to ask. The switch here is functioned to clarify in order to make the main

point especially in the last sentence of Dedy’s question is conveyed successfully.

B-DN/192-UN/343

Utterance

“kalo filmnya udah keluar, kita bahas lagi disini. Thank you very much Daniel thank you Joe, terima kasih banyak, I always support you both dan ingat ini kalo kita lihat dari Daniel dan Joe, sebenarnya apa ya, mungkin kesempatan nih. Jadi buat saya kesempatan itu opportunity bertemu dengan kemampuan kita sendiri kan”.

Based on the table above, the main idea of each sentence is significant to

find the function of the switch in this part. According to B-DN/192-UN/343, the

main idea in the first sentence is about the next discussion of Daniel’s movie. The

main idea in the second sentence is about Dedy’s gratitution to Joe and Daniel.

The main message in the third sentence is about opportunity. In the last sentence,

the main point is about opportunity and skill.

In this part, the phrase “opportunity” is categorized to have function as

reiteration. The switch occurs in the last sentence; “Jadi buat saya kesempatan itu


43

opportunity bertemu dengan kemampuan kita sendiri kan”. The underlined

phrases here have the similar meaning. Based in context, Dedy reiterates the

phrase to emphasize the main point of the last sentence. It is emphasizing to make

the main point successfully conveyed.

At this point, the writer also finds the type of code switching that is

functioned as reiteration. Based on the data above, the switches occur mostly in

Intrasentential forms. So, this can be said that the type of code switching that is

functioned as reiteration is Intrasentential switch.

4. Message qualification means the switch serves to convey the main

message or to qualify the message in someone’s uterrance. According to the

findings, there are 64 data that have the function as message qualification in

Hitam Putih talk show;

B-DN/4-UN/10

Utterance “Setiap aktor yang ngomong berhak dapat royalti. That's one of the rules of union”.

In order to find the function of the switch easily, the analysis of the main

idea of every sentence in the utterance is significant. The main idea in the first

sentence is about the royalty for actor who speaks. The idea in the second

sentence is about the regulation of the union.

In B-DN/4-UN/10, the main message is in Indonesian and the switch “that’s

one of the rules of union” is functioned as message qualification. In this case, the


44

switch here is used to qualify the message. At this point, the English clause serves

to give additional information or to support Joe’s statement in the first sentence.

B-DN/9-UN/20

Utterance “Kalo emang karakter itu nggak penting untuk ngomong, dan mereka ngerasa kayak nggak ada kebutuhan untuk di cerita, they don't give them lines. Biasanya seperti itu.”

The function of the switch occurs in this data is closely related to the main

idea of every sentence. In B-DN/9-UN/20, since the first sentence is a complex

sentence, the writer analyzed the clauses in it. The first clause’s idea is about the

unnecessary character to speak, the second clause’s idea is about the unnecessary

character in the narration, and the third clause’s idea is about the rejection give

lines. The main idea of the second sentence is about the usual thing that the thing

which is done by Hollywood team workers when they do not need character.

According to B-DN/9-UN/20, the main message is in English and at this

part the switch “they don’t give them lines” is considered to be message

qualification which means that the switch is functioned to convey the main

message of the first sentence. At this point, the previous clauses occur as

subordinate and the switch occurs as main clause. This can be said that the main

message is people in Hollywood team will not give the lines for those who are not

really important in the narration.


45

After analyzing the function of message qualification, in B-DN/4-UN/10 the

switch appears in Intersentential form and in B-DN/9-UN/20, the switch happens

in Intrasentential form. Therefore, the type of code switching that is functioned as

message qualification can be Intersentential switch or Intrasentential switch.

5. Personalization vs Objectivization means the function of switch either

reflects knowledge or opinion. In the findings, there are 86 data that belong to

personalization vs objectivization. Below are the evidences of personalization vs

objectivization in Hitam Putih talk show:

B-DN/11-UN/26

Utterance “Biasanya kalo hollywood milih aktor yang the best. Mereka pilih aktor yang dari Hongkong, Jepang, Cina ibaratnya dan sangat jarang untuk melirik apalagi Indonesia gitu dan sekarang mereka tiba tertarik. I think it's a good thing bahwa industri kita atau aktor-aktor kita udah mulai dilirik oleh Hollywood. Which is good.”

The main message of every sentence in the utterance above is quite

significant to find the function of switching appeared. According to B-DN/11-

UN/26, the main message in the first sentence is about the selection of the best

actor by Hollywood team. In the second sentence, the main message is that

Hollywood team very often chooses actor from Hongkong or Japan and they

seldom choose actor from Indonesia. The idea in the fourth sentence is about

Hollywood team begins to select actor from Indonesia.


46

In B-DN/11-UN/26, the switch “the best” is functioned as personalization

versus objectivization. At this point, the phrase appears to reflect about Joe’s

opinion about Hollywood team selection. Based on context, Joe is trying to

express his own opinion toward Hollywood team. In the beginning, he stated that

Hollywood team always chooses the best actor who are from Hongkong, Japan,

and China and in the last sentence he stated that they begins to select actors from

Indonesia which is one of the Indonesian actor is Joe. Therefore, this can be

understood that the switch “the best” shows Joe’s opinion that he is one of the

best actor who is successfully playing in Box Office

B-DN/2-UN/5

Utterance “Ini film selama 3 minggu menghasilkan 586 juta dolar itu worldwide, sedangkan budget filmnya hanya 160 juta.”

In order to find the function of the switch appeared, it is important to find

the main message of each clause or sentence. According to B-DN/2-UN/5, the

main message of the first clause is the income of the movie attains to 586 million

and the idea of the second sentence is about the budget of movie which is only

160 million.

The function of the switch now can be seen. In B-DN/2-UN/5, the phrase

“budget” is categorized into personalization vs objectivization because it is

functioned to reflect Dedy's knowledge to Joe's film. Based on the idea of each

clause, Dedy started to argue about the income then he state about the budget. In

the beginning, the switch occurs to show Dedy’s knowledge about Joes film and


47

that is seen from Dedy's statement in UN/1; “ternyata film fast & furious 6 itu

menjadi film Box Office pertama di Amerika selama 2 minggu berturut-turut film

tersebut (In fact Fast & Furious 6 film is the first Box Office in America for 2

weeks)”. The sentence underlined means that Joe’s movie fast & furious 6 is

presented during two weeks. In addition, the sentence underlined is the evidence

that reflects Dedy’s knowledge.

Furthermore, the type of code switching can be seen from this part. In the

first and the second displayed, the switches occur mostly in Intrasentential form.

Therefore, the type of code switching that functioned as personalization versus

objectivization is mostly Intrasentential switch.

6. Lexical Gap Filling means the function of the switch here is to fill the

relevant word of another language into Indonesian. There are 5 data that belong

to lexical gap filling. The evidences can be seen as follows;

B-DN/108-UN/192

Utterance “Wall Premiere di London itu pada saat gue lagi di LA lagi ada meeting-meeting yang di arrange sama agency situ. Jadi mereka minta waktu berangkat tapi kan visa london kan nggak segampang itu, jadi harus balik. Kayaknya udah gak mungkin”

According to B-DN/108-UN/192, the main idea of the first sentence is Joe’s

absent in Wall Premiere in London. The main idea of the second sentence is about

the request from committee of Premiere in London. The main idea of the last

sentence is Joe’s decision not to go to London.


48

In this data, the switch “agency” is categorized into lexical gap filling. The

switch fills the position of the right word in Joe’s uterance. It can also be said that

Joe decided to choose word “agency” because of lack of Indonesian equivalence.

Based on context, the topic that they discuss is related to movie and basically

when the word agency is translated into Indonesian, the word will not be matched

with the context.

B-DN/116-UN/217

Utterance “It is funny soalnya dulu kan sering main iklan, pengennya dapat karakter yang keren, yang cool, yang pake jas, pake pistol. Tapi kalo setiap casting gak pernah dapat. Tiap dikasih karakternya "lu tu gak keren, lu tu lucu "gitu, jadi kasih yang lucu. Ini kontrak sampai 2 tahun sih dengan brand itu. ”

The main idea of every sentence here is also needed to find the function of

the switch occurred. Based on B-DN/116-UN/217, the main message of the first

sentence is Joe’s desire to play in a good commercial. The main idea of the second

sentence is in his past Joe never got the character he wanted. In the third sentence,

the idea is Joe was given to play as funny character. In the last sentence, the main

idea is about the cooperation with the brand of Joe’s commercial.

Based on the main point of every sentence, the switch “casting” belongs to

have function as lexical gap filling. The phrase “casting” fills the position of the

right in Indonesian utterance. When discussing about the movie or film, Joe’s

automatically uses the English word without translating it into Indonesian. In


49

addition, the word “casting” is very often used by people who work in

entertainment area and they rarely use Indonesian term since people are lack to

find the exact word of Indonesian.

After analyzing the function of switch, the type of code switching is also

involved. The switches mostly occur in Intrasentential form. Therefore, this can

be said that the type of code switching which is functioned as lexical gap filling is

Intrasentential switch.


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CHAPTER V

CONCLUSION

This chapter presents the results of answering the problems that have

mentioned in the beginning. The first problem is about the types of code switching

occured in Hitam Putih talk show 12 June 2013; the second problem is about the

functions of code switching appeared in Hitam Putih talk show 12 June 2013.

According to the findings of the types of code switching, the total of the data

is about 197. The participants mostly employ the type of Intrasentential. The

amount of Intrasentential switch is 114 data, Intersentential switch is 34 data, and

Tag switching is 23 data. In findings of the function of code switching, the writer

found that code switching occurred in Hitam Putih talk show is mostly functioned

as personalization vs objectivization with the amount of 86 data then followed by

message qualification which is about 64 data. The amount of interjection is about

24 data. The amount of reiteration is 7 data. The amount of lexical gap filling is

about 5 data and then quotation is about 4 data.

In the first problem, the writer found that all participants in Hitam Putih talk

show 12 June 2013 employed three types of code switching. The first type is tag

switching in which the occurrence of this type of code switching will not change

the main point of the sentence because it does not violate the syntactic rule of a

sentence. The second type of code switching is Intersentential switch which the

language switch occurs within sentences and it occurs after pause employment.

The last type of code switching is Intrasentential switch in which the switch


51

occurs within a sentence or a clause. Based on the data, the writer found that the

data of Intrasentential switch and Intersentential switch also occur in various

Indonesian sentences.

In the second problem formulation, the writer found that code switching

occurrence in Hitam Putih talk show had different functions. After analyzing the

function of code switching, the writer found that code switching employed by the

three participants have some functions. Firstly, quotation which is code switching

appears to mark a reported speech. In quotation, the participant reported

someone’s talking in English. Secondly, code switching is functioned as

reiteration. Here the speaker reiterates by switching to different language in order

to classify what is said or to emphasize what he wanted to say. Thirdly, code

switching is functioned as message qualification. The participants switched his

language to qualify or to convey the message in his utterance. The last function is

personalization vs objectivization. The function of switching here is to reflect

speaker’s knowledge or opinion. Aside from this, the writer also found the

function of code switching which lexical gap filling. As lexical gap filling, the

switch here reflects the lack of Indonesian equivalence for particular words in

English.

Since the functions of code switching influence the type of code switching,

this can be concluded that in Hitam Putih talk show 12 June 2013 code switching

appear are functioned to show knowledge and opinion and the type of code

switching which clearly occurs in Hitam Putih talk show is Intrasentential switch.


52

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APPENDICES

SCRIPT OF CONVERSATION IN HITAM PUTIH 12 JUNI 2013

1. Dedy : Konon kabarnya bahwa ketika seseorang sudah menjadi artis atau aktor di Indonesia target selanjutnya adalah bisa ke luar negeri supaya terkenal dimana mana dan diakui dimana-mana. Kita lihat dulu ini ada cuplikan sebuah film yang nanti pemainnya kita undang ke sini, ini dia Fast & Furious dan ternyata film fast & furious 6 itu ternyata menjadi film Box Office pertama di Amerika selama 2 minggu berturut-turut film tersebut dan kalau anda perhatikan baik-baik ketika menonton film tersebut itu inti dari filmnya cuman satu anda lihat ada Vin Diesel, ada Ben Johnson, anda lihat yang ada pemain kulit hitamnya. Inti dari film itu satu, botak tuh keren. Tapi kita akan memanggil ini salah satu pemain dari Indonesia seperti yang kita tahu inilah Joe Taslim. (Joe Taslim masuk). Oke Joe, lu udah berapa kali kamu ke sini ?

2. Joe : udah 3 kali 3. Dedy : 3 kali ya? Ini yang ketiga tapi sekarang udah jadi bintang hollywood. Jadi agak

susah manggil Joe Taslim ke Hitam Putih. Dulu waktu belum terkenal waktu diundang kesini cuman ngasih nasi box doang padahal.

4. Joe : hahaha. 5. Dedy : tepuk tangan sekali lagi buat Joe Taslim. Ini film selama 3 minggu menghasilan 586

juta dolar itu worldwide, sedangkan budget filmnya hanya 160 juta. Berarti keuntungannya bayangkan, keuntungannya segitu besar. Nah dari keuntungan segitu besar, lu dapat apa sebenarnya ?

6. Joe : Ehm.. bangga aja sih, tapi ada rolyati of course. 7. Dedy : Ada royalti? 8. Joe : Iya ada 9. Dedy : Jadi film di sana ada royaltinya ? 10. Joe : Setiap aktor yang ngomong itu berhak dapat royalti. That’s one of the rules of

union. 11. Dedy : Setiap aktor yang ? 12. Joe : yang ada lines yang ngomong. 13. Dedy : Kalo nggak ngomong? 14. Joe : No, no rolyati. 15. Dedy : Kalo berantem doang? 16. Joe : No royalti 17. Dedy : Wah berarti Limbad nggak bisa dapat royalti. Walaupun ngomomg cuman

sedikitpun tetap ada royaltinya? 18. Joe : Iya makanya mereka sangat selektif untuk aktor. Untuk lines, pembagian lines itu

sangat selektif atau sangat-sangat dipikirin. 19. Dedy : Tapi ada aktor yang nggak ngomong ya? 20. Joe : Ada. Kalo emang karakter itu nggak penting untuk ngomong dan mereka ngerasa

kayak nggak ada kebutuhan untuk di cerita, they don’t give them lines. Biasanya seperti itu. 21. Dedy : Oke dan royalti itu biasanya dibayarkan seperti apa ? 22. Joe : Royalti itu sebenarnya sejalan. Jalannya tu setelah semua film turun dari seluruh

dunia. Jadi mereka jual ke TV, DVD, Blue Ray. Itu baru royaltinya tu jalan karena kontrak film itu ya mencakup film yang tayang di bioskop itu udah termasuk kontrak awal.

23. Dedy : O.. jadi itu tidak ada royaltinya? 24. Joe : Iya. Jadi setelah turun mereka masih dapat income dari DVD dan hak siar di seluruh

dunia. Itu baru royaltinya jalan.


55

25. Dedy : Oke. Tadi kan Joe mengatakan bahwa dapat bangga gitu, kira-kira kebanggaan seperti apa yang lu dapat?

26. Joe : Bangganya ya karena jarang. Biasanya kalo hollywood milih aktor yang the best. Mereka pilih aktor yang dari Hongkong, Jepang, China ibaratnya dan sangat jarang untuk melirik apalagi Indonesia gitu dan sekarang mereka tiba-tiba tertarik. I think it’s a good thing bahwa industri kita atau aktor-aktor kita udah mulai dilirik oleh Hollywood. Which is good.

27. Dedy : Tadi lu kan mengatakan jarang. Tapi sebenarnya sebelum Joe sendiri, ada gak aktor Indonesia yang sampe ke Hollywood atau nembus Box Office ada gak?

28. Joe : Kalo film box office so far sih kayaknya jarang. I don’t know. Tapi gak berani bilang belum pernah. Tapi kayaknya jarang banget. Kalo film internasional banyak. Seharusnya banyak. Tapi kalo nyampe studio atau film gede atau film box office gitu sangat jarang atau mungkin belum pernah.

29. Dedy : Belum pernah ya. Trus lu udah main disana. What changes in your life after this? 30. Joe : Nothing changes actually. Udah balik Indonesia ya biasa aja sih. Balik sama

keluarga lagi, sama teman-teman lagi sekarang malah jadi tanggung jawab untuk kedepannya gimana untuk lebih baik, gimana sekarang orang, keep everybody hope kan.Oke, I wanna see you in different movie. Jadi ada tanggung jawab harus lebih baik.

31. Dedy : Secara fans gimana? Pasti bertambah ya? 32. Joe : Fans ya udah lumayan. 33. Dedy : apa apa ? what they say kalo ketemu lu ? 34. Joe : Foto. Kadang-kadang anak kecil juga dan kadang bingung juga anak kecil kok

nonton Fast? Tapi ya gimana, they like the movie. 35. Dedy : Apa yang paling sulit ketika lu ada disana? Maksudnya seperti apa sih aslinya

mereka tu? Aktor-aktornya lah karena ini mungkin pertama kali untuk Joe ke sana dan main. Do they nice to you?

36. Joe : Really nice. Jadi sangat-sangat dibantu oleh the raid kan. I think hampir semua industri di Amerika, film maker, casting director,director, rata-rata udah nonton the raid semua. Jadi setelah gue nyampe di sana ketemu orang mereka langsung “I love your movie, I love the raid”, jadi udah break the eyes. Mereka bilang “we really love you to be in our project, let’s work together”, jadi gak awkward sih.

37. Dedy : Dari aktor-aktor semua yang paling dekat sama Joe atau paling sering ngobrol itu siapa?

38. Joe : Paul Walker, Sung Kang , dan Tyrese dia yang paling banyak berantem sama gue. Ya kadang-kadang ya he is a joker. Dia biasanya marah“ lu mukulin gue, sekarang seluruh dunia tau gue digebukin lu ya, kurang ajar lu”, tapi ya joking.

39. Dedy : jadi si Tyrese tu bisa ngomong Indonesia ya ternyata.. 40. Joe : umm?? Ahaha… 41. Dedy : sekarang gue mau tanya nih Joe. Seandainya The Raid itu tidak ada, will you be

there? 42. Joe : Umm, gak secepat ini. I mean like pasti butuh kerja keras yang banyak 43. Dedy : Apakah memang mimpi Joe untuk suatu saat harus main di Hollywood? atau ini

sebuah kebetulan ketika The Raid meledak dan you got the chance untuk ada di Hollywood? 44. Joe : Sebagai seorang aktor di Indonesia tentu aja sih pengen setinggi-tingginya dan

sejauh-jauhnya untuk berkarya sih. Tapi setelah The Raid keluar semua pintu kebuka. Mereka melihat talenta yang ada di the raid dan saya sangat beruntung dipillih which is sempat di Hollywood deadline sempat bilang “Joe taslim in a fast land”. Sebenarnya untuk masuk ke industri film sebesar itu sulit. Biasanya harus dari TV dulu, extra supporting baru bisa. Tapi setelah The Raid, dibantu banget.


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SEGMENT 1 ENDS

45. Dedy : Karena ini Live jadi anda yang ada di rumah kalo anda ingin bertanya, anda bisa langsung gunakan hashtag ask Joe kirimkan ke @hitamputiht7. Anda boleh tanya apa aja, apapun pada Joe Taslim. Nanti pertanyaan yang kita pilih akan kita bacakan dan Joe akan mencoba untuk menjawab. Sebelumnya untuk mengingatkan kita sedikit dulu, kita akan melihat adegan fighting Joe Taslim di fast & furious. Coba kita buka.. (video adegan dbuka) Oke, Itu um bela diri apa yang dipake?

46. Joe : Koregrafernya oleh Brus Neyder dia yang bikin Taken yang bikin Game House. Dia sebenarnya disiplinnya Wing Chun.

47. Dedy : oo.. disiplinnya Wing Chun? 48. Joe : Ya. He is a kind of Bruslee. Wing Chun. Tapi untuk ini lebih dimodifikasi. 49. Dedy : Oke. Trus pada adegan seperti itu pake stunt man tidak? 50. Joe : Double, untuk adegan berbahaya mereka selalu siapin. Tapi untuk adegan itu

syukur-syukur sih nggak. 51. Dedy : Tidak ada stunt mannya ya. Wahh keren ni. Emm itu gimana, saya nggak ngerti

karena belum pernah main film bela diri kan, gimana orang mengkoreografikan sebuah adegan perkelahian?

52. Joe : Jadi sebenarnya basically dia bikin kerangka suatu pertarungan. Jadi dia bikin kerangkanya dari sini ke sini dan beberapa angle dan kita latihan dulu untuk dapetin flow-nya. Tapi setelah masuk ke situ, masuk ke karakter, masuk ke adegan itu baru dikasih.

53. Dedy : lebih sulit mana adegan fighting ini apa The Raid? 54. Joe : to be honest, the raid lebih tough karena ya kita syuting panjang, kita kerja kerasnya

gimana. 55. Dedy : Kalo ini kayaknya safety-nya lebih dipikirkan juga ya? 56. Joe : disana karena ada insurance, faktor insurance, faktor union jadi mereka tidak bisa

terlalu banyak bergerak intense of creativity 57. Dedy : oke gini Joe, saya punya temen, temen saya tu ngomong begini “Joe tu sebenarnya

nggak bisa berantem, itu bohong doang. Itu mah sebenarnya acting doang yang main tu stunt man, gak bisa” saya udah bilang bahwa “gila Joe itu pandai bela diri, dia pernah jadi atlet bela diri” trus dia jawab “ah bohong itu kan cuman film doang”. Dia nggak percaya sampe sekarang. (ke pemain piano) lu kesini deh. Lu ngomong sendiri ama orangnya. Lu ngomong sendiri ama orangnya tuh udah ada beneran. Lu ngomong sendiri deh.Jangan gitu, orangnya udah ada. Ayo ngomong sendiri.

58. Pemain piano: ngomong apa ? 59. Dedy : ayo ngomong yang tadi waktu lu ngomong di ruang ganti tadi lu kan ngomong.

Mampus! 60. Joe : ngomong apa lu? Hehehe 61. Dedy : jadi gini, kita pengen tau ini kan ceritanya belum bisa bela diri. (ke pianis) bisa bela

diri nggak sih? 62. Pianis : nggak 63. Dedy : katanya lu punya ilmu kudu kabur. 64. Pianis : bukan mas. Mustika, musti kabur. 65. Dedy : (ke joe) gimana caranya mengkoreografikan ? pengen tau ni. 66. Joe : misalkan ngejatuhin mas ini gitu? 67. Dedy : iya. 68. Joe : karena dia lebih rendah jadi.


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69. Dedy : eh maaf itu menghina, itu menghina (audience tertawa) ini teman saya lo pak, jangan dibilang-bilang gitu. (ke pianis) lu juga pake pendek.

70. Joe : saya kalo ngejatuhin gitu, saya harus lebih rendah dari dia gitu.. kalo kayak gini kan susah.. tapi kalo semisalnya saya lebih rendah gini, jadi possible gitu.

71. Dedy : yaa luar biasa.. (ke pianis) nah skrg lu yang ngejatuhin dia.

72. Pianis : iyaa.. (ke joe) mas mau jatuh nggak? 73. Joe : (tertawa) 74. Dedy : haha.. thank you, thank you. Oke, katanya adegan fight tadi itu adalah adegan fight

termahal katanya? 75. Joe : em iya salah satu scene yang lumayan banyak biaya-nya sih 76. Dedy : saya nggak ngerti, mahal dimananya? Dibandingkan dengan adegan-adegan lain

kayaknya itu paling sederhana 77. Joe : ya tapi karena untuk adegan itu kita harus nge-block Waterloo Station which is

salah satu yang tempat terkenal and it costs lot of money 78. Dedy : em,, why don’t you just make a set? 79. Joe : it’s imposible karena I think untuk bikin set selebar itu akan lebih makan waktu

which is mereka ngejar waktu karena scene-scene-nya Vin Diesel dan Ben Jonshon udah gak bisa digeser, sama mereka pake actual lokasi, jadi mereka block Waterloo station untuk ekstrati ada 200 jadi mereka hire extras untuk ngisi which is it costs lot of money.

80. Dedy : kenapa harus di Waterloo? 81. Joe : mungkin it is one of the land mark, gue rasa sih untuk orang di London Waterloo

Station otomatis banyak sih kayak film Borne syuting disitu. Jadi kayak suatu tempat yang catchy sih.

82. Dedy : lu sendiri cedera nggak pada saat fighting itu? 83. Joe : em waktu fighting ada sih dikit 84. Dedy : tapi nggak pake stunt man? 85. Joe : ya selama masih bisa berdiri, ya lanjut terus. 86. Dedy : kayaknya saya mau tanya nih ya. Kalo main film di luar negeri gitu ada aturannya

bahwa setiap pemain itu hanya boleh bekerja selama 8 jam. Tidak boleh lebih dari 8 jam. Lebih dari 8 jam, ada pihak berwenang ya?

87. Joe : ya. 88. Dedy : nah pihak berwenangnya yang nanti ada urusan panjang lebar, jadi anda hanya

bekerja selama 8 jam setiap hari? 89. Joe : ya itu rule-nya. 90. Dedy : rule-nya seperti itu. 91. Joe : boleh kalo mereka ada misalkan overtime namanya. Tapi kalo overtime mereka

bayar lebih mahal karena 1 jam itu mereka harus bayar semua kru, semua ekstra, semua aktor di luar kontrak.

92. Dedy : pernah terjadi? 93. Joe : pernah sih kayaknya beberapa adegan. Tapi maksimal cuman satu jam soalnya

biayanya gede banget untuk overtime jadi mereka sedapat mungkin produksi. Jadi gak berani. 94. Dedy : kalo disini kan belum selesai, wahh diterusin. Ternyata kalo disana hanya 8 jam ya?

Kasian sekali yang ngerjain kuali waktu dulu di Indonesia. (audience tertawa) Saya pengen tahu banget ni ya, dengan semua adegan dan sebagainya itu lu nggak usah jawab kalo lu nggak mau jawab. Tapi gue pengen lu jawab sih. Lu dibayar berapa sih Joe sebenarnya?

95. Joe : haha, ya nggak bisa ngasi tahu.


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96. Dedy : dapat apa deh? 97. Joe : ya cukuplah buat nabung-nabung. Ya buat ibaratnya ya lebih comfort. Ya

berikutnya tu gak harus terburu-buru. 98. Dedy : oya dapat kesempatan lagi ya? 99. Joe : untuk milih pekerjaan berikutnya yang cukup. Jadi bisa lebih idealis gak harus

ngejar pekerjaan. 100. Dedy : Oke, kita akan ngundang nih katanya kembarannya jadi langsung aja, Daniel. (tepuk

tangan penonton)

SEGMENT 2 ENDS

101. Dedy : oke daniel, nih jujur nonton gak Fast & Furious 6? 102. Daniel : Yap gue nonton. 103. Dedy : keren gak dia main di sono? 104. Daniel : keren banget, membuat gue bangga banget sebagai kakak ke-2. 105. Dedy : dia kakak pertama ? 106. Daniel : kakak ke- 2, ada adik kita satu lagi. 107. Dedy : oyayaya. 108. Daniel : nih Dedy Corbuzier. 109. Dedy : makasih ya, makasih. Tapi keren ya ? 110. Daniel : keren, keren banget. Gue kayaknya bener-bener seneng banget ada orang Indonesia

yang ngalahin orang negro, orang bule, orang korea. (ke Joe) eh si Sung Kang orang Jepang apa orang apa sih?

111. Joe : Yes, emang dia kewarganegaraan Amerika, Asian American. 112. Dedy : dan ngomong bahasa Indonesia kan? 113. Daniel : ngomong bahasa Indonesia juga di fast & furious? 114. Joe : iya sedikit. 115. Dedy : cuman gini waktu gue nonton tu penasaran waktu ketemu lu gue pengen nanya. Lu

kan ngomong bahasa Indonesia, logikanya dimana? Kan mereka gak ngerti bahasa indonesia. Kalo nggak salah lu ngomong “hantam saja”

116. Joe : Hantam mereka 117. Dedy : Hantam mereka gitu. nah kalo gak tau gitu “hantam mereka” gimana tu? 118. Joe : Jadi ceritanya memang itu grup kan multiculture dan kita udah kerja bareng di

beberapa proyek sebelumnya. Emang gak terlalu di explore terlalu banyak. So we understand each other, kita bicara 4-5 bahasa, gue ngerti bahasa dia dan dia ngerti bahasa gue. Kita udah seperti demikian satunya.

119. Dedy : oo jadi gitu, nah selain kemiripan mereka berdua yang kita mau bahas itu adalah mereka ini sebenarnya bisnis dagang baju. (ke daniel) gue nggak tau, lu itu presenter iya, main film iya, produserin film iya, kenapa sih kagak laku lu jualan baju?

120. Daniel : aa nggak sih, gue untungnya semuanya laku semua, semuanya sukses semua, nggak kayak.

121. Dedy : blagu banget lu yaa. 122. Dedy : ya nggak. 123. Dedy : blagu banget sumpah. 124. Daniel : nggak bukannya apa, gue emang semuanya laku banget semuanya. 125. Dedy : tampang lu rese beneran. (penonton tertawa)


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126. Daniel : gue nggak perlu kalo semisalnya udah nggak laku jadi pemain sulap jadi presenter gitu misalnya gitu kan. Jadinya maksudnya gue emang benar-benar semuanya sukses. (audience tertawa) nah untuk produserin film emang ini salah satu kegiatan yang lagi gua,.

127. Dedy : lu butuh pemain yang bisa main sulap nggak di film lu? Cuman gue doang.. 128. Daniel : iya kalo udah nggak laku jadi presenter jadi main film gitu. Hahaha. 129. Dedy : Oke. Kenapa tadi? 130. Daniel : sekarang ini ada satu film namanya Killers. Nanti kita akan tayangin tanggal 31

oktober di Indonesia dan di Jepang. Kita akan tayangin juga bulan februari tahun 2014. 131. Dedy : Oke, bikin film. Niat gak untuk pake Joe Taslim suatu saat di film lo? 132. Daniel : oh pasti iya ya? Tapi dia-nya rate hollywood atau rate mangga dua masih? 133. Joe : rate mangga dua masih. Kita harus main bareng kayak twin brother gitu di action-

action. 134. Daniel : iya kayak filmnya Van Damme, tau gak ? 135. Joe : iya, Jackie Chan ada kan yang Double Dragon. 136. Dedy : ini giliran gue nggak diajak lagi. 137. Daniel : Nggak, lu numbuhin rambut dulu. 138. Joe : kita bisa jadi kembar tiga berarti. 139. Daniel : iya, jadi triple dragon. 140. Dedy : iya, kayaknya gak bakal jadi tu film. Tapi Joe gue mau bahas ini. Lu kan dulu

sampai sekarang ya punya bisnis keluarga jualan baju di tanah abang, dan dulu tu orang-orang sering liat kalo Joe tu sering di tanah abang. Sekarang masih ke tanah abang gak?

141. Joe : em belum sih, belum sempat kesitu. 142. Dedy : belum sempat apa takut? 143. Joe : um sedikit. Tapi ya karena belum sempat juga. Tapi bakal kesana nanti. 144. Dedy : wui sekarang tanah abang bisa rame, orang nungguin dia doang. 145. Daniel : kayaknya iya tuh. 146. Dedy : tapi ni gue denger waktu lagi break, kayaknya anda berdua akur banget. Bahkan

pernah pertama kali anda berdua ketemu gimana ceritanya? 147. Daniel : gini ni gue nggak tau ni. Basically ini kira – kira 8 tahun yang lalu gitu ya. Umm, si

Joe sempet kayak message gue di facebook gue gitu. 148. Dedy : Ooo Joe sempat message lu di facebook? Oo. 149. Daniel : I don’t know itu Joe asli apa bukan. Basically ada Joe Taslim message gue di

facebook “ bro, banyak yang bilang kalo kita mirip” gitu kan. Habis itu gue bilang “siapa sih Joe Taslim?” ciiee.

150. Dedy : blagu banget. 151. Daniel : ternyata dia sehabis itu, dia main di sinetron dan lain-lain. Dan habis itu gue

ngecek, eh ada nih ada satu logo TV dan gue nggak pernah muncul di TV itu. Ada salah satu fotonya dia gitu lagi megang pistol atau apa dan di film action dan habis itu gue ngeliat, “kapan gue main di film ini? Kapan gue megang pistol? Gilaa ni orang mirip banget sama gue”, ya kayak gitu.

152. Dedy : dan ternyata bener? 153. Daniel : ternyata emang gak tau ya, habis gue nonton The Raid pun gue juga ngeliat si Joe

beberapa eskpresi – ekspresinya di The Raid. Gue mikir kalo misalnya gue disuruh acting seperti itu, ekspresi gue emang kayak gitu juga. Coba deh ekspresi lu ketakutan kayak gimana bro? Sama kan gitu.

154. Joe : iya sama. 155. Dedy : lu delusional kayaknya ya? tapi gak papa. Bener tadi gue juga ngomong ama Joe

kalo dia emang butuh lu.


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156. Daniel : oh gitu? 157. Dedy : dia butuh stunt in. Kan ada adegan dipukulin tu, biar mirip. 158. Daniel : bisa bisa, muka gue lebam lebam gitu ya. 159. Dedy : oke, tapi bisnis baju oke dong? 160. Daniel : amin, thank you. 161. Joe : iya. 162. Daniel : kenapa sih lu ngomongin bisnis baju trus? Lu sekarang dari bisnis handphone mau

ke bisnis baju juga? 163. Joe : oo jualan handphone? 164. Daniel : iya dia jualan handphone di Plaza loh man. 165. Joe : oo kidding, serius? Haha 166. Dedy : lu kenapa ketawa? Lu jualan baju di tanah abang gue nggak ketawain lu? Nggak.

Gue tadi ngomong dia jualan baju di tanah abang, gue ngomongnya bangga. Lu ngomong jualan handphone, lu kenapa ketawa?

167. Joe : hahaha, maksudnya nggak nyangka aja. 168. Daniel : karena jualan alat sulapnya nggak laku. 169. Dedy : udah gue bilang jangan ngundang dia lagi, ngundang lagi ni orang ni. Tapi belum

pernah datang ke Premiere hollywood? 170. Daniel : belum. 171. Dedy : Joe udah. Nah kita liat nih ada foto-fotonya ketika premiere di Hollywood. Coba nih

kayaknya blue screen sih, mana foto-fotonya Joe pada saat premiere di hollywood? 172. Daniel : Tu siapa sih cewe yang foto bareng? (sambil liat foto-foto yang ditayangkan) 173. Joe : itu bersama Michele Rodriguez, Ludacris, Sung Kang, mirip ya? Kakak ke empat

kan? 174. Dedy : nih peluncuran perdana ya? 175. Joe : itu LA Premiere. 176. Dedy : oke. 177. Daniel : ada orang Indonesia nggak yang datang? 178. Dedy : ada. Dia. gimana sih lu? 179. Daniel : kagak, maksudnya penonton yang disitu tu. 180. Joe : Ada. Ada dari teman-teman dari komunitas Indonesia distu. 181. Daniel : cool, trus yang tanda tanganin siapa tu? 182. Joe : itu mereka yang antusias nonton the raid, mereka antusias nonton fast. Jadi ada

poster the raid, poster fast juga. 183. Daniel : keren banget. ( ke dedy) lu sebagai presenter kenapa sih nggak nanyain dia, kenapa

gue yang mesti nanyain? 184. Dedy : lu cerewet, kan gue lagi liatin foto. Lu udah nanya melulu gimana sih? Tapi gimana

pada saat lu ada disana, apa bedanya dengan mungkin pernah Premiere di Indonesia. Jadi what’s the difference disana dengan disini?

185. Joe : disana emang gede banget sih untuk skalanya. Emang premierenya gede banget. Ada konser juga, ada Wiskalita, ada 2 Change perform, ada Tyrese sama Ludacris juga perform. Emang universal jor-joran sih untuk fast. Karena untuk pendapatan terbesar selama project universal selama 10 tahun ini, fast & furious 6 itu yang paling banyak nguntungin mereka.

186. Daniel : Wow! 187. Dedy : yang paling banyak nguntungin mereka ya? dan you ada disana ya?


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188. Daniel : Wow. (tepuk tangan) (ke dedy) Sebagai host sebuah acara yang sebesar ini, emang harus kayak gitu. Gue lagi ngincer banget kerjaan lu sekarang. Eh lu fotoin gue dong tolong dong ded. Gile ni saat – saat paling memorical banget nih, abis itu gue tweet.

189. Dedy : lu tau gue siapa sebenarnya? (fotoin Joe & Daniel) oke. 190. Daniel : gue tweet. 191. Dedy : (ke Joe) bener tidak? anda tidak bisa datang pada saat premiere di London. 192. Joe : Wall premiere di London itu pada saat gue lagi di LA lagi ada meeting-meeting

yang di arrange sama agency situ. Jadi mereka minta waktu berangkat, tapi kan visa london kan nggak segampang itu. Jadi harus balik kayaknya udah gak mungkin.

193. Dedy : (Ke Daniel) lu juga waktu itu gak datang ? waktu itu lu gak diundang. 194. Daniel : guys guys, nih gue tweet sekarang, kalo misal lu pengen liat fotonya bisa aja

langsung follow @vjdaniel. 195. Dedy : uu gilee, dia promo. 196. Joe : (tertawa) 197. Dedy : ini bintang tamu yang penting hari ini, sebenernya yang mana sih? Kan gue lagi

bahas dia. (ke Joe) Ada twitter gak semisalnya orang mau follow. 198. Joe : @joetaslim 199. Dedy : @ ? 200. Joe : @joe_taslim 201. Dedy : oke @joe_taslim ya. Yang tadi Daniel dilupain aja. (ke Daniel) Lu sibuk banget,

heran gue. (ke Joe) Joe trus sekarang lu udah. 202. Daniel : twiternya hitam putih apaan? 203. Dedy : @hitamputiht7 sekalian @corbuzier tu ada. 204. Daniel : yang itu gue nggak kenal, nggak usah. 205. Dedy : @surati, tetangga gue baru bikin twiter tu. Oke ni terakhir ya diundang ya, 206. Daniel : hahaha 207. Dedy : Oke, buat anda yang ingin bertanya pada Joe, ingat gunakan hashtag ask Joe lalu

kirimkan ke @hitamputiht7 karena setelah ini Joe akan mencoba menjawab pertanyaan – pertanyaan anda. Jangan ke mana-mana tetap di hitam putih.

SEGMENT 3 ENDS

208. Dedy : anda kalo fans-nya Joe taslim kalo liat Joe Taslim pasti wah hebat banget ni orang, keren banget, main film terkenal sampe hollywood gitu ya. Tapi kadang-kadang kita tidak boleh melupakan siapa Joe Taslim sebenarnya, siapakah dia dulu. Jadi setiap manusia tu ada yang namanya ugly truth yang orang sudah lupa sebenarnya.

209. Daniel : kalo gue ngeliat, lu gak keliatan truth-nya sih 210. Dedy : iya keliatan ugly doang.haha! Kita berantem aja gimana? 211. Daniel : oke oke, santai santai. Jadi panas sendiri. 212. Dedy : Agak kesel. Tapi kita liat dulu ini ada ugly truth-nya Joe Taslim, keren banget.

(komersial Joe Taslim ditayangkan) 213. Joe : tapi keren kan? 214. Dedy : tahun berapa ? 215. Joe : umm, mungkin 9 atau 10 tahun yang lalu. 216. Dedy : 9 atau 10 tahun yang lalu. 217. Joe : It is funny soalnya dulu kan sering main iklan. Pengennya dapat karakter yang

keren, yang cool, yang pake jas, pake pistol. Tapi kalo setiap casting gak pernah dapat. Tiap


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dikasih karakternya lu tu gak keren, lu tu lucu gitu jadi kasih yang lucu. Ini kontrak sampai 2 tahun sih dengan brand itu and then setelah.

218. Daniel : apaan sih? Vitaminnya charming ya? 219. Joe : Yap. Jadi ya mereka bilang setiap audisi iklan-iklan yang keren, yang kayak naik

mobil mewah, yang pake jas tu gak pernah dapet karena lu gak keren lu tuh lucu. Tapi sekarang malah dapatnya yang jadi penjahat, jadi polisi. It’s funny.

220. Dedy : tapi dapat tawaran-tawaran iklan gak sekarang? 221. Joe : sekarang ada, ada beberapa. 222. Dedy : jadi yang keren? 223. Joe : iya lumayan. 224. Dedy : lumayan keren tapi kacau ya? Lu bayangin gak dulu lu seperti itu, sekarang lu bisa

seperti ini. Jadi kan dulu kan lu kan konyol banget tu, sekarang ternyata bisa seperti ini. 225. Daniel : Emang setiap orang itu ada prosesnya ya. 226. Dedy : betul setiap orang emang ada prosesnya. Coba kita liat prosesnya Daniel. 227. Daniel : hah? Gue ada juga? 228. Dedy : kenapa sih? 229. Daniel : No no no, gue kayaknya tau deh lu bakal ngeluarin apa

(komersial daniel ditayangkan). Gue gak ngerti lu ngasih liat apaan barusan. Gue gak ada disitu soalnya.

230. Dedy : oh anda tiba-tiba hilang ingatan ya? 231. Daniel : siapa itu? 232. Dedy : saya juga gak ngerti tadi itu siapa. Tapi kenapa saya liat itu saya kayaknya 233. Daniel : tapi gue suka banget yang tengah. Cantik banget soalnya. 234. Dedy : oh tipe lu kayak begitu? 235. Daniel& Joe : ahahhaa 236. Dedy : tapi ya namanya pasti ada proses dan sebagainya. 237. Daniel : itu yang gue lakukan untuk mencari duit dan mencari nafkah. Itu good acting. 238. Dedy : itu good acting? Sapa bilang itu good acting? Itu mah beneran. Tapi Daniel, what

did you achieve sih saat ini? What are you proud of? 239. Daniel : Umm, sekarang ini sih yang paling bikin gue proud of adalah sampe detik ini gue

belum mengecewakan orang tua gue gitu. They will proud of me. Itu yang menurut gue sampe sekarang ini achievement terbaik gue gitu, dan gue masih terus pengen berkembang sebagai seseorang dan terus membanggakan orang tua gue. Tepuk tangan dong woi. (tepuk tangan penonton) udah nggak usah, nggak usah!

240. Joe : hahaha 241. Dedy : Oke, kasian banget yang jadi orang tuanya. Kalo Joe what are you really proud of

in your life? 242. Joe : (ke Daniel) sama ya kita banggain nyokap ya, kita kan saudara. 243. Daniel : mama nyariin kamu pake baju hollywood kemaren? 244. Joe : katanya jangan pulang malem-malem ya? 245. Dedy : bukannya mama lu lagi jalan ama bapak gue? hahaha 246. Daniel : iye iye, haha 247. Dedy : haha, ya kan saudara ya. 248. Daniel : ya ini (ke kepala Dedy) dicukur gara-gara nakal 249. Dedy : nggak sih, nih gara-gara kebotakan dini. Jangan ngulangin! Haha. Tapi Joe bener itu

tadi, ini beneran untuk orang tua dan sebagainya?


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250. Joe : iya sekarang kan bokap udah nggak ada, tinggal nyokap doang. Which is apapun yang bisa dilakuin, yang bisa bikin dia proud of me, and bisa bikin dia bangga, I think I will do anything.

251. Dedy : Yang belum didapet apa? 252. Joe : yang belum didapet banyak. Nggak sih yang belum didapet sebenernya so far I am

happy, apa yang udah terjadi sekarang. 253. Dedy : tapi do you have dreams yang dari dulu kepingin tapi belum tercapai ? 254. Joe : Um, sebenarnya ya masuk ke hollywood market sih. Ya karena sekarang udah

masuk, ya hopefully kedepannya bisa lebih baik, bisa berkembang terus. 255. Dedy : bakal ada film baru? 256. Joe : Film baru so far yang official belum. Kemaren meeting di LA sama producer,

casting director. Ya just general meeting. 257. Dedy : tapi ya mudah-mudahan ada kejutan sebelum akhir tahun ya. 258. Joe : mudah-mudahan ada sesuatu sebelum tahun depan lah. 259. Dedy : Oh ya, kita tunggu berarti ya. Oke, terus kalo Joe sekarang masuk agency luar, trus

untuk official career itu sekarang lu tinggal disini atau tinggal di luar? 260. Joe : Umm, kemaren sempat di LA beberapa lama meeting doang. Tapi kalo permanently

tinggal disana kayaknya belum kepikiran. Hanya mungkin fly back depart gitu. Bolak balik aja. Nanti kalo ada project ke sana. Kalo nggak, tetap mau tinggal disini. Masih permanen mau tinggal disini aja. Gue lebih suka disini sih.

261. Dedy : kalo Daniel gak usah ditanya, udah jelas Damn I Love Indonesia. 262. Daniel : yap, gue lebih suka tinggal di mangga dua. 263. Dedy : ah lu sipit banget sih heran gue. Tapi kalo lu sendiri ada gak yang belum lu capai? 264. Daniel : ah sebenarnya gue juga mau tanya balik ke lu sih. Pertanyaan yang bagus buat lu.

ada gak yang belum lu dapatkan sekarang? misalnya istri baru misalnya kayak gitu?. Umm, kembali ke gue aja. Gue sadar gue bukan host acara ini.

265. Dedy : (diam) saya single loo, bujangan, kaya lagi. Promosi tu harus jelas. 266. Daniel : Hahaha! Kalo misalnya achievement gue gitu sih. Oke misi kita di Indonesia

sekarang ini ni mungkin bisa jadi bahan pemikiran bagi pemirsa juga ya. Sekarang ini kita ngeliat kalo misalnya ada orang bilang “wah gila gaya lu Korea banget gitu, eh gaya lu Jepang banget”. Kalo misalnya kita lagi pake kimono atau apa karena anak muda di Jepang tu pada pake Kimono.

267. Dedy : tadi gue juga mau ngomong tu sebenarnya. 268. Daniel : gaya gue? 269. Dedy : ih gila lu alay banget. 270. Daniel : alay banget. Nah itu karakter Indonesia banget gitu. Tapi gini, gimana kalo misalnya

kita balik nih misalnya orang Korea. 271. Dedy : orang Korea ngomong “Wih Indonesia banget” 272. Daniel : exactly! Orang Korea ngomong sama temennya yang Korea juga “gaya lu Indonesia

banget” kayak gitu. 273. Dedy : tapi apa gaya Indonesia banget? 274. Daniel : nah itu pertanyaannya. Apa gaya Indonesia banget? Apakah generasi muda kita itu

bawa keris kemana-mana, bawa sarung, atau pake peci gitu. Apa yang Indonesia banget, itu yang harus kita temuin sampai sekarang. Itu yang menurut gue salah satu impian gue supaya suatu saat orang-orang Korea, orang-orang Jepang, orang-orang Amerika misalnya ngeliat “gila gaya lu ya, Indonesia banget”. Sampe kayak gitu berarti menurut gue generasi muda kita sukses untuk mengkarakterkan identitas diri.

275. Dedy : Oke luar biasa. berarti membuat sebuah tren ya sampe dikenal di luar


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276. Daniel : betul. Mungkin dengan memakai sarung misalnya kayak gitu. 277. Dedy : ya whatever it is, tapi it is possible kan sebenarnya? It’s possible. Jadi jangan

kemana-mana tetap di hitam putih.

SEGMENT 4 ENDS

278. Dedy : oke langsung aja ya? Ini ada dari najwa : “om menurut om adegan yang paling susah banget pada saat di Fast & Furious itu apa?”

279. Joe : yang fight scene sih, yang di Waterloo 280. Dedy : Ya, ini dari yomski : “licinan mana?” 281. Daniel : kepalanya Vin Diesel atau kepalanya Dedy? 282. Dedy : kok lu tau? Lu bisa baca pikiran? 283. Daniel : lumayan ya, gue bisa juga jadi pesulap juga gitu ya? 284. Dedy : iya nih dari Yomski : “licinan mana botaknya Vin Diesel sama Dedy Corbuzier?”

anda mau saya bikin licin? 285. Joe : umm licinan. 286. Dedy : kenapa lu jawab? 287. Joe : ahahaha.. 288. Dedy : tapi gue penasaran, licinan mana? 289. Joe : licinan lu deh. 290. Dedy : oh iya dong. 291. Daniel : bangga? 292. Dedy : nggak sih, sebenarnya. 293. Dedy : Umm, “Joe berani gak berantem sama Ben Johnson tanpa script?” 294. Joe : ya nggaklah. He is gonna crush me for sure. Dia gede banget. 295. Dedy : gedenya segede apa sih orangnya? 296. Joe : ya mungkin 3 kali gue lah. 297. Dedy : serius? 3 kali lipat? 298. Daniel : setinggi Dedy? 299. Joe : kayaknya kepala gue cuman di bisepnya dia gitu 300. Dedy : “guys nih gue sama Joe Taslim di Hitam Putih.” 301. Daniel : ya itu tweet gue. 302. Dedy : yaahh 303. Joe : ehehe 304. Dedy : lu alay juga sih heran, gue jadi baca nih. Aduh. 305. Daniel : hahaha 306. Dedy : “kenapa anda tidak berani menjawab berapa gaji yang anda terima dalam Fast &

Furious? Saking banyaknya ya gak bisa jawab?” 307. Joe : ya karena gak banyak jadi biasa aja. Kalo banyak baru bisa disombongin. Biasa aja

gitu. 308. Dedy : oow rendah, gak kayak lu blagu. 309. Joe : haha 310. Dedy : udah terkenal tu begini, jangan kayak kita blagu melulu. “Ada gak aktor idola Joe

Taslim?” 311. Joe : Al Pachino 312. Dedy : kenapa Al Pachino? 313. Joe : Umm, karena waktu gue kecil nonton Godfather 2, saat itu gue ngerasa pengen jadi

aktor.


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314. Dedy : oya keren. Dengar – dengar Joe Taslim ditawarin Expendables 3. 315. Joe : Expendables 3, sebenarnya gue meeting sama Belanian Pictures waktu di LA.

Tapi mereka lagi scripting. Tapi gak ada officialy offer atau apa, which is general meeting aja. Ketemu sama ngobrol-ngobrol.

316. Daniel : tapi ya udah sesuatu banget sih. 317. Joe : Iya. Tapi belum ada karena script-nya belum kelar, dan kalo emang ada karakter

yang pas, kenapa nggak? Tapi so far belum. 318. Daniel : soalnya di Expendable 2 ada Steven Seagal, ada Chuck Norris lagi. Gue nge-fans

sama Expendables 3. 319. Dedy : nonton sono. Ni dari awiawan : “Joe Taslim, kalo ada tawaran main film di Box

Office lagi tapi pake adegan yang super hot, terima apa gak?” 320. Joe : kalo emang scene itu dibutuhkan di cerita dan emang penting kenapa nggak.

Namanya kan kerja, it is acting. 321. Daniel : Production House misalnya VVTractive gitu? 322. Dedy : itu mah elu. 323. Daniel : yang ketawa berarti ngerti. 324. Dedy : saya nggak ngerti 325. Daniel : ow iya. 326. Dedy : “I was working with the cast of fast and furious 6, did they ask you anything about

Indonesia?” 327. Joe : ya ya, lumayan kayak Paul Walker dia sering banget ke Indonesia. He is a surfer.

Kayaknya dia lebih tahu banyak tentang pelosok-pelosok Indonesia untuk surfing dibanding gue. Dia nyebutin beberapa pulau yang gue gak pernah denger kan, “ I’ve been there, I’ve been here.” Dan waktu gue di Spain, gue ketemu Chris Hemswort yang main Thor, yang pernah ke Sumba Island.

328. Daniel : really? 329. Dedy : nih ada yang bilang saya kekurusan. Apa urusannya sama pertanyaan?. Oh Joe, “om

kok ganteng sih? kok om keren sih? kok kece sih? Kok bisa sempurna gini sih?” ihh cowok. 330. Joe : hehe 331. Dedy : tapi ini ada pertanyaan yang gue pengen nanya. Itu kan adegan anda mati tidak

ditayang ya? gantung gitu. Torreto aja bisa hidup lagi. Apakah dapat tawaran gak untuk fast & furious 7? Atau is there possibility?

332. Joe : Umm, Possibility-nya kecil mungkin ya karena bulan depan mereka udah syuting, dan karena director kan sekarang James Wann yang nge-direct fast 7. Jadi kemungkinan ceritanya bisa lari jauh atau gimana, which is I think kemungkinan nggak. Kalo mungkin Justin yang masih nge-direct, kemungkinan besar iya soalnya different director different approach. Jadi terserah mereka mau dibawa kemana ceritanya.

333. Dedy : udah mulai syuting? 334. Joe : Umm, kayaknya mereka udah scripting dan I think bulan depan udah mulai. 335. Dedy : berapa lama kira-kira pembuatan suatu film Fast & Furious? 336. Joe : Fast, 4 bulan. 1 bulan produksi dan syuting 4 bulan. 337. Dedy : misalnya mulai bulan depan syuting? Tayang kira-kira kapan di bioskop? 338. Joe : Umm, next year memoral day juga pas bulan-bulan kayak gini. Mereka cuman 3

atau 4 bulan untuk house production jadi cepet banget sih. 339. Dedy : oke Daniel, terakhir gue tanya ke lu ya. Setelah film Killers ya, what is your next

project? 340. Daniel : to be honest, gue sendiri masih liat dulu ya dari segi timnya sendiri gimana nih

untuk marketting Killers-nya dan feed back dari masyarakat sendiri film Killers-nya. Next-nya


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sih kita udah ngeliat beberapa script yang gue suka banget to be honest, dan gue pengen banget nge-produce beberapa film dari beberapa director ini. So we’ll see. Ini gue masih open banget sih, jadi gue masih belum tau apa-apa.

341. Dedy : oke mudah-mudahan sukses ya. 342. Daniel : thank you 343. Dedy : kalo filmnya udah keluar, kita bahas lagi disini. Thank you very much Daniel,

thank you Joe, terima kasih banyak. I always support you both. Dan ingat ini kalo kita lihat dari Daniel dan Joe, sebenarnya apa ya? mungkin kesempatan nih. Tapi kesempatan kalo kita tidak memiliki kemampuan apapun, kesempatan cuman datang dan kita nggak bisa ngapa-ngapain. Jadi buat saya, kesempatan itu opportunity bertemu dengan kemampuan kita sendiri kan. Kalo kita nggak punya kemampuan ya nggak bisa. Ingat bahwa kesempatan itu akan mengetuk setiap pintu tapi hanya sedikit manusia yang memiliki kunci untuk membukanya. Saya Dedy Corbuzier, inilah Hitam Putih.


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LIST OF CODE SWITCHING DATA IN HITAM PUTIH TALK SHOW

Number of the data

Utterance Number Utterance

1 5 DEDY : Ini film selama 3 minggu menghasilkan 586 juta dolar itu worldwide, sedangkanbudget filmnya hanya 160 juta. Berarti keuntungannya bayangkan, keuntungannya segitu besar. Nah dari keuntungan segitu besar, lu dapat apa sebenarnya ?

2 5 DEDY : Ini film selama 3 minggu menghasilkan 586 juta dolar itu worldwide, sedangkan budget filmnya hanya 160 juta. Berarti keuntungannya bayangkan, keuntungannya segitu besar. Nah dari keuntungan segitu besar, lu dapat apa sebenarnya ?

3 6 JOE : bangga aja sih, tapi ada royalti of course

4 10 JOE : Setiap aktor yang ngomong berhak dapat royalti. That's one of the rules of union.

5 12 JOE : yang ada lines yang ngomong.

6 14 JOE : No, no royalti 7 14 JOE : No, no royalti 8 16 JOE : No royalti 9 18 JOE : Untuk lines. Pembagian lines itu sangat

selektif atau sangat-sangat dipikirin.

10 18 JOE : Untuk lines.Pembagian lines itu sangat selektif atau sangat-sangat dipikirin.


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11 20 JOE: Kalo emang karakter itu nggak penting untuk ngomong, dan mereka ngerasa kayak nggak ada kebutuhan untuk di cerita, they don't give them lines. Biasanya seperti itu.

12 24 JOE: Iya. Jadi setelah turun mereka masih dapat income dari DVD dan hak siar di seluruh dunia. Itu baru royaltinya jalan.

13 26 JOE: Bangganya ya karena jarang. Biasanya kalo hollywood milih aktor yang the best. Mereka pilih aktor yang dari Hongkong, Jepang, Cina ibaratnya dan sangat jarang untuk melirik apalagi Indonesia gitu, dan sekarang mereka tiba-tiba tertarik. I think it's a good thing bahwa industri kita atau aktor-aktor kita udah mulai dilirik oleh Hollywood. Which is good.

14 26 JOE: Bangganya ya karena jarang. Biasanya kalo hollywood milih aktor yang the best.Mereka pilih aktor yang dari Hongkong, Jepang, Cina ibaratnya dan sangat jarang untuk melirik apalagi Indonesia gitu, dan sekarang mereka tiba tertarik. I think it's a good thing bahwa industri kita atau aktor-aktor kita udah mulai dilirik oleh Hollywood. Which is good.

15 26 JOE: Bangganya ya karena jarang. Biasanya kalo hollywood milih aktor yang the best.Mereka pilih aktor yang dari Hongkong, Jepang, Cina ibaratnya dan sangat jarang untuk melirik apalagi Indonesia gitu, dan sekarang mereka tiba -tiba tertarik. I think it's a good thing bahwa industri kita atau aktor-aktor kita udah mulai dilirik oleh Hollywood. Which is good.


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16 28 JOE : Kalo film Box Office so far sih kayaknya jarang. I don't know. Tapi gak berani bilang belum pernah tapi kayaknya jarang banget. Kalo film internasional banyak. Kalo film internasional banyak. Seharusnya banyak. Tapi kalo nyampe studio atau film gede atau film box office gitu sangat jarang atau mungkin belum pernah.

17 28 JOE: Kalo film Box Office so far sih kayaknya jarang. I don't know. Tapi gak berani bilang belum pernah tapi kayaknya jarang banget. Seharusnya banyak. Tapi kalo nyampe studio atau film gede atau film box office gitu sangat jarang atau mungkin belum pernah.

18 29 DEDY: Belum pernah ya. Trus lu udah main disana. What influences in your life after this?

19 30 JOE :Nothing changes actually. Udah balik Indonesia ya biasa aja sih. Balik sama keluarga lagi, sama teman-teman lagi and then sekarang malah jadi tanggung jawab untuk kedepannya gimana untuk lebih baik, gimana sekarang orang, keep everybody hope kan.Oke, I wanna see you in different movie. Jadi ada tanggung jawab harus lebih baik.

20 30 JOE :Nothing changes actually. Udah balik Indonesia ya biasa aja sih. Balik sama keluarga lagi, sama teman-teman lagi sekarang malah jadi tanggung jawab untuk kedepannya gimana untuk lebih baik, gimana sekarang orang, keep everybody hope kan.Oke, I wanna see you in different movie. Jadi ada tanggung jawab harus lebih baik.


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21 30 JOE : Nothing changes actually, udah balik Indonesia ya biasa aja sih. Balik sama keluarga lagi, sama teman-teman lagi sekarang malah jadi tanggung jawab untuk kedepannya gimana untuk lebih baik, gimana sekarang orang ,,keep everbody hopekan. Oke I wanna see you in different movie jadi ada tanggung jawab harus lebih baik.

22 30 JOE :Nothing changes actually. Udah balik Indonesia ya biasa aja sih. Balik sama keluarga lagi, sama teman-teman lagi sekarang malah jadi tanggung jawab untuk kedepannya gimana untuk lebih baik, gimana sekarang orang, keep everybody hope kan.Oke, I wanna see you in different movie. Jadi ada tanggung jawab harus lebih baik.

23 31 DEDY: Secara fans gimana? Pasti bertambah ya?

24 32 JOE : fans ya udah lumayan

25 33 DEDY : apa apa? what they say kalo ketemu lu?

26 34 DEDY : Foto, kadang-kadang anak kecil juga dan kadang bingung juga, anak kecil kok nonton fast? Tapi ya gimana, they like the movie.

27 35 DEDY : Apa yang paling sulit ketika lu ada disana? Maksudnya seperti apa sih aslinya mereka itu? Aktor-aktornya lah karena ini mungkin pertama kali untuk Joe ke sana dan main. Do they really nice to you?


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28 36 JOE :Really nice. Jadi sangat-sangat dibantu oleh The Raid kan. I think hampir semua industri di Amerika, Film maker,casting director, director, rata-rata udah nonton The Raid semua. Jadi setelah gue nyampe di sana ketemu orang mereka langsung "I love your movie, I love the Raid", jadi udah break the ice. Mereka bilang "we really love you to be in our project, let's work together." jadi gak awkward.

29 36 JOE :Really nice. Jadi sangat-sangat dibantu oleh The Raid kan. I thinkhampir semua industri di Amerika, Film maker,casting director, director, rata-rata udah nonton The Raid semua. Jadi setelah gue nyampe di sana ketemu orang mereka langsung "I love your movie, I love the Raid", jadi udah break the ice. Mereka bilang "we really love you to be in our project, let's work together." jadi gak awkward.



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32 36 JOE :Really nice. Jadi sangat-sangat dibantu oleh The Raid kan. I think hampir semua industri di Amerika, Film maker,casting director, director, rata-rata udah nonton The Raid semua. Jadi setelah gue nyampe di sana ketemu orang mereka langsung "I love your movie, I love the Raid", jadi udahbreak the ice. Mereka bilang "we really love you to be in our project, let's work together." jadi gak awkward.



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34 36 JOE :Really nice. Jadi sangat-sangat dibantu oleh The Raid kan. I think hampir semua industri di Amerika, Film maker,casting director, director, rata-rata udah nonton The Raid semua. Jadi setelah gue nyampe di sana ketemu orang mereka langsung "I love your movie, I love the Raid", jadi udah break the ice. Mereka bilang "we really love you to be in our project, let's work together." jadi gakawkward.

35 38 JOE : Paul Walker, Sung Kang , dan Tyrese dia yang paling banyak berantem sama gue. Ya kadang-kadang ya he is a joker. Dia biasanya marah "lu mukulin gue, sekarang seluruh dunia tau gue digebukin lu ya, kurang ajar lu." tapi ya joking.

36 38 JOE : Paul Walker, Sung Kang , dan Tyrese dia yang paling banyak berantem sama gue, ya kadang-kadang ya he is a joker. Dia biasanya marah "lu mukulin gue, sekarang seluruh dunia tau gue digebukin lu ya, kurang ajar lu." tapi ya joking

37 41 DEDY: sekarang gue mau tnya nih Joe. seandainya The Raid itu tidak ada, will you be there?

38 42 JOE : Umm, gak secepat ini, I mean like pasti butuh kerja keras yang banyak.

39 43 DEDY : apakah memang mimpi Joe untuk suatu saat harus main di Hollywood ? atau ini sebuah kebetulan Ketika The Raid meledak dan you got the chance untuk ada di Hollywood?


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40 44 JOE : sebagai seorang aktor di Indonesia tentu aja sih pengen setinggi-tingginya dan sejauh-jauhnya untuk berkarya sih. Tapi setelah The Raid keluar semua pintu kebuka. Mereka melihat talenta yang ada di The Raid keluar dan gue sangat beruntung dipilih which is sempat di Hollywood deadline sempat bilang "Joe Taslim in a fast land". Sebenarnya untuk masuk ke industri sebesar itu sulit. Biasanya harus dari TV dulu, extra supporting baru bisa. Tapi setelah The Raid, dibantu banget

41 44 JOE: sebagai seorang aktor di Indonesia tentu aja sih pengen setinggi-tingginya dan sejauh-jauhnya untuk berkarya sih tapi setelah The Raid keluar semua pintu kebuka. Mereka melihat talenta yang ada di The Raid keluar dan gue sangat beruntung dipilih which is sempat di Hollywood deadline, www.deadline.com sempat bilang "Joe Taslim in fast land". Sebenarnya untuk masuk ke industri sebesar itu sulit, biasanya harus dari TV dulu, extra supporting baru bisa.

42 44 JOE: sebagai seorang aktor di Indonesia tentu aja sih pengen setinggi-tingginya dan sejauh-jauhnya untuk berkarya sih. Tapi setelah The Raid keluar semua pintu kebuka. Mereka melihat talenta yang ada di The Raid keluar dan gue sangat beruntung dipilih which is sempat di Hollywood deadline sempat bilang "Joe Taslim in a fast land". Sebenarnya untuk masuk ke industri sebesar itu sulit. Biasanya harus dari TV dulu, extra supporting baru bisa. Tapi setelah The Raid, dibantu banget.


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43 45 DEDY :Karena ini Live jadi anda yang ada di rumah kalo anda ingin bertanya, anda bisa langsung gunakan hashtag ask Joe.Nanti pertanyaan yang kita pilih akan kita bacakan dan Joe akan mencoba untuk menjawab. Sebelumnya untuk mengingatkan sedikit dulu, kita akan melihat adegan fighting Joe Taslim di fast & furious.

44 48 JOE: Ya. he is a kind of Bruslee. Wing Chun, tapi untuk ini lebih dimodifikasi

45 49 DEDY : Oke. Trus pada adegan seperti itu pake stunt man tidak?

46 50 JOE :Double, untuk adegan berbahaya mereka selalu siapin. Tapi untuk adegan itu syukur-syukur sih nggak.

47 51 DEDY : tidak ada stunt man-nyaya.Wahh keren ni. Emm itu gimana, saya nggak ngerti karena belum pernah main film bela diri kan, gimana orang mengkoreografikan sebuah adegan perkelahian?

48 52 JOE :Jadi sebenarnya basically dia bikin kerangka suatu pertarungan. Jadi dia bikin kerangkanya dari sini ke sini dan beberapa angle dan kita latihan dulu untuk dapetin flow-nya. Tapi setelah masuk ke situ, masuk ke karakter, masuk ke adegan itu baru dikasih.


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49 52 JOE : Jadi sebenarnya basically dia bikin kerangka suatu pertarungan. Jadi dia bikin kerangkanya dari sini ke sini dan beberapa angle dan kita latihan dulu untuk dapetin flow-nya. Tapi setelah masuk ke situ, masuk ke karakter, masuk ke adegan itu baru dikasih.

50 52 JOE : Jadi sebenarnya basically dia bikin kerangka suatu pertarungan. Jadi dia bikin kerangkanya dari sini ke sini dan beberapa angle dan kita latihan dulu untuk dapetin flow-nya. Tapi setelah masuk ke situ, masuk ke karakter, masuk ke adegan itu baru dikasih.

51 53 DEDY : lebih sulit mana adegan fighting ini apa The Raid?

52 54 JOE :to be honest, the raid lebih tough karena ya kita syuting panjang, kita kerja kerasnya gimana.

53 54 JOE :to be honest,the raid lebih tough karena ya kita syuting panjang, kita kerja kerasnya gimana.

54 55 DEDY : Kalo ini kayaknya safety-nya lebih dipikirkan juga ya?

55 56 JOE : disana karena ada insurance, faktor insurance, faktor union jadi mereka tidak bisa terlalu banyak bergerak in tense of creativity.

56 56 JOE : disana karena ada insurance, faktor insurance, faktor union jadi mereka tidak bisa terlalu banyak bergerak in tense of creativity.

57 56 JOE : disana karena ada insurance, faktor insurance, faktor union jadi mereka tidak bisa terlalu banyak bergerakin tense of creativity.


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58 70 JOE : tapi kalo semisalnya saya lebih rendah gini, jadi possible gitu

59 74 DEDY : oke.. katanya adegan fight tadi itu adalah adegan fight termahal katanya?

60 75 JOE : em iya salah satu scene yang lumayan banyak biaya-nya sih.

61 77 JOE : ya tapi karena untuk adegan itu kita harus nge-block Waterloo Station which is salah satu tempat yang sangat terkenal danit costs lots of money.

62 77 JOE : ya tapi karena untuk adegan itu kita harus nge-block Waterloo Station which is salah satu tempat yang sangat terkenal dan it costs lots of money.

63 77 JOE : ya tapi karena untuk adegan itu kita harus nge-block Waterloo Station which is salah satu tempat yang sangat terkenal dan it costs lots of money.

64 79 JOE : it’s imposible karena I think untuk bikin set selebar itu akan lebih makan waktu which is mereka ngejar waktu karena scene-scene-nya Vin Diesel, Ben Jonshon udah gak bisa digeser sama mereka pake actual lokasi, jadi mereka block Waterloo station untuk ekstrati ada 200 jadi mereka hire extras untuk ngisi, which is cost lot of money.


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65 79 JOE : It’s imposible karena I think untuk bikin set selebar itu akan lebih makan waktu which is mereka ngejar waktu karena scene-scene-nya Vin Diesel, Ben Jonshon udah gak bisa digeser sama mereka pake actual lokasi, jadi mereka block Waterloo station untuk ekstrati ada 200 jadi mereka hire extras untuk ngisi, which is cost lot of money.





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71 79 JOE: it’s imposible karena I think untuk bikin set selebar itu akan lebih makan waktu which is mereka ngejar waktu karena scene-scene-nya Vin Diesel, Ben Jonshon udah gak bisa digeser sama mereka pake actual lokasi, Jadi mereka block Waterloo station untuk ekstrati ada 200 jadi mereka hire extras untuk ngisi. Which is cost lot of money.

72 81 JOE : mungkin it is one of the land mark, gue rasa sih untuk orang di London Waterloo Station otomatis banyak sih kayak film Borne syuting disitu. Jadi kayak suatu tempat yang catchy sih.

73 81 JOE : mungkin it is one of the land mark, gue rasa sih untuk orang di London Waterloo Station otomatis banyak sih kayak film Borne syuting disitu. Jadi kayak suatu tempat yang catchy sih.


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74 82 DEDY : lu sendiri cedera nggak pada saat fighting itu?

75 83 JOE : em waktu fighting ada sih dikit.

76 84 DEDY : tapi nggak pake stunt man?

77 89 JOE : ya itu rule-nya

78 90 DEDY : rule-nya seperti itu..

79 91 JOE :boleh kalo mereka ada misalkan overtime namanya. Tapi kalo overtime mereka bayar lebih mahal karena 1 jam itu mereka harus bayar semua kru, semua ekstra, semua aktor di luar kontrak

80 93 JOE : pernah sih kayaknya beberapa adegan, tapi maksimal cuman satu jam soalnya biayanya gede banget untuk overtime, jadi mereka sedapat mungkin produksi

81 97 ya buat nabung-nabung. Ya buat ibaratnya ya lebih comfort, ya berikutnya tu gak harus terburu-buru

82 111 JOE : Yes, emang dia kewarganegaraan Amerika, Asian American

83 111 JOE :yes, emang dia kewarganegaraan Amerika. Asian American

84 118 JOE : Jadi ceritanya memang itu grup kan multiculturedan kita udah kerja bareng di beberapa proyek sebelumnya. Emang gak terlalu di explore terlalu banyak, So we understand each other.Kita bicara 4-5 bahasa, gue ngerti bahasa dia dan dia ngerti bahasa gue. Kita udah seperti demikian satunya.


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85 118 JOE : Jadi ceritanya memang itu grup kan multiculture dan kita udah kerja bareng di beberapa proyek sebelumnya. Emang gak terlalu di exploreterlalu banyak. So we understand each other.Kita bicara 4-5 bahasa, gue ngerti bahasa dia dan dia ngerti bahasa gue. Kita udah seperti demikian satunya.

86 118 JOE : Jadi ceritanya memang itu grup kan multiculture dan kita udah kerja bareng di beberapa proyek sebelumnya. Emang gak terlalu di-explore terlalu banyak. So we understand each other.Kita bicara 4-5 bahasa, gue ngerti bahasa dia dan dia ngerti bahasa gue. Kita udah seperti demikian satunya

87 132 DANIEL : oh pasti iya, ya? Tapi dia-nya rate hollywood atau rate mangga dua ?

88 133 JOE :ratemangga dua masih,,haha, kita harus main bareng kayak twin brother gitu di action-action

89 133 JOE : rate mangga dua masih,,haha, kita harus main bareng kayak twin brothergitu di action-action

90 133 JOE : rate mangga dua masih,,haha, kita harus main bareng kayak twin brother gitu di action-action

91 147 DANIEL : gini ni gue nggak tau ni. Basically ini kira – kira 8 tahun yang lalu gitu ya. Umm, si Joe sempet kayak message gue di facebook gue gitu.

92 147 DANIEL : gini ni gue nggak tau ni. Basically ini kira – kira 8 tahun yang lalu gitu ya. Umm, si Joe sempet kayakmessage gue di facebook gue gitu.


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93 148 DEDY : Ooo Joe sempat message lu di facebook?

94 149 DANIEL :I don’t knowitu Joe asli apa bukan. Basically ada Joe Taslim message gue di facebook“ bro, banyak yang bilang kalo kita mirip” gitu kan, habis itu gue bilang “siapa sih Joe Taslim?” ciiee.

95 149 DANIEL :I don’t know itu Joe asli apa bukan. Basically ada Joe Taslim message gue di facebook“ bro, banyak yang bilang kalo kita mirip” gitu kan, habis itu gue bilang “siapa sih Joe Taslim?” ciiee.

96 149 DANIEL : I don’t know itu Joe asli apa bukan. Basically ada Joe Taslim message gue di facebook“ bro, banyak yang bilang kalo kita mirip” gitu kan, habis itu gue bilang “siapa sih Joe Taslim?” ciiee.

97 153 DANIEL : ternyata emang gak tau ya habis gue nonton The Raid pun gue juga ngeliat si Joe beberapa eskpresi – ekspresinya di The Raid, gue mikir kalo misalnya gue disuruh acting seperti itu, ekspresi gue emang kayak gitu juga.. coba deh ekspresi lu ketakutan kayak gimana bro? Sama kan gitu.

98 155 DEDY : lu delusional kayaknya ya? tapi gak papa. Bener tadi gue juga ngomong ama Joe kalo dia emang butuh lu.

99 157 DEDY :dia butuh stunt in.Kan ada adegan dipukulin tu, biar mirip.

100 160 DANIEL : amin, thank you

101 162 DEDY : kenapa sih lu ngomongin bisnis baju trus? Lu sekarang dari bisnis handphone mau ke bisnis baju juga?


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102 163 JOE : oo jualan handphone

103 164 DANIEL : iya dia jualan handphone di Plaza loh man

104 165 JOE : oo kidding, serius? Haha

105 166 DEDY : lu kenapa ketawa? Lu jualan baju di tanah abang gue nggak ketawain lu? Nggak. Gue tadi ngomong dia jualan baju di tanah abang, gue ngomongnya banggaLu ngomong jualan handphone, lu kenapa ketawa?

106 184 DEDY : Tapi gimana pada saat lu ada disana, apa bedanya dengan mungkin pernah ikut di Indonesia. Jadi what’s the difference disana dengan disini?

107 185 JOE : disana emang gede banget sih untuk skalanya. Emang premierenya gede banget. Ada konser juga, ada Wiskalita, ada 2 Change perform, ada Tyrese sama Ludacris juga perform. Emang universal jor-joran sih untuk fast. Karena untuk pendapatan terbesar selama project universal selama 10 tahun ini, fast& furious 6 itu yang paling banyak nguntungin mereka.


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108 185 JOE : disana emang gede banget sih untuk skalanya. Emang premierenya gede banget. Ada konser juga, ada Wiskalita, ada 2 Change perform, ada Tyrese sama Ludacris juga perform. Emang universal jor-joran sih untuk fast. Karena untuk pendapatan terbesar selama project universal selama 10 tahun ini, fast& furious 6 itu yang paling banyak nguntungin mereka.

109 185 JOE :disana emang gede banget sih untuk skalanya. Emang premierenya gede banget. Ada konser juga, ada Wiskalita, ada 2 Change perform, ada Tyrese sama Ludacris juga perform. Emang universal jor-joran sih untuk fast. Karena untuk pendapatan terbesar selama project universal selama 10 tahun ini, fast& furious 6 itu yang paling banyak nguntungin mereka.

110 187 DEDY : yang paling banyak nguntungin mereka ya? danyou ada disana ya?

111 188 DANIEL : eh lu fotoin gue dong tolong dong ded. Gile ni saat – saat paling memorical banget nih, abis itu gue tweet.

112 192 JOE : Wall Premiere di London itu pada saat gue lagi di LA lagi ada meeting-meetingyang di arrange sama agency situ. Jadi mereka minta waktu berangkat tapi kan visa london kan nggak segampang itu jadi harus balik,kayaknya udah gak mungkin


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113 192 JOE :Wall Premiere di London itu pada saat gue lagi di LA lagi ada meeting-meeting yang di arrangesama agency situ. Jadi mereka minta waktu berangkat tapi kan visa london kan nggak segampang itu jadi harus balik,kayaknya udah gak mungkin.

114 192 JOE :Wall Premiere di London itu pada saat gue lagi di LA lagi ada meeting-meeting yang di arrange samaagency situ. Jadi mereka minta waktu berangkat tapi kan visa london kan nggak segampang itu jadi harus balik,kayaknya udah gak mungkin

115 194 DANIEL : guys guys, nih gue tweet sekarang, kalo misal lu pengen liat fotonya bisa aja langsung follow @vjdaniel.

116 208 DEDY : Tapi kadang-kadang kita tidak boleh melupakan siapa Joe Taslim sebenarnya, siapakah dia dulu. Jadi setiap manusia tu ada yang namanya ugly truth yang orang sudah lupa sebenarnya.

117 209 DANIEL : kalo gue ngeliat, lu gak keliatan truth-nya sih.

118 210 DEDY : iya keliatan ugly doang.haha! Kita berantem aja gimana?

119 212 DEDY : Tapi kita liat dulu ini ada ugly truth-nya Joe Taslim, keren banget


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120 217 JOE :It is funnysoalnya dulu kan sering main iklan, pengennya dapat karakter yang keren, yang cool, yang pake jas, pake pistol. Tapi kalo setiap casting gak pernah dapat. Tiap dikasih karakternya lu tu gak keren, lu tu lucu gitu jadi kasih yang lucu. Ini kontrak sampai 2 tahun sih dengan brand itu and then setelah..

121 217 JOE :It is funny soalnya dulu kan sering main iklan, pengennya dapat karakter yang keren, yang cool, yang pake jas, pake pistol. Tapi kalo setiap casting gak pernah dapat. Tiap dikasih karakternya lu tu gak keren, lu tu lucu gitu jadi kasih yang lucu. Ini kontrak sampai 2 tahun sih dengan brand itu and then setelah..




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125 218 DANIEL : apaan sih? Vitaminnya charming ya?

126 219 JOE : Yap. Jadi ya mereka bilang setiap audisi iklan-iklan yang keren, yang kayak naik mobil mewah, yang pake jas tu gak pernah dapet karena lu gak keren lu tuh lucu. Tapi sekarang malah dapatnya yang jadi penjahat, jadi polisi. It’s funny.

127 229 DANIEL :No no no, gue kayaknya tau deh lu bakal ngeluarin apa.

128 237 DANIEL : itu yang gue lakukan untuk mencari duit dan mencari nafkah. Itu good acting.

129 238 DEDY : tugood acting? Sapa bilang itu good acting? itu mah beneran.. haha. Tapi Daniel,what did you achieve sih saat ini? What are you proud of?

130 238 DEDY : itu good acting?Sapa bilang itu good acting? itu mah beneran.. haha. Tapi Daniel, what did you achievesih saat ini? What are you proud of?


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131 239 DANIEL :Umm, sekarang ini sih yang paling bikin gue proud of adalah sampe detik ini gue belum mengecewakan orang tua gue gitu. They will proud of me. Itu yang menurut gue sampe sekarang ini achievement terbaik gue gitu, dan gue masih terus pengen berkembang sebagai seseorang dan terus membanggakan orang tua gue. Tepuk tangan dong woi.

132 239 DANIEL: Umm, sekarang ini sih yang paling bikin gue proud of adalah sampe detik ini gue belum mengecewakan orang tua gue gitu. They will proud of me. Itu yang menurut gue sampe sekarang ini achievement terbaik gue gitu, dan gue masih terus pengen berkembang sebagai seseorang dan terus membanggakan orang tua gue. Tepuk tangan dong woi.

133 239 DANIEL :Emm, sekarang ini sih yang paling bikin gue proud of adalah sampe detik ini gue belum mengecewakan orang tua gue gitu.They will proud of me. Itu yang menurut gue sampe sekarang ini achievement terbaik gue gitu dan gue masih terus pengen berkembang, sebagai seseorang dan terus membanggakan orang tua gue.

134 241 DEDY : oke, kasian banget yang jadi orang tuanya. Kalo Joe, what are you really proud of in your life?

135 250 JOE : iya sekarang kan bokap udah nggak ada, tinggal nyokap doang. Which is apapun yang bisa dilakuin, yang bisa bikin dia proud of me, and bisa bikin dia bangga, I think I will do anything.


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138 252 JOE : yang belum didapet banyak, haha. Nggak sih yang belum didapet sebenernya so far I am happy, apa yang udah terjadi sekarang.

139 253 DEDY : do you have dreams yang dari dulu kepingin tapi belum tercapai ?

140 254 JOE : Umm, sebenarnya ya masuk ke Hollywood market sih. Ya karena sekarang udah masuk, ya hopefully kedepannya bisa lebih baik, bisa berkembang terus.

141 254 JOE : Umm, sebenarnya ya masuk ke Hollywood market sih. Ya karena sekarang udah masuk, ya hopefully kedepannya bisa lebih baik, bisa berkembang terus.

142 256 JOE : Film baru so faryang official belum. Kemarenmeeting di LA sama producer, casting director. Ya just general meeting.


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143 256 JOE : Film baru so far yang official belum. Kemaren meeting di LA sama producer, casting director. Ya just general meeting.

144 256 JOE : Film baru so far yang official belum. Kemaren meetingdi LA sama producer, casting director. Ya just general meeting.



147 259 JOE : Oh ya, kita tunggu berarti ya. Oke, terus kalo Joe sekarang masuk agency luar, trus untuk official career itu sekarang lu tinggal disini atau tinggal di luar?

148 259 JOE : Oh ya, kita tunggu berarti ya. Oke, terus kalo Joe sekarang masuk agency luar, trus untuk official career itu sekarang lu tinggal disini atau tinggal di luar?


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149 260 JOE : Umm, kemaren sempat di LA beberapa lama meeting doang. Tapi kalo permanently tinggal disana kayaknya belum kepikiran. Hanya mungkin fly back depart gitu. Bolak balik aja. Nanti kalo ada project ke sana. Kalo nggak, tetap mau tinggal disini. Masih permanen mau tinggal disini aja. Gue lebih suka disini sih.





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153 264 DANIEL : ah sebenarnya gue juga mau tanya balik ke lu sih. Pertanyaan yang bagus buat lu. ada gak yang belum lu dapatkan sekarang? misalnya istri baru misalnya kayak gitu?. Umm, kembali ke gue aja. Gue sadar gue bukan host acara ini.

154 265 DEDY : saya single loo, bujangan, kaya lagi. Promosi tu harus jelas.

155 266 DANIEL : Hahaha! Kalo misalnya achievement gue gitu sih. Oke, misi kita di Indonesia sekarang ini ni mungkin bisa jadi bahan pemikiran bagi pemirsa juga ya

156 277 DEDY : ya whatever it is, tapi it is possible kan sebenarnya? It’s possible. Jadi jangan kemana-mana tetap di hitam putih

157 277 DEDY : ya whatever it is, tapiit is possible kan sebenarnya? It’s possible. Jadi jangan kemana-mana tetap di hitam putih

158 279 JOE : yang fight scene sih, yang di Waterloo.

159 294 JOE : ya nggaklah. He is gonna crush me for sure. Dia gede banget


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160 315 JOE : Expendables 3, sebenarnya gue meetingsama Belanian Pictures waktu di LA. Tapi mereka lagi scripting. Tapi gak ada officialy offer atau apa, which is general meeting aja. Ketemu sama ngobrol-ngobrol.

161 315 JOE : Expendables 3, sebenarnya gue meeting sama Belanian Pictures waktu di LA. Tapi mereka lagi scripting. Tapi gak ada officialy offer atau apa, which is general meeting aja. Ketemu sama ngobrol-ngobrol.

162 315 JOE : Expendables 3, sebenarnya gue meeting sama Belanian Pictures waktu di LA. Tapi gak ada officialy offer atau apa, which is general meeting aja. Ketemu sama ngobrol-ngobrol.

163 315 JOE : Expendables 3, sebenarnya gue meeting sama Belanian Pictures waktu di LA. Tapi mereka lagi scripting. Tapi mereka lagi scripting. Tapi gak ada officialy offer atau apa, which is general meeting aja. Ketemu sama ngobrol-ngobrol.

164 317 JOE :Iya. Tapi belum ada karena script-nya belum kelar, dan kalo emang ada karakter yang pas, kenapa nggak? Tapi so far belum.

165 317 JOE :Iya. Tapi belum ada karena script-nya belum kelar, dan kalo emang ada karakter yang pas, kenapa nggak? Tapi so far belum.


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166 318 DANIEL : soalnya di Expendable 2 ada Steven Seagal, ada Chuck Norris lagi. Gue nge-fans sama Expendables 3.

167 320 JOE : kalo emangsceneitu dibutuhkan di cerita dan emang penting kenapa nggak. Namanya kan kerja, it is acting.

168 320 JOE : kalo emang scene itu dibutuhkan di cerita dan emang penting kenapa nggak. Namanya kan kerja.It is acting

169 321 DANIEL : Production House misalnya VVTractive gitu?

170 327 JOE : ya ya lumayan kayak Paul Walker dia sering banget ke Indonesia. He is a surfer. Kayaknya dia lebih tahu banyak tentang pelosok-pelosok Indonesia untuk surfing dibanding gue. Dia nyebutin beberapa pulau yang gue gak pernah denger kan, “ I’ve been there, I’ve been here”. Dan waktu gue di Spain, gue ketemu Chris Hemswort yang main Thor, yang pernah ke Sumba Island.



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173 327 JOE : ya ya lumayan kayak Paul Walker dia sering banget ke Indonesia, He is a surfer, kayaknya dia lebih tahu banyak tentang pelosok-pelosok Indonesia untuk surfing dibanding gue. Dia nyebutin beberapa pulau yang gue gak pernah denger kan, “ I’ve been there, I’ve been here.” dan waktu gue di Spain, gue ketemu Chris Hemswort yang main Thor yang pernah ke Sumba island

174 331 DEDY : tapi ini ada pertanyaan yang gue pengen nanya. Itu kan adegan anda mati tidak ditayang ya, gantung gitu. Torreto aja bisa hidup lagi. Apakah dapat tawaran gak untuk fast & furious 7? Atau is there possibility?

175 332 JOE : emm, Possibility-nya kecil mungkin ya karena bulan depan mereka udah syuting dan karena director kan sekarang James Wann yang nge-direct fast 7. Jadi kemungkinan ceritanya bisa lari jauh atau gimana which is I think kemungkinan nggak.Kalo mungkin Justin yang masih nge-direct kemungkinan besar iya soalnya different director different approach. Jadi terserah mereka mau dibawa kemana ceritanya.


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176 332 JOE : Umm, Possibility-nya kecil mungkin ya karena bulan depan mereka udah syuting, dan karena director kan sekarang James Wann yang nge-direct fast 7. Jadi kemungkinan ceritanya bisa lari jauh atau gimana, which is I think kemungkinan nggak. Kalo mungkin Justin yang masih nge-direct, kemungkinan besar iya soalnya different director different approach.


178 332 JOE : Umm, possibility-nya kecil mungkin ya karena bulan depan mereka udah syuting, dan karena director kan sekarang James Wann yang nge-direct fast 7. Jadi kemungkinan ceritanya bisa lari jauh atau gimana,which is I think kemungkinan nggak. Kalo mungkin Justin yang masih nge-direct, kemungkinan besar iya soalnya different director different approach.

179 332 JOE : Umm, Possibility-nya kecil mungkin ya karena bulan depan mereka udah syuting, dan karena director kan sekarang James Wann yang nge-direct fast 7. Jadi kemungkinan ceritanya bisa lari jauh atau gimana, which is I think kemungkinan nggak. Kalo mungkin Justin yang masih nge-direct, kemungkinan besar iya soalnya different director different approach


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181 334 JOE : Umm, kayaknya mereka udah scripting dan I think bulan depan udah mulai.

182 334 JOE : Umm, kayaknya mereka udah scripting dan I think bulan depan udah mulai.

183 338 JOE : Umm, next year memoral day juga pas bulan-bulan kayak gini. Mereka cuman 3 atau 4 bulan untuk house production jadi cepet banget sih.

184 338 JOE : Umm, next year memoral dayjuga pas bulan-bulan kayak gini. Mereka cuman 3 atau 4 bulan untuk house production jadi cepet banget sih.

185 338 JOE : Umm, next year memoral day juga pas bulan-bulan kayak gini. Mereka cuman 3 atau 4 bulan untuk house production jadi cepet banget sih.

186 339 JOE : oke Daniel terakhir gue tanya ke lu ya. Setelah film Killers ya, What is your next project?


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187 340 DANIEL :to be honest, gue sendiri masih liat dulu ya dari segi timnya sendiri gimana nih untuk marketting Killers-nya dan feed back dari masyarakat sendiri film Killers-nya. Next-nya sih kita udah ngeliat beberapa script yang gue suka banget to be honest, dan gue pengen banget nge-produce beberapa film dari beberapa director ini. So we’ll see. Ini gue masih open banget sih, jadi gue masih belum tau apa-apa




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190 340 DANIEL : to be honest, gue sendiri masih liat dulu ya dari segi timnya sendiri gimana nih untuk marketingKillers-nya dan feed back dari masyarakat sendiri film Killers-nya. Next-nya sih kita udah ngeliat beberapa script yang gue suka banget to be honest dan gue pengen banget nge-produce beberapa film dari beberapa director ini, so we’ll see. Ini gue masih open banget sih, jadi gue masih belum tau apa-apa

191 340 DANIEL : to be honest, gue sendiri masih liat dulu ya dari segi timnya sendiri gimana nih untuk marketing Killers-nya dan feed back dari masyarakat sendiri film Killers-nya. Next-nya sih kita udah ngeliat beberapa script yang gue suka banget to be honest dan gue pengen banget nge-produce beberapa film dari beberapa director ini, so we’ll see. Ini gue masih open banget sih, jadi gue masih belum tau apa-apa.

192 340 DANIEL :to be honest, gue sendiri masih liat dulu ya dari segi timnya sendiri gimana nih untuk marketing Killers-nya dan feed back dari masyarakat sendiri film Killers-nya. Next-nya sih kita udah ngeliat beberapa script yang gue suka banget to be honest dan gue pengen banget nge-produce beberapa film dari beberapa director ini, so we’ll see. Ini gue masih open banget sih, jadi gue masih belum tau apa-apa.


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193 340 DANIEL :to be honest, gue sendiri masih liat dulu ya dari segi timnya sendiri gimana nih untuk marketing Killers-nya dan feed back dari masyarakat sendiri film Killers-nya. Next-nya sih kita udah ngeliat beberapa script yang gue suka banget to be honest dan gue pengen banget nge-produce beberapa film dari beberapa director ini.So we’ll see. Ini gue masih open banget sih, jadi gue masih belum tau apa-apa.

194 340 DANIEL :to be honest, gue sendiri masih liat dulu ya dari segi timnya sendiri gimana nih untuk marketting Killers-nya dan feed back dari masyarakat sendiri film Killers-nya. Next-nya sih kita udah ngeliat beberapa script yang gue suka banget to be honest, dan gue pengen banget nge-produce beberapa film dari beberapa director ini. So we’ll see. Ini gue masih open banget sih, jadi gue masih belum tau apa-apa.

195 343 DEDY : kalo filmnya udah keluar, kita bahas lagi disini. Thank you very much Daniel thank you Joeterima kasih banyak. I always support you both. Dan ingat ini kalo kita lihat dari Daniel dan Joe, sebenarnya apa ya, mungkin kesempatan nih. Jadi buat saya kesempatan itu opportunity bertemu dengan kemampuan kita sendiri kan.


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196 343 DEDY : kalo filmnya udah keluar, kita bahas lagi disini. Thank you very much Daniel thank you Joe terima kasih banyak. I always support you both.Dan ingat ini kalo kita lihat dari Daniel dan Joe, sebenarnya apa ya, mungkin kesempatan nih. Jadi buat saya kesempatan itu opportunity bertemu dengan kemampuan kita sendiri kan.

197 343 DEDY : kalo filmnya udah keluar, kita bahas lagi disini. Thank you very much Daniel thank you Joeterima kasih banyak. I always support you both dan ingat ini kalo kita lihat dari Daniel dan Joe, sebenarnya apa ya, mungkin kesempatan nih. Jadi buat saya kesempatan ituopportunitybertemu dengan kemampuan kita sendiri kan.


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