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His first pro­duc­tion as film com­poser was Nia Di­nata’s 2002 film Ca Bau Kan (The Cour­te­san), fol­lowed by Arisan!, also by Nia, the fol­low­ing year.

His hero is vi­o­lin­ist and com­poser Idris Sardi, whose work in the 1985 war film Doea Tanda Mata (Me­men­toes) and biopic of na­tional hero­ine Tjoet Nja’ Dhien he con­sid­ers his best.

Andi, cur­rently work­ing on two films, in­clud­ing the re­make of Kar­tini, has been in­volved in dif­fer­ent film gen­res – his­tor­i­cal biopic, ro­mance, ac­tion and even hor­ror.

“Po­cong 2 was spe­cial to me be­cause I added in sound not com­mon for hor­ror films. I was thrilled to be able to work on it,” he said. He also found the free­dom of cre­at­ing mu­sic with direc­tor Rudi Soed­jarwo in many of his films, in­clud­ing Menge­jar

Mata­hari (Chas­ing the Sun), 9 Naga (Nine Dragons) and Men­dadak Dan­g­dut (Sud­denly Dan­g­dut). His scores are memorable, and many of his fans have also no­ticed their use in other movies. “I no­ticed that, but I wouldn’t make a fuss about it,” he said. The grad­u­ate of Berklee Col­lege of Mu­sic is also a fan of John Williams, es­pe­cially for his lat­est work in Steven Spiel­berg’s The BFG. He said he was more pru­dent in en­ter­ing into work con­tracts to­day.

“I have ac­quired more de­tailed con­tracts to pro­tect my works from piracy or mul­ti­ple use.”

Photo cour­tesy of Andi Rianto

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