Anto Hoed: (Photo by Tertiani ZB Simanjuntak)

It’s a bird. It’s a plane. No, it’s Superman. When it comes to the movie, it’s likely we could tell its identity and that of many blockbusters from its distinctive score. Regardless of the name it goes by – film score, soundtrack or theme song – music is an inseparable part of a film. Film soundtracks have also become part of pop culture.
 Music was originally used to cover the humming sound of the projector, but the advent of film technology allowed the score to play an essential role in enhancing dramatic effect and building emotion of scenes.

It’s a challenging task for a film composer in creating the original score or songs to become part of its identity. When it works, however, it is a piece of art: some choral pieces, often instrumental, bestow artistic merit and are categorized as classical music.

“There is a legitimate reason a motion picture is termed audiovisual,” said film composer Tya Subiakto, who has won awards for her work on box-office smash Ayat-ayat Cinta (Love Verses) and Sang Pencerah (The Enlightener).

“The sound comes first.”

Andi Rianto, who wrote the music for the critically praised Guru Bangsa Tjokroaminoto (The Nation’s Teacher: Tjokroaminoto), among other films, said filmgoers often overlooked music because they focused more on the dialogue and the characters.

“It is something you feel when you watch a film. Good film music supports the film and integrates with the story,” he said.

Unfortunately, appreciation of film music has long been lacking in Indonesia. Piracy, plagiarism or multiple use of the score without the creator’s consent have mired the industry.

Intellectual rights lawyer Fortuna Alvariza said that many such cases were not brought to the public’s attention by the musicians themselves.

“They are too generous by not claiming the rights for their works. But there are many instances in the film industry that show how low appreciation is for film music, even by film people themselves.”

For example, Fortuna said many musicians were contractually obliged to compose music for a single film, but their works were subsequently reproduced for its TV series’ spinoff or sequels without their involvement.

“There is yet to be a law regulating it, but it’s ethical to at least ask approval from the creators before reusing their works for other forms of production,” she said.

Fortuna acknowledged that film music in the local industry still trailed major international film centers.

“Film music for Hollywood productions even have dedicated albums. Meet Joe Black, for instance, had its soundtrack album sell out worldwide. The instrumental music even became the topic for an art discussion in France,” she said, referring to the 1998 Martin Brest vehicle with music by Thomas Newman.

“Most film producers here have not thought of selling the music along with the film, with a few exceptions like Ada Apa Dengan Cinta?. Although the albums are mostly songs originally written for the film, but the idea is there,” she said.

The music of the sequel, released in April and translated as What’s Up With Cinta?, was composed by Anto Hoed. The musician and his wife, singer/songwriter Melly Goeslaw, have collaborated on making songs for films, which were then released as albums and given their own promotional events to accompany the movie.

Andi agreed with Fortuna that musicians should be given artistic freedom, although they worked under the guidance of the film director or producer.

“Some film directors even admitted they don’t have a say in film music because their producers don’t think it is a priority. In other cases, the producer wanted the film to be full of music even though not all scenes need musical accompaniment. Many commercial films we saw on the screen recently were overworked with the film music, and that’s not a good score.”

Andi Rianto

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).

Tya Subiakto

The music composer and film director takes every film as a new challenge in her career.

A music prodigy who had her own orchestra when she was in high school, Tya, 37, is a longtime fan of composer John Williams – who scored such blockbusters as the Star Wars series, E.T. and Jaws.

“I learned about John Williams when I was in elementary school and since then I wanted to become a film composer.”

Tya, whose recent works include Rudy Habibie – a coming-of-age biopic of the nation’s third president BJ Habibie – leaves her signature mark on each score.

“I love to insert ethnic music in my work. Music can also become the geographical mark of the cultures presented in the film.”

Like Andi, Tya, who is interested in working on horror and comedy films, said she admired the work of Idris Sardi, on 1983’s R.A. Kartini, and Eros Djarot’s Badai Pasti Berlalu (The Storm Will Pass) from 1977 as the best film music in the country.

“There are many good film composers nowadays, but they are still the best in the country,” she said

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.”

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