Teddy Soeriaatmadja  Teddy Soeriaatmadja (born 7 February 1975) is an Indonesian film director. Born in Japan and educated in Britain, Soeriaatmadja made his film debut in 2000 with the short film "Culik" ("Kidnap"); it was followed five years later by "Banyu Biru" ("Blue Banyu"), his feature film debut. Since then Soeriaatmadja has directed several films, including two which have garnered him a nomination for Best Director at the Indonesian Film Festival. Soeriaatmadja was born in Japan on 7 February 1975 to Rhousdy Soeriaatmadja (father) and Siti Syarifah. As a child he enjoyed watching movies at home, such as the "Star Wars" and "James Bond" franchises; in an interview with the Jakarta-based periodical "Tabloid Nova", he recalled watching three to four films a day. By 1991 he had written his first screenplay, entitled "Desember" ("December"), and after viewing Quentin Tarantino's film "Reservoir Dogs" in 1992, decided that he wanted to work in film. He wrote several further screenplays while studying at Newport University in South Wales (now the University of South Wales), two of which he later adapted for film. In 1996, after finishing his master's degree in Britain, Soeriaatmadja returned to Indonesia, where he worked for a year at a soft drink company. With his savings, he began work on his first short film, entitled "Culik" ("Kidnap"), which followed an Indonesian employee who kidnapped his Australian boss after being fired; he received additional funding from the Gothenburg Film Festival in Sweden. The film debuted at the 2000 Jakarta International Film Festival. It was through the making of "Culik" that Soeriaatmadja met directors Mira Lesmana and Riri Riza, who facilitated his entry into the industry. To gain more experience, he began work on music videos and TV advertisements. Soeriatmadja released his feature film debut, "Banyu Biru" ("Blue Banyu"), in 2005. The film, which followed a sales clerk on a road trip of self-discovery, had a budget of Rp. 5 billion. For "Banyu Biru", Soeriaatmadja deliberately obscured the setting. A year end review of Indonesian films in "The Jakarta Post" described the film as "possibly the bravest and most original release of [March], if not the year."