Film & Media

A film score reaches everyone in the theater at the same time, in the dark, whether or not they have opinions about music. It may be the most democratic form composition has — and it's also one of the hardest, because the music has to do its work without ever asking for credit.

Jane scores films across the full budget spectrum, and she writes the same way for all of them. On one end: independent directors who found her through a forum thread, working on a short with whatever they could scrape together, needing a score because the festival deadline is Friday. On the other: documentary teams, narrative features, and streaming projects with real crews. Short film, feature, documentary, essay film. Working from picture, she builds thematic material that can breathe and transform across the length of a film, music that holds dialogue without crowding it, and that can, when a scene calls for it, make a quiet moment devastating.

Her scoring tends toward restraint, which she considers the hardest discipline in the form. The goal is a score the viewer doesn't so much hear as trust, music that carries the scene without ever announcing that it's carrying anything.

She delivers stems, formatted files, and full licensing documentation for submission, broadcast, and streaming. Early conversations serve the film better than late ones — but she takes the late ones too.