About
Jahn Sood is a New York-based writer, composer and music editor.
Current projects include comedy series, The Kukrejas, (writer/creator, in development with SK Global Entertainment), and Craig Johnson’s The Parenting (music editor, New Line Cinema).
MUSIC EDITOR
IATSE MPEG Local 700, NY.
Jahn Sood’s credits as music editor include films by Todd Haynes, Maggie Gyllenhaal, Janicza Bravo, Kelly Reichardt, Jacqueline Olive, Jerrod Carmichael, Cooper Raiff, AV Rockwell, Craig Johnson, John Lee, Boaz Yakin, Mona Fastvold & more. Previously, he assisted composer Pat Irwin on the scores for Nurse Jackie (Showtime), Bored to Death (HBO), Feed the Beast (AMC), The Good Cop (Netflix), Peg Plus Cat (PBS); and did music preparation for The Affair (Showtime), Gypsy (Netflix), Adam.
In 2022, he received a Cinema Eye Honors Award for Outstanding Achievement in Sound Design, and a MPSE Golden Reel Nomination for Outstanding Sound Editing on a Feature Doc (both with Leslie Shatz) for his work on Todd Haynes’ The Velvet Underground.
WRITER/COMPOSER
A3 Artists Agency (theater/film/tv writing), ASCAP (writer/publisher).
Sood’s original works for the theater including The Disappearing Man, In A Sea of Faces and others have been presented in New York, regionally and internationally. He recently wrote, composed and produced a short film called We Were an Island. And is currently developing comedy series The Kukrejas.
In 2019, he won “Best Score” at the Berkshire Short Film Festival for his work on We Were an Island. He is an artist-in-residence in Roundabout Theater Company’s “Space Jam” program (since 2019) and a recipient of “How the Light Gets In” a commission from the New York Musical Festival and the ASCAP foundation.
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We Were an Island
The story of Art & Nan Kellam, a real-life couple who moved to an uninhabited island off the coast of Maine in 1949.
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The Disappearing Man
Backstage at a small-time circus in 1936, the performers fight to break free of the roles they’ve always played and start anew.
“Sood succeeds in creating a tender and original story through In a Sea of Faces. Most impressive is Sood’s exquisite score, complete with stirring anthems and characterized solos, all written with the bouncy, seafaring lilt of a Gaelic hymn and sung by a masterful cast. … This show deserves many lives more. For a play about longing to escape, it’s not hard to be charmed by the alluring if not isolated world of Sood’s island, to want to stay there and play a little while longer.” – Greenpointers.com
“Composer Jahn Sood writes musicals that are part Wes Anderson, part Edward Gorey, and all sublime…you don’t want to miss this one…even if just to get to hear the superb music played live.”-YesBroadway.com on The Disappearing Man at Cloud City.
“The Disappearing Man is a completely satisfying musical from start to finish. I eagerly anticipate a full staging filled with the sights and smells of this decaying slice of American history.” –theaterreviewsfrommyseat.com on The Disappearing Man at Musical Theater Factory.
“It’s an intriguing, beautiful look at survival and community. Oddest bunch of characters you’ll find, during a time in America when there is not enough to go around … It’s not angry — that’s the beauty of making a play about a group or artists. Hope is the fragile undertone of the play. How do you keep hope when all around you are people saying ‘Don’t bother’?” –triviana.com on The Disappearing Man at Theatreworks Silicon Valley.
Jahn Sood 