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From the Colombian Amazon to the recording studio in London, Patrick Jonsson’s approach to film scoring is rooted in curiosity, collaboration and a deep respect for the stories he helps bring to life. His evocative score for Netflix’s The Lost Children earned him the 2025 Music+Sound Award for Best Original Composition in a Feature Length Documentary, recognising a body of work shaped by both musical exploration and a willingness to embrace new perspectives.
In this interview, Patrick reflects on what the Music+Sound Award win has meant to him, the deeply resonant experience of collaborating with Huitoto musicians and Simón Mejía on The Lost Children, and the winding path that led him into film composition. He also shares his thoughts on the delicate balance of scoring real-life stories, the importance of curiosity in a creative career, and some of the exciting projects currently on the horizon…
MASA: Your outstanding work on Netflix’s The Lost Children earned you the 2025 Music+Sound Award for Best Original Composition in a Feature Length Documentary. Winning an award judged strictly by your industry peers is an incredibly prestigious stamp of approval. What has this specific win meant to your career and has it influenced your ongoing conversations with directors and production companies?
PATRICK: First of all, thank you so much for the incredible awards you put on every year. It was a big honour to be nominated, let alone to win, when considering how much fantastic music was written that year, so I’m very grateful. And to answer your question, I think being recognised for one’s work is always such special news to be able to share with our collaborators, both musical and on the film production side. It gives so much energy moving forward and injects a positive momentum into whatever particular new musical struggle is happening at the moment.
MASA: The Lost Children weaves together an incredible narrative of human survival and Indigenous knowledge. To ground the score authentically in the Colombian Amazon you collaborated with local Huitoto musicians and partnered with consultant Simón Mejía. What was that collaborative process like behind the scenes and how did it push you outside of your usual sonic comfort zone?
PATRICK: Yes, it was such an incredible experience working on The Lost Children. I’ve always prided myself on being someone who really tries to take care when it comes to doing research, inviting collaborators, and really leaning into what those collaborators have to offer, and constantly checking myself and learning from a film and its world as much as I can. But with this film it was on a completely different level. I was on calls with studios in Colombia on several occasions where the incredible Simón Mejía, or one of the directors of the film, had organised sessions where I was phoning in from my studio in London in the middle of the night so we could coordinate recording sessions. Some of the instrumentalists flew for 5 hours from the Amazon into Bogota in order to be able to attend the recording session, and they came with such respect for the project and what we were trying to do. Dressed in formal traditional clothing and bringing instruments, which were the literal ones they use in traditional customs, it was such a special experience. One could not help but be reminded of what music is, where it comes from in its truest form, and what it can mean to people all around the world. We had so much respect for one another, and it was a deeply resonant experience for me in my musical career. A series of moments I will never forget. And this is before we even mention the phenomenal musicianship, inventiveness, and willingness to experiment that they came in with! The score would simply not exist in its current form without their exceptional contributions. I’m just glad I could play my small part in weaving it all together somehow and am very thankful to them for giving me their time and lending me their expertise.
MASA: Can you give us a brief snapshot of your scoring journey so far? Before you were composing Emmy-nominated scores for films like The White Helmets or independent features like Scrapper, how did you get your foot in the door? What do you look back on as your first major break in the industry that really set your path in motion?
PATRICK: I think it’s so hard to define a specific moment which sets a career in motion; there were probably a series of them in my case, but I do think the main thing which helped me (and hopefully continues to) is to always be curious and to genuinely have a passion for what you’re striving to do. So for me that meant going to the nearby film school when I was at Berklee and asking every filmmaker I met if I could score their upcoming project, sneaking into the recording studios in the middle of the night when there was a free hour timeslot and organising a string orchestra session with anyone who could half play a string instrument, or spending countless hours trying to decipher Indian drumming techniques in between my 6hr daily guitar practice sessions.
I guess what I’m trying to get at is that I do believe there are no shortcuts, and all of those various experiences have shaped my musical identity. So when I met filmmaker, and now very good friend, Orlando von Einsiedel, in a studio one day many years ago, I think it was that curiosity and mindset for exploration and fun that really brought us together. He helped me so much by inviting me into his world, and we’ve worked on so many films since then, including The White Helmets, which you mention. But I think if I hadn’t been curious for so long before, we might not have had the same connection, or I might not have had the courage to ask him if he needed music for his film. So I guess it’s this long-and-winding-road thing, which is the beauty of it all, in my opinion. I think if you love the journey, then you always feel like you’re just starting, you just have more experience to draw upon when solving the new questions which arise.
MASA: Documentaries demand a unique kind of musical restraint; the score has to carry real emotional truth without feeling manipulative or melodramatic. What is the most vital lesson you’ve learned about how to communicate and align creatively with a director during the initial spotting sessions?
PATRICK: I think you’re right, there is a fine balance to walk when you’re dealing with subject matter that is current or the lived experiences of someone. We come and go to projects, but these are their lives, so I think it’s mainly as simple as treating it with the respect it deserves, and then the hope is that you’ll arrive at answers that you can stand by. The filmmakers are always your best guide too because they’ve lived with the material for so long.
MASA: Your previous credits showcase an incredible range. Can you tell us a bit about what you are currently working on, or any exciting new projects you have coming down the pipeline that we should be keeping an ear out for?
PATRICK: I just finished a project called Other Mommy, which I massively enjoyed. It’s directed by Rob Savage, who’s incredible and stars Jessica Chastain for Universal/Blumhouse/Atomic Monster, and that will be coming out very soon. I also recently did a TV series with Charlotte Regan called Mint, which I’m really proud of, and it’s always so inspiring to work on her projects. And also, I recently finished a beautiful (and true!) story of a man who cycles from India to Sweden for love because he’s fallen for a woman and the only way he can reach her is by bicycle. It’s directed by my longtime friend and amazing filmmaker, Orlando von Einsiedel.
I feel truly blessed to be able to work on such a variety of things – hope people get a chance to watch!
MASA: Your outstanding work on Netflix’s The Lost Children earned you the 2025 Music+Sound Award for Best Original Composition in a Feature Length Documentary. Winning an award judged strictly by your industry peers is an incredibly prestigious stamp of approval. What has this specific win meant to your career and has it influenced your ongoing conversations with directors and production companies?
PATRICK: First of all, thank you so much for the incredible awards you put on every year. It was a big honour to be nominated, let alone to win, when considering how much fantastic music was written that year, so I’m very grateful. And to answer your question, I think being recognised for one’s work is always such special news to be able to share with our collaborators, both musical and on the film production side. It gives so much energy moving forward and injects a positive momentum into whatever particular new musical struggle is happening at the moment.
MASA: The Lost Children weaves together an incredible narrative of human survival and Indigenous knowledge. To ground the score authentically in the Colombian Amazon you collaborated with local Huitoto musicians and partnered with consultant Simón Mejía. What was that collaborative process like behind the scenes and how did it push you outside of your usual sonic comfort zone?
PATRICK: Yes, it was such an incredible experience working on The Lost Children. I’ve always prided myself on being someone who really tries to take care when it comes to doing research, inviting collaborators, and really leaning into what those collaborators have to offer, and constantly checking myself and learning from a film and its world as much as I can. But with this film it was on a completely different level. I was on calls with studios in Colombia on several occasions where the incredible Simón Mejía, or one of the directors of the film, had organised sessions where I was phoning in from my studio in London in the middle of the night so we could coordinate recording sessions. Some of the instrumentalists flew for 5 hours from the Amazon into Bogota in order to be able to attend the recording session, and they came with such respect for the project and what we were trying to do. Dressed in formal traditional clothing and bringing instruments, which were the literal ones they use in traditional customs, it was such a special experience. One could not help but be reminded of what music is, where it comes from in its truest form, and what it can mean to people all around the world. We had so much respect for one another, and it was a deeply resonant experience for me in my musical career. A series of moments I will never forget. And this is before we even mention the phenomenal musicianship, inventiveness, and willingness to experiment that they came in with! The score would simply not exist in its current form without their exceptional contributions. I’m just glad I could play my small part in weaving it all together somehow and am very thankful to them for giving me their time and lending me their expertise.
MASA: Can you give us a brief snapshot of your scoring journey so far? Before you were composing Emmy-nominated scores for films like The White Helmets or independent features like Scrapper, how did you get your foot in the door? What do you look back on as your first major break in the industry that really set your path in motion?
PATRICK: I think it’s so hard to define a specific moment which sets a career in motion; there were probably a series of them in my case, but I do think the main thing which helped me (and hopefully continues to) is to always be curious and to genuinely have a passion for what you’re striving to do. So for me that meant going to the nearby film school when I was at Berklee and asking every filmmaker I met if I could score their upcoming project, sneaking into the recording studios in the middle of the night when there was a free hour timeslot and organising a string orchestra session with anyone who could half play a string instrument, or spending countless hours trying to decipher Indian drumming techniques in between my 6hr daily guitar practice sessions.
I guess what I’m trying to get at is that I do believe there are no shortcuts, and all of those various experiences have shaped my musical identity. So when I met filmmaker, and now very good friend, Orlando von Einsiedel, in a studio one day many years ago, I think it was that curiosity and mindset for exploration and fun that really brought us together. He helped me so much by inviting me into his world, and we’ve worked on so many films since then, including The White Helmets, which you mention. But I think if I hadn’t been curious for so long before, we might not have had the same connection, or I might not have had the courage to ask him if he needed music for his film. So I guess it’s this long-and-winding-road thing, which is the beauty of it all, in my opinion. I think if you love the journey, then you always feel like you’re just starting, you just have more experience to draw upon when solving the new questions which arise.
MASA: Documentaries demand a unique kind of musical restraint; the score has to carry real emotional truth without feeling manipulative or melodramatic. What is the most vital lesson you’ve learned about how to communicate and align creatively with a director during the initial spotting sessions?
PATRICK: I think you’re right, there is a fine balance to walk when you’re dealing with subject matter that is current or the lived experiences of someone. We come and go to projects, but these are their lives, so I think it’s mainly as simple as treating it with the respect it deserves, and then the hope is that you’ll arrive at answers that you can stand by. The filmmakers are always your best guide too because they’ve lived with the material for so long.
MASA: Your previous credits showcase an incredible range. Can you tell us a bit about what you are currently working on, or any exciting new projects you have coming down the pipeline that we should be keeping an ear out for?
PATRICK: I just finished a project called Other Mommy, which I massively enjoyed. It’s directed by Rob Savage, who’s incredible and stars Jessica Chastain for Universal/Blumhouse/Atomic Monster, and that will be coming out very soon. I also recently did a TV series with Charlotte Regan called Mint, which I’m really proud of, and it’s always so inspiring to work on her projects. And also, I recently finished a beautiful (and true!) story of a man who cycles from India to Sweden for love because he’s fallen for a woman and the only way he can reach her is by bicycle. It’s directed by my longtime friend and amazing filmmaker, Orlando von Einsiedel.
I feel truly blessed to be able to work on such a variety of things – hope people get a chance to watch!
MASA: Your outstanding work on Netflix’s The Lost Children earned you the 2025 Music+Sound Award for Best Original Composition in a Feature Length Documentary. Winning an award judged strictly by your industry peers is an incredibly prestigious stamp of approval. What has this specific win meant to your career and has it influenced your ongoing conversations with directors and production companies?
PATRICK: First of all, thank you so much for the incredible awards you put on every year. It was a big honour to be nominated, let alone to win, when considering how much fantastic music was written that year, so I’m very grateful. And to answer your question, I think being recognised for one’s work is always such special news to be able to share with our collaborators, both musical and on the film production side. It gives so much energy moving forward and injects a positive momentum into whatever particular new musical struggle is happening at the moment.
MASA: The Lost Children weaves together an incredible narrative of human survival and Indigenous knowledge. To ground the score authentically in the Colombian Amazon you collaborated with local Huitoto musicians and partnered with consultant Simón Mejía. What was that collaborative process like behind the scenes and how did it push you outside of your usual sonic comfort zone?
PATRICK: Yes, it was such an incredible experience working on The Lost Children. I’ve always prided myself on being someone who really tries to take care when it comes to doing research, inviting collaborators, and really leaning into what those collaborators have to offer, and constantly checking myself and learning from a film and its world as much as I can. But with this film it was on a completely different level. I was on calls with studios in Colombia on several occasions where the incredible Simón Mejía, or one of the directors of the film, had organised sessions where I was phoning in from my studio in London in the middle of the night so we could coordinate recording sessions. Some of the instrumentalists flew for 5 hours from the Amazon into Bogota in order to be able to attend the recording session, and they came with such respect for the project and what we were trying to do. Dressed in formal traditional clothing and bringing instruments, which were the literal ones they use in traditional customs, it was such a special experience. One could not help but be reminded of what music is, where it comes from in its truest form, and what it can mean to people all around the world. We had so much respect for one another, and it was a deeply resonant experience for me in my musical career. A series of moments I will never forget. And this is before we even mention the phenomenal musicianship, inventiveness, and willingness to experiment that they came in with! The score would simply not exist in its current form without their exceptional contributions. I’m just glad I could play my small part in weaving it all together somehow and am very thankful to them for giving me their time and lending me their expertise.
MASA: Can you give us a brief snapshot of your scoring journey so far? Before you were composing Emmy-nominated scores for films like The White Helmets or independent features like Scrapper, how did you get your foot in the door? What do you look back on as your first major break in the industry that really set your path in motion?
PATRICK: I think it’s so hard to define a specific moment which sets a career in motion; there were probably a series of them in my case, but I do think the main thing which helped me (and hopefully continues to) is to always be curious and to genuinely have a passion for what you’re striving to do. So for me that meant going to the nearby film school when I was at Berklee and asking every filmmaker I met if I could score their upcoming project, sneaking into the recording studios in the middle of the night when there was a free hour timeslot and organising a string orchestra session with anyone who could half play a string instrument, or spending countless hours trying to decipher Indian drumming techniques in between my 6hr daily guitar practice sessions.
I guess what I’m trying to get at is that I do believe there are no shortcuts, and all of those various experiences have shaped my musical identity. So when I met filmmaker, and now very good friend, Orlando von Einsiedel, in a studio one day many years ago, I think it was that curiosity and mindset for exploration and fun that really brought us together. He helped me so much by inviting me into his world, and we’ve worked on so many films since then, including The White Helmets, which you mention. But I think if I hadn’t been curious for so long before, we might not have had the same connection, or I might not have had the courage to ask him if he needed music for his film. So I guess it’s this long-and-winding-road thing, which is the beauty of it all, in my opinion. I think if you love the journey, then you always feel like you’re just starting, you just have more experience to draw upon when solving the new questions which arise.
MASA: Documentaries demand a unique kind of musical restraint; the score has to carry real emotional truth without feeling manipulative or melodramatic. What is the most vital lesson you’ve learned about how to communicate and align creatively with a director during the initial spotting sessions?
PATRICK: I think you’re right, there is a fine balance to walk when you’re dealing with subject matter that is current or the lived experiences of someone. We come and go to projects, but these are their lives, so I think it’s mainly as simple as treating it with the respect it deserves, and then the hope is that you’ll arrive at answers that you can stand by. The filmmakers are always your best guide too because they’ve lived with the material for so long.
MASA: Your previous credits showcase an incredible range. Can you tell us a bit about what you are currently working on, or any exciting new projects you have coming down the pipeline that we should be keeping an ear out for?
PATRICK: I just finished a project called Other Mommy, which I massively enjoyed. It’s directed by Rob Savage, who’s incredible and stars Jessica Chastain for Universal/Blumhouse/Atomic Monster, and that will be coming out very soon. I also recently did a TV series with Charlotte Regan called Mint, which I’m really proud of, and it’s always so inspiring to work on her projects. And also, I recently finished a beautiful (and true!) story of a man who cycles from India to Sweden for love because he’s fallen for a woman and the only way he can reach her is by bicycle. It’s directed by my longtime friend and amazing filmmaker, Orlando von Einsiedel.
I feel truly blessed to be able to work on such a variety of things – hope people get a chance to watch!