Jonathan
Tinne

Jonathan Tinne was born in Milan and grew up between Italy, Mexico — where the family moved in 2004 — and Ireland, where they settled in 2006. Music arrived early and informally: a small electric keyboard, an oversized guitar and a drum set at home, and an ongoing collaboration with his younger sister, who sang while he played. What began as imitating songs off the radio turned into years of self-teaching and, eventually, a profession.

He was educated at Midleton College in Cork before moving to Edinburgh, studying musical theatre, performance and communications at the MGA Academy of Performing Arts. As a recording artist he releases indie pop built on, in his words, heartfelt lyrics, catchy melodies and modern production — singles including “California Weather”, “Madness 101”, “Empty Spaces”, “Summer Avenue” and “Gaia”, with Saint Motel, Role Model and Dayglow among his reference points.

His first break in film came in 2021, when two of his songs — including “California Weather” — were placed in the Netflix feature That's Amor. Screen work has been the centre of gravity ever since: writing, composing and producing music for features and shorts, and working the business side of sync as a music executive on placements connected to Netflix, HBO Max, Warner Bros. and Tubi. Credits run from Manners and Remembering Christmas through a run of features including A Hollywood Christmas, I Believe in Santa, Holiday in the Vineyards and The Curse of the Necklace, to recent work as music producer on Double Trouble and Casa Grande.

In parallel he moved into production, working at Apple TV+ across titles including Slow Horses, Hijack, Bad Sisters, The Buccaneers and Where's Wanda? — an education in how large-scale drama is actually made. He has also produced independently, executive producing The Red Trouser Brigade and writing and directing his own short Sphere.

Today he is based in London, leading creative and production work in performance advertising at Catalyst — arguing, in practice, that the craft of cinematic filmmaking belongs in formats usually built for speed and volume, and that a well-made ad can hold its own next to a well-made film. Music, picture and commerce remain the same job to him: make something people actually want to watch.