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Cathleen Flynn

Composer Cathleen Flynn
Notable Credits



Feature Film for Netflix Studios Directed by Mike Rohl


MY BEST FRIEND’S BOUQUET (composer, additional music)

TV Movie for Hallmark directed by Jessica Harmon


THE DUBLIN MURDERS (music editor)

1 series (6 x 60 mins) Starz tv directed by John Hayes, Saul Dibb & Rebecca Gatward


NORMAL PEOPLE (music editor)

1 series (6 x 60 mins) for Hulu  for Element Pictures



Feature Film for SW Production Company directed by Angela Sadler Williamson

Cathleen has scored feature films, dramedies, comedies, documentaries, shorts, children’s programs, commercials, trailers and games. She has also written songs and cues for several tv series and is a featured composer for Sacramento’s Capital Public Radio Show “The View From Here”. Last years show won the highly esteemed “Edward R. Murrow” award.

In addition to composing, Cathleen has worked on major feature films and tv series, both nationally and internationally as a music/vocal arranger, music editor, and copyist.

She has recently moved from Los Angeles to Forkhill, Northern Ireland and continues to work as a full time composer, music/vocal arranger, music/vocal editor, copyist for and is working on a number of upcoming projects which include recording artists, film, tv, apps, trailers, etc.

– IMDb Mini Biography By: Cathleen Flynn

Why hire a composer to produce your score.

All film makers, directors and game producers want really good music for their story and content, and can choose from getting stock music or hiring a composer.

A lot of filmmakers will choose the former simply because they find it easier and cheaper than dealing with a composer. After all, a composer usually will cost you anywhere from 5% – 10% of your budget. But there are some really strong reasons why you should hire a composer instead.

The music will fit your story.

You’ve gone through the agonising process of making sure every little detail has been followed. All of the late nights deliberating over the script, coaching the actors, and ensuring your DP has every shot planned and executed to run how you planned it. 

Music is just as important.

There have been great movies that just fell flat because the music just wasn’t good. Likewise, there have been some okay films that got a significant boost by having a great score.

A consistent and professional score applied to your scenes is transformative, and only adds to your story. Not to mention, its’ feel and design is more tailored for your vision.


The composer is your confidant and shares your vision.


As a filmmaker, the composer is one of the first few people that you will share your vision with.

A good composer will give you feedback on your story that you can’t get anywhere else, not just with music ideas, but ideas on your film as a whole. The synergy between a composer and a director is unmatched. As a filmmaker you have to interact with a lot of people. But composers generally care more about the director’s vision and the one on one relationship and bond created between the two.


Composers impress a special character and emotion for the film.


Point of view is so important with film scores and scenes. Good composers are always interested in this angle. How the music plays out in a scene, can be carried in so many different ways. If you have a scene where a victim is being strangled by a murderer, the point of view really dictates the music. If the point of view is the victim’s, then fright and shock could be applicable. Conversely, if the point of view is the murderer, then the music might display power and awe.  In addition, composers will offer contrasting point of views for you to think about. Maybe there wasn’t something you were thinking about when you made the film. Also, composers are interested in motifs and things that might hold scenes together. This is a more difficult concept to grasp at times, but once embraced can make your film even more professional and enjoyable to watch.


You don’t have to research or jump through hoops legally.


When you work with a composer, you will either have the full rights to a score, or a master license agreement. Either way, you know up front exactly what your options are as far as using the music.

Most composers will give filmmakers broad and open rights to use the music created in any way they see fit. And if it’s a work for hire, of course you own the rights to the music outright. If and when the time comes that you want to strike a deal with someone for your film, you know full well the music in your film can be used anywhere.


Finally, Composers become part of your team.


Sometimes establishing trust and communication can be difficult. But once established, it is something that you can rely on going forward. With each step you take as a filmmaker, you know that composer is with you. And the composers’ main goal is to help you tell that story in the most special way that it can be told.  The composer is someone who shares your vision, and ultimately wants to give you something they feel is special and unique just for you.