TT-born Jonathan Corbie scores music for Hollywood

Long before his sound design echoed through trailers for John Wick 4 and Fast X, the soundtrack of his life was set in motion in a San Fernando yard, where skipping rope, card games with his grandfather and the sounds of calypso and choir music filled the air.

For Trinidad and Tobago-born composer Jonathan Corbie, now based in Los Angeles, the journey from South Trinidad to Hollywood’s post-production suites has been one of quiet persistence, cultural grounding and creative evolution.

"I had a pretty old-school childhood," he reflects. “We played outside, we learned things by doing, and music was always there. My parents were both musicians, so the house was never silent.”

That familial soundscape laid a foundation not just for a love of music, but a musical identity steeped in kaiso, parang, classical piano, and choir harmonies. His father, guitarist Ken Corbie, performed alongside legends like Lord Kitchener and Scrunter and co-wrote the 1992 Road March hit Get in Yuh Section. His mother, Christine, was a classically trained vocalist and pianist who sang with the Orpheus Choir.

“I basically grew up with a living kaiso encyclopedia,” he jokes.

Yet, despite being surrounded by performance, it was composing, specifically for film, that eventually pulled him into its orbit.

It wasn’t until he was 15, composing an original piano piece called Child’s Play for his CSEC music exam, that the possibility of writing music for stories took hold. The idea deepened when he heard Mark Isham’s score for Once Upon a Time.

“That was my lightbulb moment. It wasn’t just the music: it was how it made me feel. It transported me.”

At the time, he was one of only two students studying music at Presentation College, San Fernando, and thought he might study piano or voice at the tertiary level.

From there, he began revisiting scores by John Williams, Michael Giacchino and Alan Menken, composers whose work not only entertained but defined generations.

“A professor of mine once said composers are like unseen actors. That idea stuck with me.”

From San Fernando to the San Fernando Valley

In 2018, he took the leap and moved to the US, enrolling in California State University, Northridge, coincidentally located in the San Fernando Valley: for him, however, it was no coincidence.

"It definitely felt like the right move. There was an adjustment period, as it’s a different culture, different food, music, etc, but I settled in. I made fast friends who I still have a community with today."

There, he studied under veteran composers and sharpened both his creative and technical chops, learning not only how to write music but also how to produce, record and mix it for picture.

“The technical side was a whole other mountain,” he admits. “Coming from Trinidad, I wasn’t exposed to the gear or workflows used in Hollywood.”

That adjustment extended to musical aesthetics too.

"As Trinis, we have a natural singsong way of speaking. I think that musicality carries over into my writing as well. Trinidadian music has a vibrant melodic and harmonic palette, and that can be a great advantage when used thoughtfully."

Corbie says he got his start assisting Nathan Fields, straight out of his undergraduate programme. Fields is an acclaimed American producer, sound designer and composer.

However, he laments in recent years, entry-level positions have started to shrink. With remote work becoming the norm, studios and composers often need fewer interns.

"That has made it tougher for newcomers to get hands-on experience," Corbie says.

Speaking on film music today, Corbie describes it as minimal, textural and ambient.

"I had to adapt without losing what made my voice unique.”

Making it in Hollywood

That voice is now part of the sonic fabric of Hollywood's blockbuster machine. He has contributed music and sound design to projects for Marvel, Universal, and Lionsgate. One standout moment? Contributing sound design to the campaign for Daredevil: Born Again, the Disney+ reboot of the cult superhero series.

“I had just discovered the original show. Seeing my name attached to the reboot was surreal.”

Yet despite these accolades, he remains grounded in the work and mindful of the systemic barriers for Caribbean creatives. Corbie admits it took him longer to master the technical portion, working in a digital audio workstation, learning mic technique, creating convincing mockups with virtual instruments, mixing and producing music.

"That’s why film scoring is so often offered as a master’s degree; it’s really a specialisation," he says.

He believes there is a serious exposure gap in TT: “In the US, composers start young, interning at studios and working with tech early on. That kind of infrastructure just doesn’t exist yet in the Caribbean. I have friends born in the US who’ve been composing since they were five and interning in their teens. Early exposure makes a huge difference.”

He remains grateful for the opportunities to work on high-level projects, earning the trust of collaborators. Still, he acknowledges the ongoing lack of representation in the industry, especially for composers of colour and those from the Caribbean.

However, he notes there is progress, with people actively pushing for change. But admits it can feel like added pressure. Even so, he emphasises the work must remain the focus. Corbie stresses excellence is key to creating lasting opportunities:

“For those of us from under-represented backgrounds, when we get the chance to work on major projects, it’s important to prove we can deliver at a high level. That helps keep the door open for others coming after us.”

Keeping ties to home

That’s something he hopes to help change. Though based in LA, he continues to collaborate with Caribbean musicians, recently recording a rhythmic piece, Structures I & II, with the Point Fortin Iron Giants. The work is set to debut this month, though no specific date has been announced.

“We have world-class musicians in Trinidad. It’s just about creating the pipeline.”

His long-term vision includes mentoring emerging Caribbean composers, expanding opportunities for local instrumentalists, and eventually bridging Hollywood with Trinidad’s burgeoning film industry.

“There’s no reason a steelpan player in Laventille can’t feature in a Marvel score – we just need to professionalise the process. Right now, there’s no real pipeline connecting Trinidadian creatives to the film and TV industry."

Corbie says the creative sector is pushing boundaries and developing new projects.

"This season saw exciting progress: over 100 films were reportedly screened at the TT film festival. That’s the place to start.”

Looking ahead

As he builds a growing portfolio of global projects, including Untouchable: Laughing Out Caste, a boundary-pushing Indian documentary-comedy, he is equally focused on legacy.

“I want to be like Alan Menken. When you look at his body of work, it’s not just music: it’s culture. That’s what I’m working toward.”

Menken is an American composer and conductor celebrated for winning eight Academy Awards, a Tony, 11 Grammys, seven Golden Globes and a Daytime Emmy. He is one of only 21 artistes to achieve a competitive EGOT, winning an Emmy, Grammy, Oscar and Tony.

“Our stories are rich, and the market is there. We just need the infrastructure to bring them to life at a high level,” he says.

Words to the dreamers

To young creatives in TT, his message is clear: “Start now. Use what you have. Write music, even if there’s no film yet. Enter competitions, share your work online, and collaborate with others.”

Asked what he’s most proud of, he says, “I’m proud of chasing my dream and making it a reality. I started scoring professionally at 22. I am grateful to Nathan Fields and my incredible mentors. What I’m most proud of is that I still have so much more to learn. I’m excited to keep contributing to great projects and humbled to have a career as a composer.”