Jamie Christopherson

Composer · Born January 1, 1975 (51) · Los Angeles, California, USA

Whether it be writing evocative orchestral music, recording world instruments on location in exotic places or programming cutting-edge modern synths, multi-award-winning composer Jamie Christopherson has built a reputation for consistently delivering unique, fresh and unexpected scores. He constantly experiments with new ways to create music that gets to the heart of a project, while always infusing his signature style into the vision of the director and producers. Known for his interest and expertise in multiple media and genres, Jamie's music can be heard in feature films, video games, television shows, documentaries, theatrical trailers, commercial spots, webisodes and theme parks. His most notable works include feature films such as The Crow: Wicked Prayer, Dirt, American Wrestler and interactive scores to best-selling video games such as Metal Gear Rising: Revengeance, The Lord of the Rings: Battle for Middle Earth series, Lost Planet 1 & 2, Dead Rising and Lineage II. He has also scored several documentaries such as Goal Keepers and written extensive additional music for TV shows, most notably for the Showtime shows Homeland, Ray Donovan & The Affair, CBS's Extant, and the J.J. Abrams produced NBC show Revolution. The son of a rock 'n' roll hall-of-fame bass-playing father and a free-spirited accordion-playing mother, Jamie grew up in Los Angeles surrounded by musicians, filmmakers and other artistic types. His mother hired teachers to give him piano lessons at an early age, but due to the rigidity of their approaches, he lost interest. Several years later, Jamie heard Ennio Morricone's score for The Mission and was instantly hooked on film music. Approaching the piano again on his own terms, Jamie discovered that he could pick out melodies and harmonies by ear. Shortly after he began composing his own music. Jamie instinctively knew that he wanted to be a film composer. In 1993, Jamie attended the liberal arts school, Vassar College, in New York. While there, he studied formal classical theory, counterpoint and music history. He excelled in the class work and won several school composition awards, but his real musical education came from playing at night in the local scene with jazz, funk and rock bands. Jamie also started scoring student films and theatrical productions. After graduating college with honors in 1997, Jamie moved to Boston for a brief period. While there, he worked as a music engraver/copyist by day and assisted a prominent Boston composer, Sheldon Mirowitz, by night. As he watched the composer work, Jamie re-confirmed that this was exactly what he wanted to do for a living. He then decided to go back to school for more technical training in the art of film scoring. From 1998-2000 Jamie attended the University of Miami's School of Music and earned a Masters in Music Composition with an emphasis on film music. Returning back to Los Angeles in 2000, Jamie began working as a sound designer at The Hollywood Edge, a division of Soundelux. This work quickly led to designing sound effects for major feature films such as Blow (with Johnny Depp) and Windtalkers (with Nicolas Cage). He also started assisting game composers Bill Brown and Mikael Sandgren, doing "musical sound design" for their projects. This work eventually led to writing additional music for Brown's video games. In his spare time Jamie continued scoring independent short films and low-budget projects. In 2004 Jamie concentrated his full efforts on music, officially starting up his company Broken Silence Productions, Inc. After working on several video games, Jamie was offered his first made-for-TV film for the Syfy channel called Maximum Velocity. This led to many made-for-TV projects where Jamie got to hone his skills in writing music on tight deadlines. Eventually Jamie scored his first theatrical film The Crow: Wicked Prayer, which generated much critical acclaim for his music. Jamie's most recent films include the upcoming sports drama American Fighter, the offroad racing film Dirt and the romantic film Love Finds You in Valentine. He has also completed the music for several AAA video games such as Konami's Metal Gear Rising: Revengeance and Ubisoft's The Mighty Quest for Epic Loot. Jamie also co-composed additional music for composer Marcelo Zarvos on Showtime Network shows Ray Donovan and The Affair, as well as the CBS sci-fi show Extant. Stay tuned for more exciting things to come....

What are Jamie Christopherson's films like?

Across their 48 MovieCove titles with a thematic analysis, their films lean Bonds and Self.

Genres

Documentary2 titles86^th

Horror2 titles18^th

Sport2 titles49^th

Their MovieCove films by primary genre. The badge is the typical Midcredits score of the genre's films, the median percentile; an up arrow marks a genre at or above their average across these genres.

Themes

share of theme weight

Bonds

38%

Self

24%

Morality

16%

Survival

11%

Society

7%

Ideas

1%

Power

0%

Family bonds19 Romantic love14 Justice7 Friendship5 Identity6 Survival7 Community8 Self-worth5

What they feel like to watch

their average across 46 films

ToneFeelDemandtheir average · filled zone: the category

Earnest

Tone · Sincerity

ironicearnest

Ironic 2 · Wry 2 · Earnest 42

Light

Tone · Weight

lightdark

Light 28 · Serious 15 · Dark 3

Grounded

Tone · Style

naturalisticheightened

Grounded 36 · Stylized 8 · Heightened 2

Charged

Feel · Intensity

gentleintense

A split, not a type: Gentle 23 · Charged 20 · Intense 3

Steady

Feel · Swings

steadyswings

Steady 36 · Shifting 9 · Whiplash 1

Some laughs

Feel · Humor

noneconstant

A split, not a type: Straight-faced 26 · Some laughs 14 · Funny 6

Slow burn

Demand · Pace

slowrelentless

Slow burn 26 · Even-paced 20 · Relentless 0

Casual

Demand · Attention

casualfull focus

Casual 36 · Engaged 9 · Full focus 1

Easy watch

Demand · Emotional cost

easyheavy

Easy watch 27 · Affecting 17 · Heavy 2

Resolved

Demand · Resolution

resolvedambiguous

Resolved 40 · Open-ended 3 · Ambiguous 3

Moods and endings

endings are an aggregate; no title is named

Dominant moods · mentions across their titles

Hopeful

25

Tense

19

Warm

16

Joyful

14

Romantic

11

Other

45

How their films linger

Feel-good24 Hopeful28 Bittersweet15 Fun9 Unsettling7 Rousing5

How their films end · 4 with a twist

Happy28
Bittersweet14
Ambiguous6

AI-generated from each title's plot synopsis and cast list, with extra plot summaries, reviews and Parents Guide notes for titles the model may not know, and the model's own knowledge of the ones it recognizes. Only analyzed titles count, so this covers part of the filmography; the feel axes count films only for now.

Where can I watch Jamie Christopherson's films?

As of October 24, 2026, 38 of their 49 MovieCove titles stream on a subscription or free service, most on Tubi (19).

Also on these channels

UP Faith & Family6 titles, show their 6 titles on UP Faith & Family
Howdy4 titles, show their 4 titles on Howdy
Great American Pure Flix2 titles, show their 2 titles on Great American Pure Flix
MovieSphere+2 titles, show their 2 titles on MovieSphere+
Cineverse1 title, show their title on Cineverse
Dove Channel1 title, show their title on Dove Channel
Midnight Pulp1 title, show their title on Midnight Pulp
XLTV1 title, show their title on XLTV

Subscription and free streaming for Jamie Christopherson's titles on MovieCove; rent and buy are not counted. Titles are listed by Midcredits score, highest first, at most 12 per service; a dashed chip is a producer credit or a minor one, such as a thanks. A service opens the browse page, which counts movies only, so its number can differ.

Filmography

59 credits, 49 with a MovieCove page.

Casa Grande(2026)
Composer
Midcredits score: 26th percentile of all films
Double Trouble(2026)
Composer
Midcredits score: 89th percentile of all films (provisional, few ratings)
Day of Reckoning(2025)
Composer
Midcredits score: 16th percentile of all films
Catalyst (not in the MovieCove catalog yet)(2025)
Composer
American Sasquatch: Man, Myth or Monster(2025)
Composer
Midcredits score: 91st percentile of all films
The Curse of the Necklace(2024)
Composer
Midcredits score: 7th percentile of all films
Bogieville(2024)
Composer
Midcredits score: 28th percentile of all films
Witness to Revolution: One Doctor's Story of the Xinhai Revolution(2024)
Composer
Midcredits score: 81st percentile of all films (provisional, few ratings)
Holiday in the Vineyards(2023)
Composer
Midcredits score: 44th percentile of all films
How I Caught My Killer(2023)
Show Composer
Midcredits score: 14th percentile of all shows
I Believe in Santa(2022)
Composer
Midcredits score: 6th percentile of all films
A Hollywood Christmas(2022)
Composer
Midcredits score: 20th percentile of all films
A Christmas Mystery(2022)
Composer
Midcredits score: 42nd percentile of all films
Holiday Harmony(2022)
Composer
Midcredits score: 50th percentile of all films
That's Amor(2022)
Composer
Midcredits score: 16th percentile of all films
Leave(2022)
Composer
Midcredits score: 13th percentile of all films
Under Wraps 2(2022)
Composer
Midcredits score: 21st percentile of all films
Under Wraps(2021)
Composer
Midcredits score: 21st percentile of all films
Courting Mom and Dad(2021)
Composer
Midcredits score: 11th percentile of all films
A California Christmas: City Lights(2021)
Composer
Midcredits score: 33rd percentile of all films
A California Christmas(2020)
Composer
Midcredits score: 38th percentile of all films
Wheels of Fortune (not in the MovieCove catalog yet)(2020)
Composer
American Fighter(2019)
Composer
Midcredits score: 33rd percentile of all films
Innamorarsi a Mountain View(2020)
Composer
Midcredits score: 56th percentile of all films
Lady Driver(2020)
Composer
Midcredits score: 42nd percentile of all films
Roped (not in the MovieCove catalog yet)(2020)
Composer
The Stand at Paxton County(2020)
Composer
Midcredits score: 56th percentile of all films
Follow Your Heart(2020)
Composer
Midcredits score: 57th percentile of all films
Bennett's War(2019)
Composer
Midcredits score: 56th percentile of all films
The Ride(2018)
Composer
Midcredits score: 84th percentile of all films
Dirt(2018)
Composer
Midcredits score: 53rd percentile of all films
Closure(2018)
Composer
Midcredits score: 72nd percentile of all films
Runaway Romance(2018)
Composer
Midcredits score: 51st percentile of all films
Pray for Rain(2017)
Composer
Midcredits score: 24th percentile of all films
American Wrestler: The Wizard(2016)
Composer
Midcredits score: 86th percentile of all films
An Uncommon Grace(2017)
Composer
Midcredits score: 62nd percentile of all films
Running Wild(2017)
Composer
Midcredits score: 45th percentile of all films
Enchanted Christmas(2017)
Composer
Midcredits score: 47th percentile of all films
The Dog Lover(2016)
Composer
Midcredits score: 56th percentile of all films
Love Finds You in Valentine(2016)
Composer
Midcredits score: 58th percentile of all films
Summer Forever(2015)
Composer
Midcredits score: 39th percentile of all films
Love Finds You in Charm(2015)
Composer
Midcredits score: 61st percentile of all films
Love Finds You in Sugarcreek(2014)
Composer
Midcredits score: 72nd percentile of all films
Born to Race: Fast Track(2014)
Composer
Midcredits score: 37th percentile of all films
Born to Race(2011)
Composer
Midcredits score: 52nd percentile of all films
El Dorado (not in the MovieCove catalog yet)(2010)
Composer
El Dorado (not in the MovieCove catalog yet)(2010)
Show 2 episodes · Composer
Bigfoot(2009)
Composer
Midcredits score: 17th percentile of all films
Jack Hunter and the Lost Treasure of Ugarit(2008)
Show Composer
Midcredits score: 2nd percentile of all shows
Ghost Image(2007)
Composer
Midcredits score: 12th percentile of all films
Lez Be Friends (not in the MovieCove catalog yet)(2007)
Composer
S.S. Doomtrooper (not in the MovieCove catalog yet)(2006)
Composer
The Crow: Wicked Prayer(2005)
Composer
Midcredits score: 1st percentile of all films
Inside Out(2005)
Composer
Midcredits score: 26th percentile of all films
Boa vs. Python(2004)
Composer
Midcredits score: 1st percentile of all films
Phantom Force (not in the MovieCove catalog yet)(2004)
Composer
Epoch: Evolution (not in the MovieCove catalog yet)(2003)
Composer
Maximum Velocity(2003)
Composer
Midcredits score: 2nd percentile of all films
Avatars Offline (not in the MovieCove catalog yet)(2002)
Composer

Career shape

A full career of 42 titles from 2002 to 2025.

Biggest box office

The Dog Lover (2016)

$2.4M worldwide

Highest rated

American Wrestler: The Wizard (2016)

Midcredits 86^th

By role

only this rolewith another role

Music42 of 42 · 41^st

By decade

2000s9 · crew2010s15 · crew2020s18 · crew

Counts from TMDB across their full career, self appearances out; a title counts in every role they held on it. The ring is the typical Midcredits score (the median percentile) of the role's titles that are on MovieCove, shown from 5 scored.

How do Jamie Christopherson's films land?

Their typical MovieCove film has a Midcredits score in the 42^nd percentile, the median of all 47; across their 46 films with reception data, the typical film sits in the 38^th percentile for acclaim.

Acclaim · how much people like their films

38^thpercentile

Typical film, the median of 46

Approval · how many liked their films

39^thpercentile

Typical film, the median of 46

Reach · how many have seen their films

67^thpercentile

Typical film, the median of 46

Midcredits score across 49 titles, by percentile

75^th and up5
50^th to 74^th14
25^th to 49^th13
Below 25^th17

Shape of the crowd

26 of their 49 titles are Mixed.

Universally Loved1
Universally Panned2
Loved with Detractors1
Divisive2
Cult Classic3
Crowd Pleaser14
Mixed26

Most divisive · composer

Double Trouble (2026)

99^th percentile spread · 32% rated it 4 or lower

Most loved · composer

American Sasquatch: Man, Myth or Monster (2025)

Midcredits 91^st · 84% liked

Reviewers score the sound and music 51/100 in their films, across 26 reviewed titles; fans 64, detractors 33. The element that speaks to their work as a composer.

Percentiles are each film's standing among all films on MovieCove; the typical film is the median, so one outlier cannot drag it. Percentiles and reviewer scores count the films IMDb credits them on, for now; the Midcredits score bands, the shape of the crowd and the two cards count their MovieCove titles, shows included (a show ranked among shows), appearances as themselves left out. A descriptor is the shape of a title's IMDb rating distribution against the catalog; "most divisive" needs a spread wider than half of all titles, and a card names only a principal credit: a craft role, and on a show a crew role or a run of episodes, never a courtesy credit or a one-off guest spot.

Is Jamie Christopherson's work okay for kids?

Across up to 6 MovieCove titles with content scores, every category sits near the median of all films.

Their medianMedian of all filmsMiddle 80% of their titles

Sex & Nudity6 titles26–57 · median 38 · moderatenear the median of all films

Severity 0–100 from the Content Guide. Categories with under 10 votes on a title are not counted. The band's colour is the severity of their median, named beside it.