Music supervisor Jen Ross has left her stamp on some of the highest-profile television series currently on the air. She’s sculpted the sound on the hit ABC / Marvel series Agent Carter, a period show that combines post-war mood and comic book adventure into one stylish package. She also supervised the first two seasons of Star for Lee Daniels (starring Queen Latifah and Benjamin Bratt) and Kevin Probably Saves the World (starring Jason Ritter). She currently supervises the music-centric Fox hit Empire (created by the Oscar-nominated team behind The Butler, and produced by Brian Grazer) about the royal world of hip-hop, going into its 5th season.
Ross’ impressive CV also includes another music-powered series, NBC’s Smash, as well as the Emmy-winning Showtime anthology Master of Horrors (where she worked with veteran genre directors like John Carpenter and John Landis), the E! reality series Dr. 90210 about plastic surgeons, the sexy CBS crime drama Reckless, season 1 of the Netflix original series Grace and Frankie (starring Jane Fonda, Lily Tomlin, and Martin Sheen), the STARZ drama series Power, now in its 4th season, and the Cartoon Network show about videogames-come-to-life, Level Up. Her big screen work includes the Disney family films Sky High and Ice Princesses, the Adam Carolla comedy The Hammer, the Wayans Brothers film White Chicks, and Catherine Hardwicke’s romance Miss You Already, starring Drew Barrymore & Toni Collette, Transylvania, Isabell Dances in the Spotlight, and Miss You Already.
Ross is a Los Angeles native who grew up around the entertainment industry, and soaked up the power of music and movies during her early years (particularly in John Hughes’ influential, soundtrack-fueled films). She started out in the music industry on the label side, working with Grammy-winning artists like Rufus Wainwright and Nelly Furtado. She was slowly drawn towards the magic alchemy of mixing music into movies, and charted a path to where she is today.
“The power of music is undeniable,” Ross says. “To be able to play with the dynamics of something that has no boundaries is a blessing. And working with various genres, as well as different tonal landscapes, is almost like getting to travel. Each show and scene is a different experience than the next.”