Sarah Warne has leapt to prominence as one of the UK’s most exciting young composers for television. Her most recent credits include Channel 4’s critically acclaimed drama, Humans, for which she composed the score for the second series and upcoming third series. In a busy 2017, she also scored the BAFTA nominated Channel 4 True Crime series Catching A Killer, the feature documentary She's French and hard-hitting BBC documentary Girls On The Edge. Other credits include series 2 of Red Productions' thriller for ITV, Prey, starring Sean Bean and BBC documentaries, Treasures of Ancient Greece and Kate Adie’s Woman of World War One.
Sarah is a graduate of the National Film and Television School, having previously gained a degree in English Literature at Oxford University, which first kindled her love for narrative and drama. Subsequently she studied contemporary and electronic music composition at the Guildhall School of Music and Drama. Though trained initially as a classical harpist and pianist, her music and sonic installations explore a wide variety of genres and musical techniques, both traditional and experimental. Her innovative use of electronics is nowhere better demonstrated than in her score for Humans, although her writing often fuses electronics with acoustic instruments and she is skilled at orchestration. Whether composing with melodic lyricism or crafting a subtle textural underscore, drama and story-telling is always at the core of what Sarah creates.
“The experience of working with Sarah was thrilling. She was involved from the beginning to the end, always giving precise comments to improve the story and the concept of the film. The precision of her music gave to the image the perfect complement, very professional, and always connected with what the film needed. Not only did Sarah’s talent make the working relationship a great environment, but also her personality was always enthusiastic and friendly, making our work much easier and enjoyable. I would love to work with her again in my future films without a doubt.” - Ana Caro, Animation Director
“Working with Sarah on The Magnificent Lion Boy was an absolute joy. A true professional, Sarah is prescient in understanding exactly how to enhance emotional responses in an audience through her music, whilst being open to comment and discussion in order to push her own work to an even higher standard. This balance between expertise and professionalism alongside a friendly and collaborative personality means I would work with Sarah again in a heartbeat.“ - James Cotton, Producer
“I have worked with Sarah On several projects and hope to work again On many more to come. Sarah has showed herself to be nothing less than brilliant in all of these projects, which include documentary, animation and fiction films. Her ability to adapt to each film and its needs is unparalleled and the sensitivity with which she approaches every project always leaves me with the feeling that I'm in safe hands. Sarah and I communicate very well and, as an editor, it is wonderful to work with someone that is open to dialogue and responds to feedback very precisely, yet always with a very personal and surprising touch. Couldn't recommend her more highly.” - Paulo Pandolpho, Editor
“Sarah Warne's beautiful and haunting score for The Magnificent Lion Boy helps lift the animation to another level. As all good film music does, it supports the narrative without being intrusive and enriches the mood without dictating the viewer's experience.” - Hugh Bonneville, Actor (Notting Hill, Downton Abbey)