For this second episode, we’re handing the mic to Manon Jana Chayah, a rising figure in music synchronization. At Alter K, she wears three hats — sync manager, A&R, and composer agent — with remarkable ease. Her journey tells the story of both an early passion for music in film and a sharp artistic instinct, the kind that can anticipate a trend or sense that a voice, somewhere, will one day find its place in a scene.
Manon looks back with us on her beginnings, her mentors, the pressure of instant success, the promises (and dangers) of AI, and that sync that almost made her scream with joy on a train. A vibrant conversation guided by instinct and a love of the perfect musical choice.
Manon Jana Chayah and her Alter K project
The Tales Interview
Do you remember the moment you fell in love with music?
Yes, very clearly. I was 11. It happened when I went to see Drive by Nicolas Winding Refn at the
movie theater. The opening credits with Night Call by Kavinsky completely
moved me. The sound, the music choices, Cliff Martinez’s soundtrack, the Desire tracks...
It stayed with me for life. I think that film is what made me want to work with
music for film and television.
Did you grow up with music at home?
Yes, but very specific music. My mother listened to Jacques Brel and Brassens on repeat, while my father listened to Léo
Ferré, Fayrouz, and Marcel Khalifé. So there wasn’t a huge variety, but there was a real
emotional foundation, very powerful and very literary too. My father had a very strong connection to
traditional Lebanese music.
And can you walk us through your journey from there?
At first, I wanted to work in film. I did a literary prep program with a major in
theater and film, then a double Bachelor’s degree in London in social sciences and film. That’s
where I had a musical awakening: London’s emerging rock scene, nights at the Windmill
in Brixton... I returned to Paris for a master’s degree in audiovisual production, and that’s
when sync naturally became the obvious path.
I sent out hundreds of résumés, and in the end it was Coline Roubineau at Sony Music Sync
who gave me my first chance. My first internship in the music industry. A real
turning point.
Did you then move from one experience to the next?
Yes, six months at Sony Music, then some time at an association that organized festivals.
Then I joined Josette Music Club on a work-study program with Élise Luguern. She taught me everything;
she’s a true mentor. After that, I briefly considered going into pure artist development, as a label project
manager, artistic director... And that’s when my résumé landed at Alter K.
Were there other important figures in your journey?
Yes. Élise Luguern, definitely. And also Sasha White, Head of Music at Mediawan. We
talk a lot; she’s someone I admire enormously. Then at AlterK, I
met colleagues who became true friends, with whom I share a real
artistic connection.
Can you sum up what you do today?
I do three things: I’m a sync manager, so I look for the best music to
sync for films, commercials, and series; I’m A&R, signing artists and catalogs
for film and television; and I’m also a composer agent. These three roles are very
complementary.
How do you spot talent?
A lot through Instagram. And a lot through human connections. Friends, managers,
music video directors... Someone tells me about an artist, and I go listen. I also use Spotify,
SoundCloud, and the usual platforms.
Do you work more on your own or as part of a team?
Both. I’m just as independent as I am a team player. I’d say 50/50. I need conversations,
but I also make a lot of progress on my own on certain projects.
And how do you handle the pressure of instant success and social media?
It’s tough, because we’re in a system of constant ratings. But I don’t let my
artistic choices be dictated by follower counts. I try to stay true to my intuition,
and I also rely on those around me to validate certain choices. Instinct still matters
a lot.
And how do you see artificial intelligence in your work?
I think AI can be useful when it helps save time on
time-consuming tasks, such as tagging or certain searches. But it must not replace
the opinions and sensitivity of artists, writers, and composers — or of the people who
work for them. You can’t remove humans from the creative process.
The real issue for me is intellectual property. I was recently at the Sœurs
Jumelles festival, and it was one of the main topics: how do we integrate AI without threatening those
whose profession is to create? A song generated 90% by AI is not acceptable
if it takes the place of an artist.
And then there’s what nothing will ever replace: going to see a band live. What you
feel live, that soul, that human sensitivity — no AI will ever be able to imitate it.
Would you like to tell us about a sync that stands out?
Yes, the one I’m proudest of: White Lotus, season 3. Seeing that season 2,
which was filmed in Italy, featured only Italian tracks, I anticipated that season 3,
set in Thailand, would be looking for Thai catalog music. So I contacted Sung Joon, a
composer signed with us who travels a lot in Asia. I asked him whether he
knew a Thai singer. He told me about Mint, and I said, “Would you like to
produce tracks with her?” He said yes. We pitched the tracks... and a year later,
two songs were synced in White Lotus.
I still remember the moment I received the clearance request. I was on a
train back from the Arcs festival, and I almost screamed with joy. It’s an enormous source of pride.
An artist you dream of working with?
Saint-Levant. Whether for sync or original composition. He exists at the crossroads of
different worlds; I find that fascinating.
And a dream soundtrack for a specific film?
A film directed by Mati Diop, like Atlantique. Working on a piece like that, with
a composer like Fatima Al Qadiri, would truly be a dream
