Pru Montin is one of Australia's most innovative film composers and sound designers. She is based across LA and Sydney where she turns freshly unique and evolving sonic worlds, into meticulously sculpted emotional musical journeys.

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Through her originality, she has been featured as a "Composer to Watch" by ASCAP and awarded the coveted biannual APRA AMCOS Professional Development Award for Film and Television in 2019. She was also the 2016 recipient of the prestigious Brian May Scholarship which supports a promising young Australian film composer to complete a Master's of Film Scoring at NYU and kickstart their career in the US. 

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Pru's film music has screened internationally (including the award-winning black comedy Heck! at Cannes and Palm Springs) and can be heard currently on the Australian ABC shows Dream Gardens, Club Arak, Season 1 of Freeform's Siren, the horror anthology series Dark Whispers and the AACTA nominated Australian feature Moon Rock for Monday. 

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For theatre, Pru has sound designed and composed for major theatre companies including Australian Theatre For Young People, Pilot Theatre (UK) and Bell Shakespeare. For ATYP Patrice Balbina's Chance Encounter with the End of the World  has performed internationally across 3 continents and continues to engage International audiences whilst Bell Shakespeare's 2022 National Tour of Comedy of Errors performed at major venues across Australia including the Sydney Opera House and Melbourne's Art Centre. 

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Pru is also fast becoming a sought-after collaborator having worked with Hollywood composers Cliff Martinez (The Neon Demon, Drive), Adam Peters (Icarus, Snowden), Michael A Levine (Cold Case, Siren), Andrew Hewitt (The Double, Villains) as well as collaborating with acclaimed director Mary Lambert (Pet Sematary, Like a Virgin) and Richard Elfman (Forbidden Zone). 

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In 2012, Pru received significant funding from the Australian Film Television and Radio School to develop a full size interactive music game myOrchestra, an exploration into creating an environment that uses gesture to compose through the conductor-like control of an orchestra using timbre, structure and dynamics as its main parameters. A beta version was presented at conferences including AGSC and APRA's Glories of the Score in 2013.