Paul Leonard-Morgan on Substance, Speed, and the Future of Composition
Paul Leonard-Morgan has spent much of his career moving between orchestra, electronics, film, television, games, and concert music, so the score for Watson fits neatly into the way he already thinks about composition. Released through Lakeshore Records, the Watson: Seasons 1 & 2 soundtrack follows a modern version of Dr. John Watson as he returns to medicine after Sherlock Holmes’s death, treating rare conditions while his old connection to Moriarty continues to pull him back toward investigation.
That mix of medical drama and mystery gives Leonard-Morgan plenty of space to work with tension, momentum, and character without leaning on one fixed genre. Across 28 tracks, the score moves through pursuit, discovery, danger, and loss, while keeping the music close to the series’ investigative structure. His wider background helps here as well; alongside screen work including Dredd, Limitless, Cyberpunk 2077, and several collaborations with Philip Glass, Leonard-Morgan has also worked with artists such as Mogwai, Belle and Sebastian, and Snow Patrol.
The Modern Production Dilemma
The discussion surrounding modern music production often centers on a broader question: what happens when tools make polished results easier and faster to achieve? Leonard-Morgan is less concerned with AI replacing composers than he is with artists confusing speed with substance. His philosophy keeps returning to melody, taste, and the patience required to reject an idea that sounds finished before it is actually saying anything.
When asked about the pressure surrounding speed and output, Leonard-Morgan notes that while AI has not fundamentally altered the landscape of film music—where studios often contractually forbid its use—he remains pragmatic about its potential. “Anything that can help speed up the workflow and allow me to focus on the creative side is a good thing,” he explains. “I think it becomes a slippery slope when you use it to create original music.”
Prioritizing Substance Over Speed
As production tools enable creators to achieve professional-sounding results with unprecedented speed, Leonard-Morgan warns against the loss of creative vision. “Melodies and hooks get lost in the process when everything sounds so good straight out of the box,” he says. “People start focusing on production values immediately instead of the core of the track.”
For the composer, the studio remains a sacred space for experimentation. He emphasizes that true artistic growth requires the patience to iterate and the courage to discard ideas that lack depth. Reflecting on the era of tape splicing, he contrasts the labor-intensive methods of legends like John Barry with the ease of modern digital audio workstations. While technology has removed the physical barriers to experimentation, the mental discipline required to craft a meaningful narrative remains as vital as ever.
Ultimately, staying grounded in a fast-paced industry comes down to intentionality. “You need to breathe, listen to the music, feel the atmosphere, and become absorbed in it,” Leonard-Morgan concludes. By removing distractions like clocks and phones, he protects the creative process from the frantic pace of the outside world, ensuring that the music remains the primary focus.
