My name is James Peter Moffatt, and I’m an award-winning composer from Liverpool, UK. My journey began as a child fascinated by the intersection of music and film. I grew up playing guitar and producing music in bands throughout my teens and early twenties, but it was during my BA in Music Production and Performance that I discovered my true calling – writing for screen – after taking a module in music for the moving image. Everything clicked. During that time, two filmmakers from Los Angeles were on a 6-month residency at the Northern Film School. They were making a feature film, and I volunteered as composer. That collaboration sparked a long-term creative relationship, resulting in multiple feature film scores, sessions with orchestras around the world, and mixes in Hollywood with Oscar- and BAFTA-winning sound editors Ben Wilkins and Mark Mangini. Our work even premiered at Venice Film Festival! From there, I expanded my experience assisting Ivor Novello winning composer Nitin Sawhney on a number of film and television project, working in music editorial at NBC Universal, and visiting a number of composer studios across Los Angeles – including Hans Zimmer’s Remote Control Studios and Bleeding Fingers Music. These formative experiences laid the groundwork for my first major scoring breaks: the BAFTA-shortlisted, Oscar-nominated We Are Dancers, followed by the multi-award-winning House of Cardin and BFI-winning Virginia. I later collaborated with the first female director at the National Theatre, writing music for stage, and the Prince and Princess of Wales on their photography exhibition Hold Still for the National Portrait Gallery. In 2017, I received the Solid State Logic Prize for Excellence in Music for the Moving Image and in 2019 completed the Film Scoring Academy of Europe’s Summer Programme. I was awarded Top Finalist in the European Academy of Fine Arts Call for Scores in 2020. In 2024, I was selected for Netflix UK’s High-End TV Music Editorial Programme with Oscar-winner John Warhurst, leading to my music editorial work on The Witcher Season 4. That same year, I was chosen by Senior VP of Music at Sony Pictures, Tony Scudellari, and three-time Emmy-nominated composer, Miriam Culter, for the inaugural Composer-Filmmaker Accelerator at the Vancouver International Film Festival – recording my original score for Caitlyn Sponheimer’s debut feature at Bryan Adams’s Warehouse Studio and performing the music live-to-picture with the Vancouver Symphony Orchestra on the closing night of the festival. Academically, I hold a First-Class BA and a Distinction MA in Music for the Moving Image, and I recently completed a UKRI-funded PhD on film music and streaming platforms. This research – exploring how Netflix, Amazon, and technological advances have reshaped composer workflows – led to a publishing deal with Bloomsbury for my forthcoming book Scores for Streamers, due in 2025/26. I also lecture in Film Music at Leeds Conservatoire and Composing for Screen at the University of Huddersfield. These experiences have shaped a practice rooted in melodic storytelling, creative collaboration, and a deep interest in the evolving role of music in media. My work has been featured by the BBC, Netflix, Venice Film Festival, Rolling Stone, Vogue, and The Hollywood Reporter. Recently, I began venturing into production music through my existing relationship with Bleeding Fingers. I was commissioned to write two tracks for their recent Earth Tones series for Extreme Music – “Lakes 2” and “Flowers” – which I submit for Composer Spotlight consideration here: Dropbox link (https://tinylink.net/NVce4). These are my first dedicated contributions to the production music space and reflect my ambition to explore this format further. I have also attached a link to my website below though the majority of that work is bespoke scores and these are examples of my production music. Please see ‘Rhapsody in Bloom’ and ‘Reflections of the Wild’ on my website for alternate access. I would be honoured to be considered for the Composer Spotlight Award. I believe my blend of hands-on studio craft, editorial fluency, academic insight, and emotionally driven composition offers a fresh and forward-looking perspective within the production music community. This opportunity would help amplify my creative voice, connect me with new collaborators, and allow me to contribute meaningfully to the evolving landscape of screen and production music. I began production music only in the past 12 months – writing for Sony’s Extreme Music through my freelance composer position at Bleeding Fingers Music – and see this award as the perfect platform to expand that catalogue, connect with leading libraries, and bring cinematic narrative depth to production tracks. The visibility and mentorship offered would amplify my mission to fuse storytelling, technological innovation, and academic insight into emotionally resonant cues that serve editors as powerfully as they move audiences.