He is a walking encyclopedia of information, some strange, some gross – but all true! He has acquired over 20,000 different museum artifacts, everything from a pin valued at $1 million dollars, to a two-trunked elephant, to Marilyn Monroe’s lingerie, to Lee Harvey Oswald’s mortuary toe tag, to a meteorite from Mars. The list is endless.
Editor of the famous Ripley’s Believe It or Not! newspaper syndicated cartoon, producer of countless Ripley museum films, and a researcher for over 200 hundred Ripley television shows, Meyer has appeared on radio and television programs around the world as the Ripley historian and raconteur, the man with the world’s best job!
Paul Leonard-Morgan (DREDD, BATTLEFIELD™ HARDLINE) is a BAFTA award-winning and Ivor Novello nominated composer and producer. His unique cinematic style (fusing orchestra with electronica) has put him in high demand, both as a producer for bands and as a soundtrack composer.
Studying at the Royal Scottish Academy of Music and Drama, Leonard-Morgan quickly developed a reputation as a producer and arranger on the thriving Glasgow music scene, working with bands such as Belle and Sebastian, Snow Patrol, Mogwai and Texas. He has become long-term collaborator of Scottish songstress Isobel Campbell, working extensively on each of her albums, including the Mercury nominated “Ballad Of The Broken Seas” with Mark Lanegan. This led to Paul working with famed producer Phil Ramone on Sharleen Spiteri’s Gold Disc “Melody”. After working with Mogwai on numerous previous projects (including an art installation with Turner prize-winning artist Douglas Gordon), Leonard-Morgan collaborated with them again on their 7th studio album “Hardcore Will Never Die, But You Will”. He also worked with producer Mark “Spike” Stent on No Doubt’s highly acclaimed comeback album “Push and Shove.”
Leonard-Morgan won a BAFTA award for his first film score, Pineapple, and earned both BAFTA and Ivor Novello nominations for his first television drama in the UK, Fallen. This led to him scoring 6 series of the hit BBC/Kudos drama Spooks (MI5 in the USA).
His groundbreaking score for Limitless, a paranoia-fuelled action thriller starring Bradley Cooper and Robert De Niro, directed by Neil Burger (The Illusionist), was nominated for the prestigious World Soundtrack Discovery Award in Ghent, after topping the box office in both the US and UK. Leonard-Morgan will be revisiting LIMITLESS later this year, as the composer for the upcoming CBS TV series based on the film, helmed by Marc Webb (Spiderman, 500 Days of Summer).
Leonard-Morgan’s film work also includes DREDD, which would also top the UK box office in its first week of release. Variety magazine noted “the throbbing sounds of Paul Leonard-Morgan’s bass-heavy original score”. The groundbreaking soundtrack is widely recognized as launching a new generation of hybrid scores. Other scores include 2013’s thriller The Numbers Station and Legendary, the latter of which opened in over 12000 screens worldwide. On the animation front, his work included three Minions films, released alongside Universal Studio’s all-time highest grossing film DESPICABLE ME 2, and Fox/Evergreen’s $80 million Walking With Dinosaurs 3D.
Leonard-Morgan’s first ever video game soundtrack (EA Games’ flagship $180 million title Battlefield Hardline) was released in 2015, earning top video game sales status in the UK for the first quarter of this year. ESPN recently ran a two-hour block of six short sports documentaries directed by Errol Morris under the moniker of IT’S NOT CRAZY, ITS SPORTS (The Subterranean Stadium, The Heist, The Streaker, Being Mr. Met, Most Valuable Whatever, and Chrome) featuring music by Leonard-Morgan.
Leonard-Morgan completed a commission from the National Theatre to score new adaptations of James I (which premiered at the Edinburgh International Festival, before taking residence for a sold-out run at The Olivier Theatre in London) and James II (composed alongside the music of Scottish electro duo Boards of Canada). Leonard-Morgan was selected by The US Olympic Committee to compose the official US Olympic Team Anthem (previously scored by legendary film composer John Williams), used extensively across the US to accompany coverage of the Olympic Games and on NBC’s US Olympic Hall Of Fame Induction Ceremony. He also worked with Disney to compose the soundtrack for their ride, Test Track, at Disneyworld, Florida.