Julian Nott

Julian Nott


Julian Nott is best known for writing the music for the Wallace & Gromit films, and Peppa Pig. He has also written music scores for many TV shows, such as the BBC’s Lark Rise to Candleford, The Cazalets and ITV’s The Vice.

His awards include an Ivor Novello for Best Television Soundtrack (A Matter of Loaf and Death) and a US animation Annie Award for the Wallace & Gromit movie The Curse of the Were-Rabbit.

After university (a music scholar), Julian started his working life as a management consultant with Accenture. He then worked as a writer for The Economist Publications, which included authoring a textbook for investment bankers on commercial paper. He also produced television documentaries for Channel Four, Arte, and WGBH in Boston, and (more recently) entertainment programmes for online comedy channel Pulped.

Along the way, Julian became a (non-practising) barrister.

After completing the music scoring course at the National Film and Television School in the mid-1990s, he shifted his focus to working as a composer in film and television. Julian has subsequently been very busy composing scores for 25 years, specialising in children’s animation and television drama.

Julian was a Board director of PRS (now Members’ Council) from 2010 to 2019. He also served on the PRS for Music Board from 2013 to 2019. During his time at PRS, he was a member of nearly every PRS sub-committee, from the Audit committee to the Licensing and Distribution committees. From 2015 until 2019 he was also a Board member of ICE Services, the online licensing joint venture between PRS for Music, GEMA and STIM. He is currently the Ivors Academy representative on the MCPS Board.

Julian hopes this combination of a business background and a successful scoring career will equip him to represent writers effectively on the Council. 


There are still far too many problems with online royalty collection. Royalty rates for the composition are too low, we face insufficient transparency in the deal-making, and the complexity of the distribution rules mean writers and publishers are often left in the dark about what is going on. Should I get elected, my top priority would be to push for rapid progress to resolve this. As an ex-director of ICE Services and currently an MCPS director, I have had the opportunity to immerse myself in online, and I would like to put that knowledge to use at PRS.

PRS must never become remote from its membership. It will often need to take tough distribution decisions which benefit some members and disadvantage others. But to have the authority to do that, PRS needs to listen to our entire community, particularly those from the smaller sectors, such as classical and dance. Diversity is also vital, properly reflecting the make-up of our writing community. The new governance rules must be judged against those criteria. If the governance rules are found lacking, they need to change.

Lastly, we must think how we can help those in the live sector and public performance who had their livelihoods shattered by the pandemic. PRS should certainly do all it can to support and publicise live streaming and help this become a viable source of income.

Thanks to online, a PRS writer Council Member now needs a frightening amount of legal and business knowledge to do their job effectively. I feel the nine years I was on the PRS Board (now Members’ Council), together with my early background in business, has given me the expertise to fight for the interests of all the membership on the Council. I do hope you will be able to vote for me. 

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