Bmi announced the winners of the performing rights organization’s annual Film, TV and Visual Media Awards on Monday, with an online unveiling of the recipients substituting for the ceremony that would have been taking place in Beverly Hills under non-quarantine conditions.
The most awards, five, went to Icelandic composer Atli Örvarsson, who won for his contributions to “Chicago P.D.,” “Chicago Med,” “Chicago Fire,” “FBI” and “FBI Most Wanted.” Örvarsson’s overall Bmi awards tally is up to 23.
Winning three trophies apiece were Tyler Bates, Brian Tyler and Mac Quayle.
Quayle won for “American Horror Story,” “9-1-1 ” and the spinoff “9-1-1: Lone Star.” Brian Tyler got his honors for “Hawaii Five-0,” “Magnum P.I.” and “Yellowstone.” With these three, he now has 33 awards from Bmi. Tyler Bates’ trophies came for the theatrical films “Fast & Furious Presents: Hobbs & Shaw” and “John Wick: Chapter 3 – Parabellum” along with Netflix’s “The Punisher.
The most awards, five, went to Icelandic composer Atli Örvarsson, who won for his contributions to “Chicago P.D.,” “Chicago Med,” “Chicago Fire,” “FBI” and “FBI Most Wanted.” Örvarsson’s overall Bmi awards tally is up to 23.
Winning three trophies apiece were Tyler Bates, Brian Tyler and Mac Quayle.
Quayle won for “American Horror Story,” “9-1-1 ” and the spinoff “9-1-1: Lone Star.” Brian Tyler got his honors for “Hawaii Five-0,” “Magnum P.I.” and “Yellowstone.” With these three, he now has 33 awards from Bmi. Tyler Bates’ trophies came for the theatrical films “Fast & Furious Presents: Hobbs & Shaw” and “John Wick: Chapter 3 – Parabellum” along with Netflix’s “The Punisher.
- 6/15/2020
- by Chris Willman
- Variety Film + TV
Sometimes when you look out of an airplane window during a long-haul flight you get a view like the God’s-eye imagery that occasionally punctuates Argentinian filmmaker Juan Cabral’s intriguing debut: a dark, curved horizon rimmed with the glimmer of a new dawn. “Two/One,” the celebrated advertising director’s first full-length feature, seems born of this lofty, sleep-deprived perspective.
Two men, strangers to one another and living on opposites sides of the planet, share a yin-and-yang-like connection through cycles of sleep and wakefulness. But this immaculately built film, is most remarkable for the warm, intensely real-feeling observation of these two different but gently echoing lives. For all the vaguely New-Age-y philosophy that underpins the movie, “Two/One” is lovely to look at, engagingly humane and surprisingly down to earth, at least until Cabral’s script lapses into overdetermination later on and the subtle magic fizzles out in a fog of tediously unanswerable practicalities.
Two men, strangers to one another and living on opposites sides of the planet, share a yin-and-yang-like connection through cycles of sleep and wakefulness. But this immaculately built film, is most remarkable for the warm, intensely real-feeling observation of these two different but gently echoing lives. For all the vaguely New-Age-y philosophy that underpins the movie, “Two/One” is lovely to look at, engagingly humane and surprisingly down to earth, at least until Cabral’s script lapses into overdetermination later on and the subtle magic fizzles out in a fog of tediously unanswerable practicalities.
- 12/8/2019
- by Jessica Kiang
- Variety Film + TV
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