Composers Atli Örvarsson, Mark Mothersbaugh and Mark Isham led the list of winners announced Monday for the annual BMI Film, TV & Visual Media Awards, with the three scorers picking up six, five and four trophies, respectively.
Örvarsson, the Icelandic composer, is now up to 29 BMI honors with the six he adds this week. His new shelf’s worth of awards came for work on “Chicago P.D.,” “Chicago Med,” “Chicago Fire,” “FBI,” “FBI: Most Wanted” and “Defending Jacob.”
Mark Mothersbaugh, of Devo as well as scoring fame, was five-times rewarded for “Dirty John,” “What We Do in the Shadows,” “The Willoughbys,” “The Croods: A New Age” and “Tiger King.”
Mark Isham’s four awards came for “Judas and the Black Messiah,” “Honest Thief,” “Little Fires Everywhere” and “Togo.”
“I’m not that much of an awards guy, but even I’m impressed — four BMI awards,” Isham said in a taped acceptance speech.
Örvarsson, the Icelandic composer, is now up to 29 BMI honors with the six he adds this week. His new shelf’s worth of awards came for work on “Chicago P.D.,” “Chicago Med,” “Chicago Fire,” “FBI,” “FBI: Most Wanted” and “Defending Jacob.”
Mark Mothersbaugh, of Devo as well as scoring fame, was five-times rewarded for “Dirty John,” “What We Do in the Shadows,” “The Willoughbys,” “The Croods: A New Age” and “Tiger King.”
Mark Isham’s four awards came for “Judas and the Black Messiah,” “Honest Thief,” “Little Fires Everywhere” and “Togo.”
“I’m not that much of an awards guy, but even I’m impressed — four BMI awards,” Isham said in a taped acceptance speech.
- 7/12/2021
- by Chris Willman
- Variety Film + TV
Few pop hits of the 1950s were more expressly queer-coded than Doris Day’s Oscar-winning chart-topper “Secret Love.” “At last my heart’s an open door/And my secret love’s no secret anymore,” she trilled, putting a wholesomely straight face on a succinct ode to the cathartic joys of exiting the closet. The song billows wistfully through the opening credits of Chris Bolan’s documentary “A Secret Love,” an adoring portrait of a lesbian partnership entering its twilight years, and it’s an apt choice. Just as the song’s lyrical subtext didn’t prevent it being heard by the mainstream as a standard heterosexual love song, so did Terry Donahue and Pat Henschel pass for decades in general society as “friends” or “cousins,” the supposedly platonic nature of their relationship unquestioned even by some close family members.
Donahue and Henschel weren’t living a lie so much as...
Donahue and Henschel weren’t living a lie so much as...
- 4/26/2020
- by Guy Lodge
- Variety Film + TV
Duncan Thum, a two-time Emmy nominated composer and multi-instrumentalist based in Los Angeles, California, brings his musical talents to the soundtrack of the Amazon Studios comedy Brittany Runs a Marathon. The indie comedy stars Jillian Bell as a “hard-partying woman” who “receives a startling wake-up call when a visit to the doctor reveals how unhealthy she is.” She then […]
The post Listen to a ‘Brittany Runs A Marathon’ Soundtrack Exclusive appeared first on /Film.
The post Listen to a ‘Brittany Runs A Marathon’ Soundtrack Exclusive appeared first on /Film.
- 8/22/2019
- by Chris Evangelista
- Slash Film
Back at the 2019 Sundance Film Festival, one of Amazon Studios’ biggest acquisitions to date was the dramedy Brittany Runs a Marathon. On the surface, it appears like the sort of movie that Sundance generates each year. A mixture of comedy and drama, with a comic actor or actress showing their range/finally being given a chance to shine. However, while all of that is true, the flick is so much more than just that. Not only is Jillian Bell absolutely aces in the film, every moment that could feel cliched here is handled in a fresh an unexpected way. This is one of the most satisfying works of the summer. The film follows Brittany Forgler (Bell), a 27 year old woman who would charitably be described as a hot mess by those who know her, and even by those who don’t. She’s all about having a good time, but largely seems to just exist,...
- 8/22/2019
- by Joey Magidson
- Hollywoodnews.com
Move over, “Chef’s Table.” Netflix will soon serve up a more accessible food series.
The streaming giant on Thursday announced the pickup of “Ugly Delicious,” a new food docu-series by Momofuku restaurateur/chef David Chang and Academy Award-winning director Morgan Neville (“20 Feet From Stardom”). In contrast to the “Jiro Dreams of Sushi”/David Gelb-inspired food porn of Netflix’s “Chef’s Table,” the new series will turn its lens to food that is less camera-ready and more consumption-ready.
Read More:‘Chef’s Table’: How One Chef’s Ruined Palate Inspired Duncan Thum’s Luscious Score
“Ugly Delicious” is a term that’s been used to describe the everyday food that is damn tasty but might not be Instagram-friendly. As a result, these comfort foods may not get the spotlight they deserve. Here’s Netflix’s description of the series:
Chang, along with other renowned chefs, industry leaders and celebrity guests,...
The streaming giant on Thursday announced the pickup of “Ugly Delicious,” a new food docu-series by Momofuku restaurateur/chef David Chang and Academy Award-winning director Morgan Neville (“20 Feet From Stardom”). In contrast to the “Jiro Dreams of Sushi”/David Gelb-inspired food porn of Netflix’s “Chef’s Table,” the new series will turn its lens to food that is less camera-ready and more consumption-ready.
Read More:‘Chef’s Table’: How One Chef’s Ruined Palate Inspired Duncan Thum’s Luscious Score
“Ugly Delicious” is a term that’s been used to describe the everyday food that is damn tasty but might not be Instagram-friendly. As a result, these comfort foods may not get the spotlight they deserve. Here’s Netflix’s description of the series:
Chang, along with other renowned chefs, industry leaders and celebrity guests,...
- 1/18/2018
- by Hanh Nguyen
- Indiewire
Another season of “Chef’s Table” has been served, and while uniformly excellent, sometimes it’s difficult to decide which episode to watch first with such a wide variety of flavors. Should you start with familiar comforting fare, aka a chef who has a restaurant near you? Or with the most exotic in order to wake up your mental taste buds?
Fear not. IndieWire has donned the toque and tied the apron strings to better serve you with a menu of how you should consume this season’s offerings. Each episode in this season will be treated as one course that works in concert with the next, creating a progressive harmony in your palate, stomach and well-being.
Read More: ‘Chef’s Table’ Trailer: A Ramen Rebel, Salt Connoisseur and a Monk Dish Up Season 3 — Watch
The spirit and content of each episode has be weighed to see if it qualifies as an appetizer,...
Fear not. IndieWire has donned the toque and tied the apron strings to better serve you with a menu of how you should consume this season’s offerings. Each episode in this season will be treated as one course that works in concert with the next, creating a progressive harmony in your palate, stomach and well-being.
Read More: ‘Chef’s Table’ Trailer: A Ramen Rebel, Salt Connoisseur and a Monk Dish Up Season 3 — Watch
The spirit and content of each episode has be weighed to see if it qualifies as an appetizer,...
- 2/17/2017
- by Hanh Nguyen
- Indiewire
“Chef’s Table” returns this month with six more stories of global gastronomy, and we’ve got your first look.
Watch Netflix’s latest Season 3 trailer below and prepare yourself the show’s return on Friday, Feb. 17.
Among the subjects this time out: While bread enthusiast and James Beard Award winner Nancy Silverton might be known to some West Coasters, over on the East Coast, Ivan Orkin is the white Jewish guy who dared to study and master the art of the slurp by creating his own ramen dynasty in Tokyo and New York.
Read More: ‘Chef’s Table’ Emmys: How One Chef’s Ruined Palate Inspired Duncan Thum’s Luscious Score
Down south to Peru, Chef Virgilio Martinez is doing things no one imagined, like using a potato grown at 5,000 meters above sea level or using more than 120 varieties of salt in his cooking. His Central Restaurante was named...
Watch Netflix’s latest Season 3 trailer below and prepare yourself the show’s return on Friday, Feb. 17.
Among the subjects this time out: While bread enthusiast and James Beard Award winner Nancy Silverton might be known to some West Coasters, over on the East Coast, Ivan Orkin is the white Jewish guy who dared to study and master the art of the slurp by creating his own ramen dynasty in Tokyo and New York.
Read More: ‘Chef’s Table’ Emmys: How One Chef’s Ruined Palate Inspired Duncan Thum’s Luscious Score
Down south to Peru, Chef Virgilio Martinez is doing things no one imagined, like using a potato grown at 5,000 meters above sea level or using more than 120 varieties of salt in his cooking. His Central Restaurante was named...
- 2/8/2017
- by Hanh Nguyen
- Indiewire
A total of 145 scores were recently announced as being eligible for this year’s Academy Award, with everything from perceived frontrunner “La La Land” (Justin Hurwitz) and “Jackie” (Mica Levi) to outliers like “Sausage Party” and “Elle.” The final five will be nominated on January 24. In the meantime, avail yourself of this Spotify playlist featuring selections from 110 of the eligible scores — as well as the full list of every eligible score.
Read More: Oscar Best Score Contenders: The Inside Story of Creating 5 Diverse Frontrunners
Read More: Oscars 2017: Listen to 70 Songs Eligible for This Year’s Academy Award
The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,...
Read More: Oscar Best Score Contenders: The Inside Story of Creating 5 Diverse Frontrunners
Read More: Oscars 2017: Listen to 70 Songs Eligible for This Year’s Academy Award
The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,...
- 1/3/2017
- by Michael Nordine
- Indiewire
The Academy of Motion Picture Arts and Sciences today announced that 145 scores from eligible feature-length motion pictures released in 2016 are in contention for nominations in the Original Score category for the 89th Academy Awards.
The eligible scores along with their composers are listed below, in alphabetical order by film title:
“The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,” Silvia Leonetti, composer
“Assassin’s Creed,” Jed Kurzel, composer
“Autumn Lights,” Hugi Gudmundsson and Hjörtur Ingvi Jóhannsson, composers
“The Bfg,” John Williams, composer
“Believe,” Michael Reola, composer
“Ben-Hur,” Marco Beltrami and Buck Sanders, composers
“Bilal,” Atli Ӧrvarsson, composer
“Billy Lynn’s Long Halftime Walk,” Mychael Danna and Jeff Danna,...
The eligible scores along with their composers are listed below, in alphabetical order by film title:
“The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,” Silvia Leonetti, composer
“Assassin’s Creed,” Jed Kurzel, composer
“Autumn Lights,” Hugi Gudmundsson and Hjörtur Ingvi Jóhannsson, composers
“The Bfg,” John Williams, composer
“Believe,” Michael Reola, composer
“Ben-Hur,” Marco Beltrami and Buck Sanders, composers
“Bilal,” Atli Ӧrvarsson, composer
“Billy Lynn’s Long Halftime Walk,” Mychael Danna and Jeff Danna,...
- 12/14/2016
- by Melissa Thompson
- WeAreMovieGeeks.com
The Academy of Motion Picture Arts and Sciences (AMPAS) has announced the 145 scores eligible in the Best Original Score category, includeing work from “Jackie” and “La La Land.” The latter film, a musical directed by “Whiplash” helmer Damien Chazelle, picked up the Los Angeles Film Critics Association’s award for Best Music earlier this month; “Jackie” was the category’s runner-up. Notably absent, meanwhile, are “Arrival” (which just landed a Golden Globe nod), “Manchester by the Sea” and “Silence.”
Read: ‘La La Land’: Emma Stone and Ryan Gosling’s ‘City of Stars’ Duet Will Sweep You Off Your Feet – Listen
Justin Hurwitz composed and orchestrated the “La La Land” score, while “Jackie” marks “Under the Skin” composer Mica Levi’s second silver-screen effort. Decades after becoming one of the world’s most renowned film composers, Ennio Morricone won last year’s Oscar for his work on Quentin Tarantino’s “The Hateful Eight.
Read: ‘La La Land’: Emma Stone and Ryan Gosling’s ‘City of Stars’ Duet Will Sweep You Off Your Feet – Listen
Justin Hurwitz composed and orchestrated the “La La Land” score, while “Jackie” marks “Under the Skin” composer Mica Levi’s second silver-screen effort. Decades after becoming one of the world’s most renowned film composers, Ennio Morricone won last year’s Oscar for his work on Quentin Tarantino’s “The Hateful Eight.
- 12/14/2016
- by Michael Nordine
- Indiewire
For the first time, the Creative Arts Emmy Awards will be split into two parts this weekend, demonstrating the growing importance of the below-the-line TV crafts. Even so, don’t expect too many surprises, with “Game of Thrones” dominating for its bravura “Battle of the Bastards” sequence in several categories and “The People v. O.J. Simpson” doing the same for its zeitgeist-grabbing historical relevance.
However, two of the toughest races will be for production and costume design. Howard Cummings, last year’s Emmy-winning production designer for “The Knick,” goes up against sentimental favorite Donal Woods for the final season of “Downton Abbey,” while last year’s costume design winners Marie Schley (“Transparent”) and Lou Eyrich (“American Horror Story: Hotel”) square off this time in the contemporary category: a further transgender exploration vs. Lady Gaga as the Countess.
Read More: ‘Mr. Robot’ Emmys 2016: How Score and Sound Explore Elliot’s...
However, two of the toughest races will be for production and costume design. Howard Cummings, last year’s Emmy-winning production designer for “The Knick,” goes up against sentimental favorite Donal Woods for the final season of “Downton Abbey,” while last year’s costume design winners Marie Schley (“Transparent”) and Lou Eyrich (“American Horror Story: Hotel”) square off this time in the contemporary category: a further transgender exploration vs. Lady Gaga as the Countess.
Read More: ‘Mr. Robot’ Emmys 2016: How Score and Sound Explore Elliot’s...
- 9/9/2016
- by Bill Desowitz
- Indiewire
If there’s a running theme in this year’s race for score and sound, it’s being unconventional.
For series dramatic score, look for “Chef’s Table’s'” Duncan Thum to get the win for the poignant “Grant Achatz” episode about a Chicago celebrity chef losing his sense of taste while undergoing cancer treatment. However, Thum faces stiff competition from Chris Bacon for the offbeat “Bates Motel” finale, in which Norman (Freddie Highmore) and Norma (Vera Farmiga) face the point of no return, and from Mac Quayle’s eerie “Mr. Robot” opener (“Hello Friend”).
“Fargo” and “The Night Manager,” which go head to head in dramatic score for limited series, movie or special, offer a ’70s vibe and Mediterranean sense of romance, with the nod likely going to “Fargo’s” Jeff Russo.
Meanwhile, “Game of Thrones” and “Fargo” are the definition of unconventional. “Got” should win for series sound...
For series dramatic score, look for “Chef’s Table’s'” Duncan Thum to get the win for the poignant “Grant Achatz” episode about a Chicago celebrity chef losing his sense of taste while undergoing cancer treatment. However, Thum faces stiff competition from Chris Bacon for the offbeat “Bates Motel” finale, in which Norman (Freddie Highmore) and Norma (Vera Farmiga) face the point of no return, and from Mac Quayle’s eerie “Mr. Robot” opener (“Hello Friend”).
“Fargo” and “The Night Manager,” which go head to head in dramatic score for limited series, movie or special, offer a ’70s vibe and Mediterranean sense of romance, with the nod likely going to “Fargo’s” Jeff Russo.
Meanwhile, “Game of Thrones” and “Fargo” are the definition of unconventional. “Got” should win for series sound...
- 8/26/2016
- by Bill Desowitz
- Indiewire
“It’s not a show about cooking, per se,” declares “Chef’s Table” composer Duncan Thum during our recent webcam chat (watch above). “It’s very much, I’d say, a show about the artist’s journey.” Thum earned his second consecutive Emmy nomination for his work on this Netflix documentary series, which takes viewers inside the lives and kitchens of some of […]...
- 8/25/2016
- by Zach Laws
- Gold Derby
Audrie Pott and Daisy Coleman never met each other in person, but the two American teenagers shared a horrific personal experience that’s becoming all too commonplace in a culture dominated by internet interactions. In Bonni Cohen and Jon Shenk’s documentary “Audrie & Daisy,” the filmmakers follow Pott and Coleman’s eerily similar stories to weave together a single tale of online bullying that will likely leave audiences shaken and demanding change.
Read More: 2016 Fall Movie Preview: 11 New Movies From Female Directors and Filmmakers to See
Both Pott and Coleman were sexually assaulted while intoxicated — while both girls were still teenagers in high school — and were subsequently bullied (both in person, but mainly online) by their classmates and alleged abusers. The girls ultimately approached their situations in different ways, but “Audrie & Daisy” uses their stories to tell one cohesive (and heartbreaking) story.
Cohen and Shenk debuted their film in competition at Sundance earlier this year,...
Read More: 2016 Fall Movie Preview: 11 New Movies From Female Directors and Filmmakers to See
Both Pott and Coleman were sexually assaulted while intoxicated — while both girls were still teenagers in high school — and were subsequently bullied (both in person, but mainly online) by their classmates and alleged abusers. The girls ultimately approached their situations in different ways, but “Audrie & Daisy” uses their stories to tell one cohesive (and heartbreaking) story.
Cohen and Shenk debuted their film in competition at Sundance earlier this year,...
- 8/22/2016
- by Kate Erbland
- Indiewire
A chef’s worst nightmare came true, and not only did composer Duncan Thum set that to music, it earned him his second Emmy nomination, for Original Dramatic Score for Netflix’s “Chef’s Table.”
The story of Chef Grant Achatz, the Chicago wunderkind who is one of the leaders in progressive cuisine, is almost unbelievable in its irony: the chef lost his ability to taste food while undergoing treatment for cancer. That’s not the end of his narrative, but it is part of the reason why Thum settled on Achatz’s episode as the standout for Emmy submission, even though he had scored all six episodes of the series’ second season.
Read More: ‘Chef’s Table’: The Directors’ Secret Recipe for the Best Food Show on TV
“There’s something special about Grant’s story that I just personally related to, because my sister also struggled with cancer,...
The story of Chef Grant Achatz, the Chicago wunderkind who is one of the leaders in progressive cuisine, is almost unbelievable in its irony: the chef lost his ability to taste food while undergoing treatment for cancer. That’s not the end of his narrative, but it is part of the reason why Thum settled on Achatz’s episode as the standout for Emmy submission, even though he had scored all six episodes of the series’ second season.
Read More: ‘Chef’s Table’: The Directors’ Secret Recipe for the Best Food Show on TV
“There’s something special about Grant’s story that I just personally related to, because my sister also struggled with cancer,...
- 8/19/2016
- by Hanh Nguyen
- Indiewire
Comedy Central may have pulled the plug on “The Nightly Show with Larry Wilmore,” but Jon Stewart, the former host of “The Daily Show,” made a point to tell Wilmore on his final show how good of a job he did hosting the half-hour series since January of 2015.
Read More: Comedy Central Cancels Larry Wilmore’s ‘Nightly Show’
“What you my friend were tasked to do you have done and done beautifully,” Stewart said after making a surprise appearance on the show Thursday. “You gave voice to underserved voices in the media arena. It was a show that was raw and poignant and funny and smart and you did it from scratch. You took something and got better every fucking day. You started a conversation that was not on television when you began.”
Stewart also told Wilmore not to confuse “cancellation” with “failure,” as he himself had his name on shows that were cancelled,...
Read More: Comedy Central Cancels Larry Wilmore’s ‘Nightly Show’
“What you my friend were tasked to do you have done and done beautifully,” Stewart said after making a surprise appearance on the show Thursday. “You gave voice to underserved voices in the media arena. It was a show that was raw and poignant and funny and smart and you did it from scratch. You took something and got better every fucking day. You started a conversation that was not on television when you began.”
Stewart also told Wilmore not to confuse “cancellation” with “failure,” as he himself had his name on shows that were cancelled,...
- 8/19/2016
- by Graham Winfrey
- Indiewire
The signature moment in each episode of Netflix’s Emmy-nominated “Chef’s Table” is no more than a succession of plates. Composer Duncan Thum’s melodramatic strings herald abstractions of texture and color, labeled as if on view at the Met: A rough pile of gray shards and purple flowers spattered with orange liquid (Grant Achatz’s “Graffiti, Carrot Spray Paint, Wild Mushrooms”); a wood husk filled with delicacies in the guise of dirt, twigs, and moss (Dominique Crenn’s “A Walk in the Forest”). Each montage is an expression of the belief that haute cuisine is high art, one shared by the series’ renowned subjects. “There [are] other disciplines that we can draw on for inspiration,” Achatz remarks. “There are no rules. Do whatever you want.”
For a series defined by cuisine that defies convention, however—gold-leafed ants and pillows of nutmeg air, flights of fancy and sleights of hand...
For a series defined by cuisine that defies convention, however—gold-leafed ants and pillows of nutmeg air, flights of fancy and sleights of hand...
- 8/10/2016
- by Matt Brennan
- Indiewire
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