BEVERLY HILLS, (L-R) Joanna Schwartz, honoree Theodore Shapiro, recipient of the BMI Icon Award, Tracy McKnight, VP, Creative, Film, TV & Visual Media, BMI and Mike Steinberg, EVP, Chief Revenue & Creative Officer, BMI attend the 2026 BMI Film, TV & Visual Media Awards (Photo by JC Olivera/Getty Images for BMI)
BEVERLY HILLS, CA (LA ELEMENTS) 5/18/2026 – “Thank you BMI for this incredible honor,” said Theodore Shapiro while accepting the Icon Award at the 2026 BMI Film, TV and Visual Media Awards. “The list of composers that I join as a recipient of this award is truly humbling to me. And I want to thank BMI for everything that you do on behalf of all of us. The work that you do in support of us is so impactful on our lives and I think I’m on solid footing in saying that all of us in this room thank you for all the work that you do.”
The BMI Film, TV and Visual Media Awards were held on Wednesday, May 13, 2026, at the Beverly Wilshire Hotel. This special entertainment industry event was hosted by BMI Executive Vice President, Mike Steinberg and BMI Vice President Creative, Film, TV & Visual Media, Tracy McKnight. The evening ceremony honored the composers of last year’s most popular films, TV and video games. Artists who enhanced feelings of fear, sadness and joy with the brilliance of their music.
Shapiro’s achievements throughout his decades-long career made him the natural choice for this year’s Icon Award. He won back-to-back Emmys for his work on Severance, and his scores have contributed to over a billion dollars in box office revenue. The evening saw him win an additional three BMI Awards for his work on Another Simple Favor and The Housemaid, bringing his total to 28 BMI Awards. Currently, his work can be seen on the big screen in The Devil Wears Prada 2.
Several renowned Academy Award- winning composers were honored during the evening’s ceremony including Alexandre Desplat (Jurassic World Rebirth), Ludwig Göransson (Sinners) and Gustavo Santaolalla (The Last of Us), and Atticus Ross (Tron Ares: The Gorge).
Among the19 composers receiving their first-ever BMI Award were Joshua Carro, Zach Cregger, Ilan Eshkeri, Michael Griffin, Hays Holladay, Ryan Holladay, Alexis Martin and Antonio Sanchez.
Artli Örvarsson (Chicago P.D; Chicago Med; Chicago Fire; FBI; FBI: International; FBI: Most Wanted) won the most awards of the night, taking home a total of six BMI crystals.
We spoke with some of the winners on the BMI red carpet. Here is what they had to say about the breakthrough project that launched their career and more.
Jongnic Bontemps attends the 2026 BMI Film, TV & Visual Media Awards (Photo by JC Olivera/Getty Images for BMI)
Jongnic Bontemps (Tyler Perry’s Madea’s Destination Wedding)
Which project first made you feel established as a composer?
“I would have to say Transformers: Rise of the Beasts. I was the composer for that movie back in 2023 when it came out. It was a dream, because I never thought I would have the opportunity to participate in such a massive franchise that’s beloved around the world.”
“I grew up with Transformers and when I was told that I was going to be the composer for that show, I literally cried.”
I know that sometimes a composer will receive the script to a TV show or a movie even ahead of the actors. Has that happened to you?
“When you have a deep relationship with a filmmaker, they’re going to bring you in at the very beginning because they feel that you are an integral member in telling the story. I’m blessed that I have a few relationships like that. Sometimes you’re even part of those discussions of, ‘Who should we cast?’ because you have a relationship where the filmmaker trusts your sensibilities. If you do enough movies together, you become a trusted collaborator with them.”
Which filmmaker have you collaborated with the most?
“I would say Stephen Caple Jr. who directed Transformers: Rise of the Beasts. We started at USC together and 15 years later, we’re still working together.”
What does tonight mean to you?
“It’s an important step in the journey.”
Peter Jones on the red carpet for the 2026 BMI Film, TV and Visual Media Awards. (photo: Elva Zevallos for LA ELEMENTS)
Peter Jones (Heated Rivalry)
Is Heated Rivalry the one project that made you feel like you arrived as a film composer?
“Yeah because it’s my only credit for now. It’s the first one and it happened to be a success. I’m very happy with my first experience. It was a pleasure for me to just score the show.”
What does tonight mean to you?
“It means a lot. I’m not going to lie, since I delivered the score and the show aired, I thought I was done. But Heated Rivalry has become a bit of a full-time job and I have lots of opportunities. As a French Canadian and as a Quebecer, I cannot be more excited about being recognized in such a way.”
Sheridan Tongue at the 2026 BMI Film, TV and Visual Media Awards. (photo: Elva Zevallos for LA ELEMENTS)
Sheridan Tongue (Amy Bradley Is Missing)
What was your breakthrough project as a composer?
“It was, Silent Witness in the U.K. for the BBC. I think once I had done two or three series I was like, ‘This is the most long-running, popular crime series in the U.K.’ And once I had done a few series, I felt like I had kind of arrived.”
What does tonight mean to you?
“To celebrate the skill of the craft of composing because so much goes into it behind the scenes. As composers, we put everything into every job we do and sometimes, maybe it goes unnoticed but it’s a massive prize. So, to celebrate it tonight with fellow composers, is absolutely wonderful.”
Do you feel that the landscape for composing is changing a bit?
“I think it’s definitely getting harder. I feel sorry for the younger generation coming into our business. We’re going through difficult times with AI and things like that.”
“I also think ghost writing (composers create original music for productions but receive no credit for their work) is a problem in our industry as well. I started a campaign in the UK to end ghost writing in film, television and game music. The Ivors Academy officially launched it in the fall and it’s gaining momentum in the UK. I think a lot of work needs to be done here, and that could benefit hundreds if not thousands of composers.”
l. to r. Tom Schrader and Georgia Makeley Schraeder on the red carpet for the 2026 BMI Film, TV and Visual Media Awards. (photo:
Elva Zevallos for LA ELEMENTS)
Thomas Schraeder (Vicious)
During the early part of your career, what was the project that made you feel that you had arrived as a composer?
“Great question! The Dark and the Wicked from Brian Bertino. He was also the director of Vicious, the one I’m here celebrating the award for. But The Dark and the Wicked was the one that made me recognize that a career had finally started.”
I know sometimes composers will receive a script even ahead of the actors. Has that happened to you?
“This one I did start scoring very early on in the process. I’m not sure if Dakota Fanning was on board yet. She was the wonderful lead. But I did actually write all of the music to the script and then I worked alongside Brian and the editing team on the Paramount lot for the entire nine months doing editing as well. It was a unique process that I absolutely fell in love with.”
Do you think that the landscape of composing is starting to change?
“I like to think that the best part of art is always evolving and changing. That challenges me and makes me think outside of the box and makes me always try to bring something new to every project, to try to give the project its own personality and soundscape.”
What does tonight mean to you?
“It’s a great honor to celebrate this with my manager and my wife. BMI gave me my start about 20 years ago at Lollapalooza I played the Lollapalooza BMI stage, so 20 years later, it’s really a nice whole circle moment.”
BMI gave you your start at Lollapalooza?
“Yeah. I played the BMI stage, I was an unsigned artist and that really started my songwriting career in 2007.”
Sam Haft attends the 2026 BMI Film, TV & Visual Media Awards in Beverly Hills, California. (Photo by JC Olivera/Getty Images for BMI)
Sam Haft (Hazbin Hotel)
Going back to the early part of your career, what was the one project that made you feel that you had finally arrived as a composer?
“The first thing that made me go, ‘Oh wow! There are people who really care about these songs,’ was writing music for my band, The Living Tombstone. That was the first thing where I saw the way that my music would kind of reverberate in people’s lives.”
Do you think the landscape of composing is changing?
“I think it’s changing to the extent that the music industry in general is changing. The music industry is going through a lot of similar things that the television industry is going through. As we move to streaming platforms, there’s just less of a direct sort of financial contribution from audience member to creator now that everyone’s kind of taking slices of the digital platform pie.”
What does tonight mean to you?
“As a composer in the film and television world, it’s very east to feel off in your little dungeon, isolated, doing your music thing separate from the production of a project. Nights like this, really drive home that we are as much a part of the artistic identity of these projects as a cinematographer, as an editor, as a screenwriter.”
Dominic Lewis at the 2026 BMI Film, TV and Visual Media Awards in Beverly Hills. (photo: Elva Zevallos for LA ELEMENTS)
Dominic Lewis (The Man in the High Castle)
What was the one TV show or film that made you feel that you had finally arrived as a composer?
“I guess it would have to have been my first one, The Man in the High Castle.” People know my name now.”
Do you feel that the landscape of composing is changing?
“Yes, massively. We came from a very orchestral based background and through the 2000’s we pushed into this very kind of minimalist, not much theme going on. I’m hoping it’s a circle, but right now, we’re in that kind of midway spot. People still want to be cool and edgy and push the envelope and that’s cool, but melody and storytelling is also very important as well. I’m hoping we’re on that journey back to melody and orchestration and things that pull the heartstrings.”
Some composers on occasion will receive a script even ahead of the actors. Has that happened to you?
“Yeah. When I work with David Leitch, that’s the norm. So on Bullet Train and The Fall Guy and How to Rob a Bank, on those three and I’m about to do another one with him in the summer, as soon as they get it, they send it to me.
What does tonight mean to you?
“It’s my favorite night. Everyone here-we never see each other during the year, ever. So being here with everybody, hanging out, it’s so much fun.”
BEVERLY HILLS, Gil Talmi attends the 2026 BMI Film, TV & Visual Media Awards in Beverly Hills, California. (Photo by JC Olivera/Getty Images for BMI)
Gil Talmi (Gone Girls: The Long Island Serial Killer)
What was the one TV show or film that made you feel that you had finally arrived as a composer?
“That is such a good question and I’ll answer it with this: There are days when I feel established, and days when I feel I haven’t done it yet.”
“It’s weird. I feel like it’s a moving goalpost and it’s never ending. Any one project? There was a project years ago called New Year Baby, a documentary about the Cambodian genocide that I got to collaborate with. It had such meaning and it really helped me feel like my passion for socially conscious projects, and my musical abilities can be merged together and put to good use. That was definitely an aha moment in my career, not just as far as success, but as far as meaning. A North Star. ‘Why am I here and what am I doing?’
Do you feel that the landscape of composing is changing?
“I feel the landscape of filmmaking is changing. Company studios are wanting to churn out a lot of “product.” AI is on the rise which makes it even more special for me to be here tonight with a group of human beings celebrating each other. You can’t replicate this with AI. The human contact, this conversation, caring about expression and connection.”
What does tonight mean to you?
“I think it’s a celebration of human creativity and expression. I’m very grateful to BMI for doing this every year. For a lot of us, it’s friends meeting and supporting each other throughout the year and seeing how we’re doing and how we’re staying in it together. It’s really human contact, human connection, celebration, upholding.
Fil Eisler attends the 2026 BMI Film, TV & Visual Media Awards in Beverly Hills, California. (Photo by JC Olivera/Getty Images for BMI)
Fil Eisler (Sheriff Country; Fire Country)
At what point in your career did you feel that you had finally arrived as a composer?
“Next year. But honestly, the first film I ever did called Humboldt County, won at festivals. It was a little indie movie with first time directors. The first time I won at festival with a movie, it was a movie called Natural Selection. I won Best Score at SXSW. The one that really put me on the map was an ABC show called Revenge.”
“You never really feel like you’ve arrived, but there are big steps in your career. That was definitely one. And getting to work with Phillip Noyce, who was sort of a hero director of mine, and I’m actually doing a movie with him right now.”
In your opinion, is the landscape of composing changing?
“I think it’s gone through a sea change right now. But I think the constant is talent and originality and unique voices, and I think the more the conversation about AI gathers pace, the more the reaction to it and against it gathers pace. It’s just a tool. I don’t think it’s this end of the world thing. I mean, listen, it might kill us all and that’s a different story. But I do think as far as the arts go, and not just film or music, I think people really need to connect with real stories, real heartbreak, real compassion. And AI can’t ever have that.”
What does tonight mean to you?
“It’s a celebration of community, unique voices and talent. We’re not in competition with each other. It’s not an awards show in that sense. We’re here to relax with our friends and just be part of the community which is huge for us because we spend the rest of the time being hobbits, by ourselves, composing.”
Film composer Bobby Krlic on the red carpet at the 2026 BMI Film, TV and Visual Media Awards. (Photo: Elva Zevallos for LA ELEMENTS)
Bobby Krlic (Eenie Meanie)
What project do you feel first established you as a film composer?
“Oh, certainly a film called, Midsomer.”
Do you believe that the landscape of music composition is changing today?
“I think so. I think that we are entering even more of a phase where we have more kinds of producers and engineers. Speaking personally for me, the production, the recording, the engineering is also part of the writing. I think that we’re moving towards scores that even if they’re not hybrid in terms of electronics, we’re still getting a lot of processed traditional instruments and things like that. I don’t think film scores have been more interesting than they are. I think we’re in a really great place.”
I know sometimes a director will give a script to a composer even ahead of the actors. Has that ever happened with you?
“Yeah on a few projects, notably Beef. I had really early scripts for that for that and I was lucky enough to go to a table read and see everyone doing it. I drove home at 80 miles an hour and then wrote a whole suite like immediately, trying to remember what people were saying and the rhythm and so yeah, really lucky to get to do that.”
Do you find that you gravitate towards darker material?
“I think darker material gravitates toward me.” (laughs)
What does tonight mean to you?
This is such a big deal. As composers we tend to be very insular, and we spend so much time in our studios. I love BMI and I love coming here every year and feeling a community that grows and grows every time. When I come here and look forward to seeing all my friends and seeing so much talent.”
Sara Schachner attends the 2026 BMI Film, TV and Visual Media Awards in Beverly Hills, Ca (photo: Elva Zevallos for LA ELEMENTS)
Sara Shachner (Predator: Badlands)
When did you finally feel that you had arrived as a composer?
“I feel like it’s always evolving. Like there’s been multiple times where I’ve felt that, but then things dissolve, and I have difficult goals. So, I don’t know.”
What was your first big name project?
“Probably the video game work that I’ve done with Assassin’s Creed and Call of Duty. I love, love those franchises.”
Do you find the landscape of musical composition changing?
“I think the craft is the same, but I think what people are looking for is always shifting and evolving. I think directors and studios are wanting more and more human touch and real voices. It’s all relevant with AI right now, because having a real unique voice is more important than ever.”
What does tonight mean to you?
“It’s just so much fun to see friends and colleagues. Most composers spend a lot of time alone, so it’s great to all be together and just celebrate each other.”
Joe Wong attends the 2026 BMI Film, TV & Visual Media Awards in Beverly Hills, California. (Photo by JC Olivera/Getty Images for BMI)
Joe Wong (Will Trent)
Congratulations on Will Trent being recently renewed, especially when so many other TV series have been cancelled. Why do you think that Will Trent is resonating with so many people?
“I think it has a nice balance of levity and action and it’s a good escape for people.”
What your first big project as a composer?
“They all felt big. The first project I ever did was The Yes Men. I think it came out in 2003 when I was still a waiter at the time. But then the film got a theatrical release at the movie theater, and it was within viewing eyeshot where I was working, and I could see the film on the marquee. So that was kind of an interesting experience.
What does tonight mean to you?
“It’s a good excuse to get with other composers because unlike writers there aren’t composer rooms typically. We’re all cloistered away in our own little studios.”
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