Mission: Impossible - Rogue Nation (M:I 5) by Joe Kraemer!

[Naïve Old Fart 9,534]

NPR did a nice little story on the music to Mission Impossible with interviews from Schifrin, Giacchino, Kraemer, and McQuarrie. Worth a listen. Williams gets mentioned twice and seems to imply he was going to score the first film in the series, which is something I had never heard before. It's 5 minutes and 40 seconds.

http://www.npr.org/2015/07/30/427731324/four-composers-one-nearly-impossible-mission-to-reinvent-a-classic-theme

Did Kraemer borrow from Rosenthal's Clash of the Titans ?

Sent from my SAMSUNG-SM-G900A using Tapatalk

Well, he certainly didn't borrow from John Barry's "Clash Of The Titans"!

[Sharkissimo 1,973]

I like it. It's not as mindblowing as I was hoping for, given the feverish posts here and Kraemer's interview (with the invocation of Reich I'd hoped the Torus cue would be harmonically much richer--i.e. the altered/polychords in The Desert Music or Music for 18 Musicians--rather than just the timbral element). But yeah, it's a very strong score, and the recording/acoustics is perfect. Very much my aesthetic.

[#SnowyVernalSpringsEternal 10,265]

I agree the sound is excellent!

[Dixon Hill 4,234]

Reich was mentioned in relation to this? Huh?

[#SnowyVernalSpringsEternal 10,265]

Third....Reich?

[crocodile 8,017]

Reich was mentioned in relation to this? Huh?

Yes. In my interview.

(Sorry to be be so self-serving and over-spamming this thread but I'm sort of proud of my work. Doesn't happen very often.)

Karol

[Dixon Hill 4,234]

Yeah you suck! Stop promoting yourself!

I guess I hear what he means but it's pretty tenuous, because it's done in a way that isn't really dissimilar from the typical minimalist influence on Hollywood.

[crocodile 8,017]

I don't think he would disagree with you. It was supposed to sound more modern than the rest of the score and, as we know, those kind of techniques are most present in contemporary thriller genre.

Karol

[Sharkissimo 1,973]

FFS.

I was hoping for THIS!

[Jay 37,369]

To everyone who ordered a sign cd of Rogue Nation from LaLa Land Records, here are your signed booklets

Source: Facebook or https://twitter.com/joekraemer/status/627908011504218113

[Cerebral Cortex 3,357]

Was going through the Amazon reviews for this score and found this:

[Jay 37,369]

I completely forgot to mention, but my signed copy from La-la Land arrived on Saturday!!!!!

[#SnowyVernalSpringsEternal 10,265]

Was going through the Amazon reviews for this score and found this:

Funny!

[crocodile 8,017]

Haha made me laugh.

My CD just arrived.

Karol

[Jay 37,369]

Cool article about the recording sessions

http://www.londonjazznews.com/2015/08/report-recording-of-music-for-mission.html

[crocodile 8,017]

Sweet, thanks for sharing.

I'm thinking of seeing the film again tonight. We'll see.

Karol

[Luke Skywalker 1,795]

The score and film were fun and entertaining.

Kramer's style didnt sound radically different for me from a M:I Giacchino score, so i'm glad the scores continue in that direction.

[Jay 37,369]

Kraemer

[Luke Skywalker 1,795]

oops

[crocodile 8,017]

The score is very fun on album but it's in the film where it truly shines. It's spotted and mixed well.

Karol

[Luke Skywalker 1,795]

One funny thing i noticed...is that in this film tom cruise resembles thomas newman a little...

[Jay 37,369]

Holy shit!

[BloodBoal 7,538]

No! He resembles Joachim Löw!

[#SnowyVernalSpringsEternal 10,265]

Or Thomas Newman!

[Jay 37,369]

Interview with McQuarrie has some nice words about Kraemer's score

One of the movie’s real strengths is Joe Kraemer’s score, which does an interesting job of integrating the original Lalo Schifrin Mission: Impossible theme into an overall orchestral tapestry that also has references to opera. How do you approach music in your work?

First of all, I don’t use temp music when I’m editing, because I think it does two bad things. One is that it gives you the false impression that a scene is working when it’s not, and the other is that you fall in love with the temp score and then no piece of original music is ever going to satisfy you. Then you find yourself tempted to tell the composer, “just copy the temp”—that happens a lot. If you know your movie music, you can watch films where they’ve done that and tell what they were copying. For this film, Joe wanted to go back to the TV show and only use instruments that were available in 1966 when Schifrin wrote his theme music. So there are no synthesizers—the score is purely orchestral. But Joe didn’t want the score to feel archaic, so he developed synthesized sounds with the trumpets playing the same notes over and over again at an incredible staccato rate. That gives you a sensation of something only a synthesizer can do, but it’s all being done with a 90-piece orchestra. It gives a kind of fluttering heartbeat to the movie right from the start, and when he demonstrated it for me I said: “That’s great, it works for me thematically, and I want you to run with it throughout.”

The way Joe and I generally work is that we’ll sit down and he’ll play me a bunch of music that he’s experimenting with, sometimes not even for a specific scene—or sometimes he’ll write a piece of music for one scene and I’ll decide that it works better somewhere else. From that experimentation the score grows organically . . . In the train station scene, Joe wrote music to start earlier than it ends up in the finished movie. In that case I moved the whole cue 10 seconds later without changing anything else, and it shifted the emotional emphasis from Ilsa’s line to Ethan’s reaction, musically leading the audience to share Ethan’s point of view.

On this film we had such a compressed post-production schedule that Joe couldn’t confirm the score measure for measure before he had to start orchestrating. I only heard about 40 percent of the score before Joe starting recording it. Ironically, the points when I drove Joe crazy came from the fact that we did use temp music when we screened the film for test audiences, and it was very effective. I didn’t want Joe to match it, but I did want him to top it, so I was constantly pushing on him, and the movie’s better for it. Also, when we started putting music with the movie we realized that our original intention—which was to keep it spare—wasn’t going to work. The movie was calling out for more music.

And yet there are some very effective action sequences that have very little music, or no music at all. Is that a decision that is made conceptually from the beginning, or do you drop certain cues out during the mix?

It’s very methodical. In the opening action sequence, the sound design would get too monotonous if you didn’t have music—plus it’s the beginning of the movie, you need to set the tone. But the car chase—which, like the car chase in Jack Reacher, doesn’t have music—has constantly shifting rhythms in its sound design, from motorcycles to cars, from inside the car to outside the car, in the motorcycle driver’s POV, outside the group of motorcycles. Those sounds are the music of the sequence. But to address your question, we did score it to protect ourselves—we never had any intention of using the music, but in early test screenings people had pace issues and we started to worry that the chase was a little long. We determined that you could sustain the chase without a score until Tom flips the car end over end, at which point the sequence shifts to motorcycles and no car. At that point we needed to tell the audience that we’ve entered another level—also, with less vehicular variety the motorcycles themselves would start to sound monotonous. So we put music with the motorcycles and left the car chase alone, and suddenly the notes about pacing went away.

The biggest challenge in terms of the scoring was the third act of the movie. We were getting notes from the audience saying that they felt like the movie ended three or four times, and the studio thought we needed to figure out what we could cut to streamline it. Tom was the one who astutely observed that the problem could be solved with the music. He said, “Create music that gives the sense that it’s all one sequence,” so Joe was given that mandate and subtly kept the audience from feeling like the scene was changing, even though there was a constant change of scenery.

http://www.filmcomment.com/blog/interview-christopher-mcquarrie/

[crocodile 8,017]

Knowing that you disagree, Jay, I like the idea that there is no music during car chase. When the score finally kicks in motorcycle scene, it has a real impact and a massive kick.

Having said that, I would like to hear the demo.

Karol

[Jay 37,369]

Yea I'd kill to hear that demo!

As for whether or not the car chase works better with or without music, I'd have to see the film again to speak about it again

[crocodile 8,017]

I've watched again on Tuesday. Sounds even better in Atmos.

Karol

[BloodBoal 7,538]

I thought the lack of music didn't work for some sequences (the car chase for example just felt odd without it), though it did work perfectly with others (the Torus sequence for example).

[Jay 37,369]

You can meet Joe and get your CDs signed on Sunday Nov 14 at Creature Features in Burbank, CA!

https://www.facebook.com/lalalandrecords/posts/10153823639783755

[BLUMENKOHL 1,068]

After seeing this movie and listening to the score a couple of times, I will guarantee that this score is one of those that people will look back on and wonder why they loved it so much in 2015.

Musically, there is nothing being said here that hasn't been said before. It's effectively Michael Giacchino meets Danny Elfman (that general cartoony sound) and roped together with Lalo Schifrin, but with some monster orchestrations that Giacchino and Elfman have never been able to attain.

Now all that said, the orchestrators and recording engineers and mixers have absolutely kicked ass. Serious ass. This may be one of the best recorded soundtracks ever. I haven't enjoyed an orchestral recording this much since Bruce Botnick more or less retired.

Music: 6/10

Recording: 100/10

[#SnowyVernalSpringsEternal 10,265]

I agree. Every score should sound this good!

[crocodile 8,017]

It also sounds absolutely fantastic in the film. I could hear every note.

Karol

[crocodile 8,017]

If you're toying with the idea of buying Mission: Impossible - Rogue Nation Blu-ray make sure to pick the one with extra bonus disc as it contains two short music featurettes - one on the opera sequence and another one about the score. They're really brief (9 minutes in total) but nice. Kraemer also appears in the editing featurette. In the UK, the extra disc version is available from Sainsbury's (only, apparently). In the US, it's the target (that also has some sort of book and DVD). The first discs, available everywhere, contains about 48 minutes of extras plus commentary. The exclusive edition contains additional 71 minutes (not 50, as advertised). Just so you know.

Karol

[Jay 37,369]

It should be noted in this thread (it was pointed out in the FYC thread last week) that Paramount has a site up to push the score for award nominations here:

http://www.paramountguilds.com/mission-impossible-rogue-nation/score/

 

The site briefly contained a 56 track, 96 minute version of the score that looked like this:

 

01 Logos (1:18)

02 A400 Part 1 (3:20)

03 A400 Part 2 (0:39)

04 Mission Impossible Theme (0:53)

05 London (0:33)

06 Shadow Wilson (1:05)

07 We Are the Syndicate Part 1 (1:36)

08 We Are the Syndicate Part 2 (2:37)

09 The Senate (1:05)

10 The Dungeon / Rabbit’s Foot (3:52)

11 Brawl (1:28)

12 Dungeon Fight (0:18)

13 Logos (2:02)

14 Havana Part 1 (2:14)

15 Havana Part 1 (0:59)

16 Overture to Le Nozza Di Figaro (0:51)

17 King of Norway (1:27)

18 Symphony No. 3 Eroica: 1st Movement (1:06)

19 Vienna (4:08)

20 Rooftop Escape (1:56)

21 She Tried to Kill Me (2:08)

22 Barge on the Danube (1:39)

23 The Syndicate (2:24)

24 Lipstick (0:57)

25 Shoot My Uterus (1:10)

26 Morocco (1:31)

27 It’s Impossible (0:30)

28 Benji Gets to Wear a Mask (3:25)

29 She’s Bad News (1:10)

30 Mission: Infiltrate (3:15)

31 Benji Changing Clothes (0:45)

32 Shocking / Are You Okay to Drive? (2:03)

33 Killer (0:25)

34 Atlas Motorcycle Chase (2:29)

35 Morocco Cantina Band (1:44)

36 I Am so Proud of Us (3:25)

37 Cemetery Meeting (1:23)

38 Graveyard Chat (0:34)

39 King’s Cross Station (0:53)

40 Aqaba (2:51)

41 Kidnapping Benji (2:28)

42 Reroute Us to London (1:18)

43 Get Him Ready Please (3:15)

44 That Syndicate (2:49)

45 Living Manifestation of Destiny (1:39)

46 Activating the Syndicate (0:32)

47 No Sudden Moves Benji (2:31)

48 I Am the Disk (3:52)

49 Shootout at the Table (0:24)

50 London Foot Chase (2:11)

51 Knife Fight (2:13)

52 Lane Finds Ethan (0:35)

53 Mr. Lane Meet the IMF (1:49)

54 You Know How to Find Me (1:40)

55 Mr. Secretary (0:16)

56 Curtain Call (0:54)

 

The site has been updated and now contains a 31 track, 83 minute version of the score that looks like this:

 

01 Studio Logos 1:15

02 The A400 3:20

03 London 0:34

04 The Record Store 3:18

05 The Senate 0:34

06 The Mysterious Woman 1:34

07 Escape to Danger 2:49

08 King of Norway 1:28

09 Vienna 4:08

10 A Flight at the Opera 4:27

11 To the Hideout 1:09

12 The Syndicate 2:25

13 Lipstick 0:58

14 Apartment/Morocco 2:32

15 The Plan 3:45

16 Infiltration 3:22

17 Ilsa Rescues Ethan 0:48

18 Shocking 2:00

19 The Killer on the Motorcycle 4:08

20 Moroccan Pursuit 2:30

21 In the Cantina 1:45

22 The Train Station 1:21

23 A Matter of Going 2:51

24 Kidnapped 2:27

25 The Blenheim Sequence 4:25

26 Visit with the Prime Minister 4:22

27 The Tower of London 8:58

28 Footchase/Knifefight 5:05

29 The Glass Box 1:49

30 Saying Goodbye 1:39

31 Finale 1:07

[crocodile 8,017]

Knife Fight and To the Hideout!

Yay, thanks Jay!

Karol

[Mr. Breathmask 555]

It should be noted in this thread (it was pointed out in the FYC thread last week) that Paramount has a site up to push the score for award nominations here:

http://www.paramountguilds.com/mission-impossible-rogue-nation/score/

The site briefly contained a 56 track, 96 minute version of the score [snip]

Interesting. I'd love to get my hands on that longer version!

As for the new FYC that's up, don't throw out your CD yet. There's a bunch of music on the CD that isn't in this promo!

mi5.pdf

[Jay 37,369]

There's plenty of reasons to hold onto the CD, starting with the fact that its lossless and these website files are only 192kbps mp3.

Anyways, I've whipped up a quick comparison of the new FYC files to the OST(s), see here:

https://docs.google.com/spreadsheets/d/1Y3m4_l-pWuPJ4VKhMBCX5-XnrbbXN6QTdaXiUr7Amf4/pubhtml

I'm working on a tab now incorporating the earlier FYC files, so pay no attention to what it says right now as its a work in progress.

[BloodBoal 7,538]

Mr. B just did that!

EDIT: Ah, he only used the 31 tracks version.

[Jay 37,369]

His PDF was added to his post later, not there when I first replied.

EDIT: Looks like his PDF and my spreadsheet contradict each other in a few spots.

[BloodBoal 7,538]

[A. A. Ron 1,742]

There's plenty of reasons to hold onto the CD, starting with the fact that its lossless and these website files are only 192kbps mp3.

Anyways, I've whipped up a quick comparison of the new FYC files to the OST(s), see here:

I'm working on a tab now incorporating the earlier FYC files, so pay no attention to what it says right now as its a work in progress.

https://docs.google.com/spreadsheets/d/1Y3m4_l-pWuPJ4VKhMBCX5-XnrbbXN6QTdaXiUr7Amf4/pubhtml

Lossless or no, the CD is mastered too loud IMO. Even at 192k, the ogg files Paramount originally posted sound better to me.

Looking forward to your spreadsheet!

[Jay 37,369]

Well, its done for now

Let me know if there are any mistakes.

[crocodile 8,017]

Just watched the film with commentary track a lot. McQuarrie and Cruise talk about Kraemer a lot.

Not necessarily stuff we didn't know. But still.

EDIT: Oh, and I was wrong. There are only 50 minutes of additional extras on bonus Blu-ray disc. Two or three featurettes are also present on the main disc.

Karol

[Jay 37,369]

Wow, the Paramount FYC site has reverted to the original 56 track program, well kinda, it's now only 53 tracks and some names are different.

[Mr. Breathmask 555]

That'll keep the bootleggers busy!

Anything new?

[Jay 37,369]

Now its back to the 31 track version!

[thx99 1,740]

Now its back to the 31 track version!

That appears to be different from the first 31-track version that was available!!

(Perhaps in tagging information only...)

[Jay 37,369]

Looks like the same music as before, just with names more like the 56 track version instead of the names that were there before.

[thx99 1,740]

It's the same, they just updates the names to be more specific about the music they contain

Actually, the new set is about a minute shorter. Track 14 is 2:31 in the first version and is now 1:31. The opening minute has been cut.