Interview with Joe Kraemer on Mission Impossible Rogue

We're about to close. That won't be long. You

looking for anything in particular? Something

rare. Let me guess. Classical. Jazz. Sax. Coltrane.

Piano. Monk. Shadow Wilson on bass. Shadow Wilson

played drums. Know why? They call him Shadow.

Because he had a light touch. You're in luck.

I have a first pressing. It really is you. I've

heard stories. They can't all be true. Good evening,

Mr. Hunt. The weapons you recovered in Belarus

were confirmed to be VX nerve gas, capable of

devastating a major city. The bodies of the air

crew were found less than 24 hours after they

landed in Damascus. They were identified as low

-level Chechen separatists, with neither the

access nor the ability to acquire the weapons

they were transporting. This would support your

suspicion that a shadow organization is committed

to inciting revolution by enabling acts of terror

in nations friendly to Western interests. IMF

suspects this to be the same shadow organization

you have been tracking for the last year, also

known as the Syndicate. IMF would be right. Normally,

you and your team would be tasked with infiltrating

and disrupting this terrorist network, but we

have taken steps to ensure that this will not

happen. Because we are the Syndicate, Mr. Hunt,

and now we know who you are. Your mission, should

you choose to accept it, is to face your fate.

Pursue us, you will be caught. Resist us, you

will be killed. And your precious secretary will

disavow any knowledge of your actions. Good luck,

Mr. Hunt. This message will self -destruct in

five seconds. I'm Joe Kramer, composer of Mission

Impossible Rogue Nation. Your mission, should

you choose to accept it, is to listen to this

podcast from the Geekcast Radio Network. Hello

and welcome to Geekcast Radio. This will also

be featured on Movie Week in Review. This is

actually, it's kind of funny folks, I am of course

TF2 and Mike from the Geekcast Radio Network.

It's kind of funny. The GeekCast Radio Network,

we're coming up on our seven -year anniversary

this coming June in 2016, and MWIRE, a movie

we can review, our movie, our general overall

review movie podcast that Steve Megatron and

I started when the network first launched, will

actually have its seventh year anniversary on

July 11th of next year in 2016. And in seven

years, we have never had an interview on Movie

Weekend Review until now, and I am very proud

and very pleased to welcome the... Let's see,

how am I going to put this? The guy who makes

movie scores self -destruct, Mr. Joe Kramer,

the composer and conductor for Mission Impossible,

Rogue Nation. Thank you, Mike. It's my pleasure

to be here. Yes, it's it's it's our pleasure

to have you on the show and I I've been a fan

of this franchise obviously for the last almost

20 years now I've seen every film in theaters

on opening day Mi5 is the first film in the franchise.

I've seen in theaters more than once hmm That's

great. I hope I hope that means you liked it.

Yeah, well Yes, I liked the film, but the thing

is, and I mentioned this in my written review

of the score, for some odd technical reason,

whatever, I'm on La La Land Records promo list,

so they send me copies of their stuff to review,

whatever else, and didn't exactly get Mission

5 right when it came out, right when the movie

came out, because the release of the soundtrack

was a few days later or whatever else, so I didn't

get my copy in time. I had to go back. Right.

Let's say this is a bad thing. By the time my

copy of the score came in the mail, I was like,

OK, I need to go see the movie again because

it was still in theaters at the time. I need

to remember what the hell happened so I can accurately

write a good review of the score. That's awesome.

Yeah. And I actually just finished watching the

film again right before we started this. Oh,

cool. I watched. I had planned on watching all

five. That didn't happen. That's ambitious. I

watched. Yeah, I know. It will happen eventually,

but it didn't happen this time. Listen, I'll

be honest. When I got the job, I actually didn't

watch any of the first four movies once I was

hired. Really? I'd seen them all when they came

out, but I sort of vowed I would not go back

and watch them until I'd finished the score because

I didn't want to sort of even subconsciously

copy what the other guys had done. Right, right,

right, right. So Mission Impossible, the film

franchise is almost 20 years old. You are now

in the Mission Hall of Fame alongside Danny Elfman,

Hans Zimmer, and Michael Guacchino. Yeah, Giacchino.

Giacchino, sorry. No, it's okay. I never know

how to pronounce that guy's name. Yes, it's a

lot of consonants. Yeah, it is. And, you know,

I wasn't sure what to expect out of the fifth

mission. Well, honestly, after the second one,

I wasn't sure what to expect if the franchise

was ever going to have another movie or so. No

comment. I like the second movie. Honestly, until

Rogue Nation, the second movie was my number

one favorite of the entire franchise. Oh, there

you go. See? So, like I said, I was going to

watch all five films in preparation for this,

but I didn't get a chance to do that. What I

did do though is I watched the first one and

then I watched Rogue Nation. It's amazing how

much 20 years will do to a guy, because oh my

god, Ethan looks old in Rogue Nation. Well, he

looks like such a little kid in the first one.

You know, I did Jack Reacher with Tom and I did

Rogue Nation. So that's the Tom I've had an experience

with. That's the one I know. So when I see Mission

1 now, I think, how is that little kid running

the IMF? You know what it is? Exactly, exactly.

All right. So let's get the preliminaries out

of the way. Where did you grow up and how did

you end up? Did you as a kid, did you always

want to be a composer? Did you always want to

be doing film soundtracks, TV soundtracks? How

did that all come about? Well, I grew up in upstate

New York outside the capital city of Albany in

a tiny town called Voorheesville, which the longer

the name, the smaller the town. Because the town

was so small, I went to a very small high school.

And as a seventh grader, I became friends with

a senior named Scott Storm. And Scott was a filmmaker.

He made films on Super 8. I'm just old enough

that I got into filmmaking before the home video

boom, where everybody had camcorders and VCR,

video editing equipment. This was all done on

Super 8. And he cast me in a film he was making.

And it was while we were working on that that

I told him, you know, my father was an amateur

musician and we had a recording studio in our

house with a four track and some synthesizers.

And I said, I have this equipment, you know,

I could probably make music for the movie. Would

you be interested in that? And he said, yes.

And so I was 15 and I was acting in and scoring

a film, you know, and yeah, it wasn't a big Hollywood

feature, but it was the same sort of process

when you boil it all down. It's the same thing

I did on Mission Impossible Rogue Nation. The

next year, he made another film in which I acted

and did the music, and my co -star was one of

his roommates at college named Brian Singer.

And it was during that film that I met Brian's

writing partner, Chris McQuarrie, and we became

friends. And when I finally moved to LA four

or five years after that... Chris and I lived

around the corner from each other and we just

hung out all the time and we realized we had

the same taste in movies and the same taste in

music and we sort of made a vow to work together

if we had the chance and I was very lucky because

in 1999 when Chris made his directorial debut

with the way of the gun he invited me to do the

score for that and it proved to be a rewarding

relationship and we we Rekindled it when he made

his second film as a director Jack Reacher in

2012 and then I was really grateful to be asked

back to do music for Mission Rogue Nation last

year Absolutely, that's sort of the story in

a nutshell. Yeah I'm one of those types of people

that when I go to move now back, you know 15

20 years ago It was more, for me, the movie was

more so depending on what actual licensed music

was in it. Like you take, I'm trying to, take

any film that features a Nickelback song. Right.

You know, whatever, it doesn't matter what it

is. Sure, like a Cameron Crowe thing where it's

like a Tom song or a scene with Peter Gabriel.

Yeah, it's one of those things. Okay, I'll give

you an example. Yeah, I'll give you a perfect

example. In between 2001 and 2003, again, I know

everyone hates Nickelback, fine, whatever, I

don't, you know, whatever, but it's one of those

things where 2001 they released Silver Side Up,

2003 they released The Long Road. In between

that time Daredevil came out. and they had a

song on the soundtrack called Learn the Hard

Way. It was the only place you could find that

song is on that soundtrack. So that for me, when

I heard it in the movie, I'm like, oh my God,

I remember that. It was actually my cousin Rachel's

wedding right before, like two days before the

wedding. We went out, saw the movie, and as soon

as I got out of the movie, right before Record

Town and the mall closed that night, I went and

got the Daredevil soundtrack because I wanted

to hear that song. So that for me is what it

used to be for movies and stuff like that. If

I heard an actual song in a movie now, it's as

soon as I hear the scored music, it's like I

need to hear the way I... write my reviews. I

mainly write reviews for La La Land Records because

they're the ones that send me stuff. So I have

to actually sit there and watch the movie and

hear the music along with where it's supposed

to be intended. Right. And then I can come home,

I can put my headphones on and I can turn my

iTunes up to 75 and just blare out. and just

sit here and just close my eyes and just listen

to hearing every note that's put into something.

And the way, you know, no disrespect to the,

any of the other composers, they've all done

an amazing job on this franchise, but the way

that you were able to mix in the original theme

into your own work is just amazing. There's,

I'm trying to think of which track it is. I think

it's the... Oh, boy, I think it's the it's either

Havana to Vienna or the Morocco Pursuit where

it starts. You think it's starting with the main

Mission Impossible theme, the theme we've known

for the last 20 years in these movies, and then

it turns into something completely different.

You only use like a half a half or two second

beat of it. Right. It was very important to me

that the score feel cohesive there have been

a number of films where they've gone back and

revisited franchises and they've had composers

who didn't do the original films score the reboots

or the remakes or the further episodes or whatever

and it's been a case where they've used the original

theme in the movie, but what they've done is

they've sort of just used an arrangement or a

recording of the original theme that doesn't

sound anything like the rest of the score. And

that's fine. That's a totally valid approach,

but I didn't want to do that. I wanted it to

sound cohesive and I wanted it to sound like

it was all the same voice. And so I took the

liberty of pretending I'd written the theme to

Mission Impossible and I gave myself permission

to do whatever I wanted with it. So, for example,

one of the moments I think you're talking about

is where we transition from the riverboat safe

house to the sand dunes of Morocco. What I do

to get you into that is I give you the introduction

to the Mission Impossible theme with the trailing

flute and the triangle, you know, but instead

of going into the Mission Impossible theme, I

go into another theme Lalo wrote called the plot

which is in this film kind of Benji's theme and

the idea being I kept I wanted to sort of fool

the audience anytime I could I wanted to make

them think oh I'm taking them here and then take

them somewhere else and so there I figured the

audience if they're paying attention they'll

think we're gonna go into the main title of Mission

Impossible and instead we go into something else

It's just amazing what you've done with this.

Thank you, man. That's very kind of you. It's

I Mean, I've been listening to this since Since

we can since we actually confirmed the actual

when we're actually gonna do this interview.

I'm like, okay I need to go back Need to watch

the movie again. I need to Sit here and listen

to the score all the way through multiple times.

I've Oh, seriously. It's very gratifying. I have,

because every time I get a new score from La

La Land, whatever it is, as long as it's something

I'm interested in and something I want to have

in my iTunes library and not saying that most

of their stuff isn't in my iTunes library, and

most of it is. But once I put it in there, it's

like, OK, I need a playlist of just this album

so I can go to this and listen to it from cover

to cover. And like I said, you know, this morning

before we, you know, before we get around doing

the interview tonight, you know, I, I sat here

before I watched mission one. I sat here and

hit, you know, the, the, uh, what is it? The,

uh, a 400 and. You know turned it up close my

eyes and just sat here and listened to it and

man it is People i'm not just sitting here stroking

his ego at all i'm telling the truth If you're

a fan of this franchise, this is the most like

he said cozy cohesive This is the most cohesive

the score has ever been Well, thank you It just

is um, you know, I worked really hard, you know,

I I took the theme And I broke it down into sort

of four three or four pieces, the first piece

being that trill, that's the introduction. The

second element being the baseline, which is the

sort of famous bum, bum, bum, bum, bum, bum,

and then the other element or two being the tune,

which is the. And that tune is sort of divided

into two halves where it's four phrases that

go down and then four phrases that go up and.

I gave myself permission to mix and match those

elements in any way that I fancied, whether it

was taking it and slowing it down or speeding

it up or using the first half and then taking

it into another direction. And, you know, and

sort of liberally sprinkling it throughout the

score repeatedly rather than just using it once,

say, for the main title and then never listening,

never referencing it again. And an interesting

sort of side note to this is that in my discussions

with Chris and Tom, a notion came up that it

would be interesting if this film was considered

more of a sequel to the TV show than a sequel

to the first four movies. Combined with that

was a direction from Tom to definitely embrace

going retro. and to embrace percussion. And those

three thoughts, you know, keeping in line with

the TV show, keeping in line with a retro sound

and percussion really created a good sort of

set of rules for me to stick to as I wrote the

score. And what I essentially tried to do was

write a score that Lalo could have written and

recorded in 1966 when the show began. So I didn't

use any synthesizers and I didn't use any drum

loops or techno Sounds or synth beds, you know,

it was all Instruments that were at Lalo's disposal

in 1966 when he did the film And I think that

also helped give it a retro sound and I didn't

let that limit my writing So for the music for

the Taurus sequence, for example, you know I

sort of wanted to create the feel of techno music

with the sort of pulsing bass and relentless

the ostinato and stuff like that, arpeggios and

stuff. But I did it using acoustic instruments

rather than synthesizers. And hopefully it was

effective. It's very effective. I mean, every,

you know, watching the film again today, This

is out on home media, finally. Yeah. Well, right

now it's out on iTunes and Amazon and Voodoo

as digital. It's out on disk in the UK today,

I know, and it hits the UK, or it hits disk in

America on the 15th. Oh, on the 15th wall, yeah.

So, you know, watching this through, because

through iTunes, I get everything through iTunes

now most of the time. It's like, it's just so

much easier. Less shelf space. Yeah. Well, then

you gotta worry about computer space, but that's

a whole other discussion. You know, but when

you, now I know in the liner notes for the booklet,

you had said that they had hired you to... do

the opera scene first to do a sampling for that

first. Did they want you to just do that? Or

did they want you to do the whole? Okay. Yeah.

Let me be, let me, I'll be more specific. What

happened was they shot some elements for the

opera scene in Vienna and they hadn't hired a

composer yet because you typically don't, the

composer doesn't often doesn't start working

on a film until it goes into post -production.

But they realized shooting in Vienna that it

would really be helpful to have a musician on

the production team while they're shooting the

opera sequence. Chris McQuarrie had already chosen

the opera he wanted to use, which was Puccini's

Turandot. And he knew which parts of the opera

he wanted to use for the different sequences

in the film. But they didn't have anybody on

their staff who understood how to take that and

and how to work with that so that what they shot

was usable, but they weren't locked into anything

so that they could change things later if they

needed to. So I was brought out to England to

figure out the game plan for using Turandot as

the opera and synchronizing all that so that

they could film Tom's fight scene without painting

themselves in a corner editorially. But the plan

was always to use the turn -dot music for that

sequence and to use the parts that they used

for that sequence. I was there really as a supervisor

and consultant to make sure that they did everything

in a way that it would be usable when they finished

the film. I was also simultaneously hired to

actually write the score at that point, but it

was understood that I wouldn't really be able

to start composing the score properly until the

film was virtually finished shooting and had

moved into the editing phase. So once that happened,

you were obviously able to see the almost the

final film pretty much. How did you go about?

writing, crafting the score while watching what

was on the screen. Well, what you do is, I mean,

at the most basic level, you look at a scene

and in Chris McCrory's case, he does not like

to use temp music when he's editing the film.

So more often than not, I look at a scene with

no music at all. And I, you know, over years

of work on films, you develop a sense of where

music feels like it should come in. And a lot

of it just depends on your feeling and your instinct.

So you look at it and you go, it feels like when

she turns her head, that's when I'm starting

to feel like music should be there. Up until

that point, I'm OK with just dialogue and side

effects. But at this point, it feels like music

should start coming in. So then it becomes a

process of sort of breaking down. It's almost

like a flow chart. Well, is the music going to

be fast or slow? Is the music going to be happy

or sad, major, minor, bright or dark? then it's

like okay it's going to be slow music that's

going to be dark well does that mean then strings

or brass or woodwinds well it's going to be very

string heavy with a little bit of brass a little

bit of woodwinds and you know where's it going

to come out so now i know okay i've got to write

90 seconds of slow dark string music and you

know by breaking it down like that i sort of

reach a point where i can start to go okay great

i know how to do slow dark string music and i

write that And then I look at that against the

picture and I show it to Chris. And then what

begins is a back and forth process of discussion

about, look, we like it here. This part, I would

like you to lighten the mood a little bit. It's

a little heavy. Or I might say to Chris, I feel

like I could actually be a little heavier here

or a little darker or a little lighter myself.

So we revise the cue. At that point, it's converted

into sheet music, put in front of musicians.

And even during the recording, Chris and I will

both have notes and discussion about maybe the

players are playing it a little too emotionally.

We'd like them to back off and be a little colder.

And it's a process that's always open to revision.

Yeah, absolutely. So with all that said and done,

how did you go about You know, you said you gave

yourself permission to use the original theme,

how you wanted to use it and use it, you know,

you almost use it sparingly a little bit. You

use it a lot, but you, you know, you use your

own. I use elements of it a lot and I hit that

a lot, but I, I actually don't full out. I only

full out really presented, I think three times

in the movie. Once when Ethan jumps on the wing

of the plane, the main title, and then the end

title. I sort of hint at it when he escapes from

Blenheim, but even then it's, you know, it's

hinted at, it's not fully presented. Well, I

mean, you know, themes like the Mission Impossible

theme, themes like Harold Fultemeier's Axel F,

themes like that, you know, Bond, you know. you

don't necessarily need that character beat. Like

you were saying with the plane, Benji and Brant

are going back and forth, back and forth, and

then Luther comes in, and then all of a sudden,

you have hair over his one eye Tom Cruise coming

up on the scene saying, can you open the door?

As soon as he comes on the... It's like... 1989

Batman. As soon as Batman comes on the screen,

that's when the Danny Elfman main title pops

in because it's for the character. It's not necessarily,

you know, like you said, you know, if you want

the full theme, listen to the beginning of the

movie or the end of the movie. That's where the

full theme will play. But, you know, you said

you use little beats of it here and there. How

did you go about choosing when you were watching

the movie where to put in the beats for? Sometimes

it was instinct. It just felt like it needed

it. Sometimes it was a conscious decision of

like, you know, this is a moment. For example,

there's a moment where Tom is shimmying up a

pole. He's like chained to a pole. He's handcuffed

to a pole. And he shimmies up it. And it just

felt like it needed some reference, because it's

kind of a superhuman thing that he's doing. It's

a pretty extraordinary stunt. And it just felt

like it needed a reference to the sort of history

of Mission Impossible at that moment. You know

what I mean? Absolutely. Similarly, you say there's

a bit where, and it's a more subtle moment, where

Ilsa... is explaining who Solomon Lane is, and

she explains that there was this micro, this

USB memory stick, and it's hidden in this vault,

but you can't break in because it's impossible.

And she uses the word impossible, and we cut

to Tom and he smirks. And it just felt like it

needed a reference to Mission Impossible there.

You know? Absolutely. Well, anytime you use that

word, I mean, that's, you know. And a third moment

that's nice is when Tom, after Tom has been shocked

back to life, and they run out to get in the

car and pursue Ilsa, and he goes to do this jump

over the car, and he completely chokes and falls

and lands on his head. So we sort of hinted,

we start the Mission Impossible theme, like it's

gonna be a hero moment, and then we cut it off

early because he... He chokes. I love that scene.

So there you go. I just love that scene. What

was it like scoring the motorcycle chase? How

did you come up with that part of the score?

That was actually, it was very funny. That was

a piece that was written the day before we recorded

it. I had written a whole other piece for that

sequence and in fact a couple different versions

and Chris had signed off on them. And then we

did a piece of music elsewhere in the film that

was very fast. And Chris was so excited by it

that he said, I would love it if you could rewrite

the motorcycle chase so it's fast, like this

other scene. And so I rewrote it. And the main

sort of impetus of the rewrite was speed. to

really sell speed. And there was quite a learning

curve on this film for Chris and I because Chris

had never made a film with action music before.

Wave the Gun and Jack Reacher both left their

action sequences mostly unscored. And in this

film, we both knew that this film was going to

need action music. And it was a process of discovery

for Chris and I as to what... type of action

music fit his style of filmmaking. You know,

I've done plenty of films with action music before,

but never one with Chris. And so there was a

process of discovery for that. And the motorcycle

chase was probably the epitome of that, the high

point of that. And essentially what I did was

I looked at the film. I had sort of one note

was speed. Another thought was that the sound

design of the motorcycles was going to be like

this screaming loud engine There's going to be

wind rushing past the characters ears They were

going to be engines of the cars. They were passing

There was all this sound design and that was

going to eat up a large part of the spectrum

of sound And so what I was left with was sort

of very low very low sounds and very high sounds

those were the sounds that were going to Be audible

above the sound design of the engines and that

meant flutes and piccolos and trumpets and Horns

in the top of their register and then trombones

and basses and cellos down and piano down on

the bottom Giving and timpani and bass drum giving

drive and power and that's essentially again

It's like that flow chart I was talking about

you just you you set up you you ask yourself

basic questions You answer them and then you

write music that follows the answers you gave

absolutely I think yeah I think while watching

the movie the outside of obviously the main title

and the end title and all that and and that and

that opening sequence I think my favorite part

is the reveal of the team and how you worked

around that like yeah yeah where they put them

in the glass box It's a very rewarding thing

when, you know, Chris, as a director, he's not

afraid to let music get big and for music to

take center stage. And that's a rare thing. A

lot of directors get very nervous about music.

And, you know, there's a very big trend in today's

filmmaking to have music be a drone or a very

subconscious, very quiet sort of background pad.

And Chris is not afraid to push it front and

center. And what's really nice is that, you know,

I constructed a theme for Ethan Hunt that was

built around the same sort of chord sounds that

the, that Lalo's Mission Impossible theme was

built around. But I tried to sort of hide that

from the audience until that last moment so that

I could put them together and you go, you know.

Wow, they fit together. I never thought that

I never thought thought of that I never saw that

coming and You know, hopefully it sounds like

that worked and I'm very grateful when anybody

tells me that you know They liked it because

that was my goal Yeah, I mean know that like

because the whole movie right from the start

when you know You have him going into the store

And he goes, and again, going back to what you

said earlier, that they told you to make it retro.

The whole movie feels retro. Like you already

said, it feels like something that came right

after the TV series. An interesting side note

to that is the very first episode of Mission

Impossible has our star going into a record store.

and asking for a record and putting it on a record

player and getting his mission from the record

player. So that scene was a conscious nod back

to the origin of the TV show. Absolutely. In

that scene, right from there, once we meet, once

the audience meets Lane as a villain and he shoots

the record store clerk, I'm like, I have no idea

how this movie's gonna end. I have no idea how

they're going to catch him. And yet, when I realized

the moment that he drops down through the ceiling,

and I realized what was gonna happen, because

Hunt was on the floor. And he was standing there,

and the next thing you see, you see the glass

walls moving into place. Yeah, spoiler alert,

by the way. Well, the movie's been out. I know,

I'm just kidding. You know? I mean, come on now.

It's not like we did this right in the theaters.

Yeah. But it's one of those things where I wasn't

sure how the movie would, like, how the villain

was going to be caught, and the whole, you know,

irony of, you know... putting him in his own

trap and the way that just the way that this

movie played out both in the action and the music,

even some of the softer times. I mean, you've

got some some pretty low and slow themes in this.

Well, that's the other thing is Chris isn't afraid

to let the music be emotional. And so the scene

where Ilsa says, let's run away, let's just leave

all this behind and run away together. It's a

very sort of touching sentimental emotional scene

and he let the music he let the music support

that rather than fight it or or suppress it and

you know people have reacted and it was also

nice because you know i had this idea that in

addition to incorporating lalo's music in the

score as organically as possible i wanted to

find a way to include the opera music in the

score and that became a perfect moment to include

The part of the score that Ethan here the part

of the opera Ethan hears when he first sees her

at the opera house which happens to be the sort

of famous Nessun Dorma theme and You know, so

I was able to use it when she invites him to

run away with her and then to use it at the end

when she says goodbye Yeah Well, you know, you

you know, you're essentially are using that is

almost there. It's like their love theme Yeah,

yeah the unloved thing it's like, you know, it

felt like Between Ghost Protocol and Rogue Nation

Even though it's only a four -year difference

It felt like longer than I had seen a mission

film. It really because the way that that you

know ghost protocol ends the way that rogue nation

begins and how rogue nation is it just i don't

know what it is maybe it's the whole me being

nostalgia because next year is the 20th anniversary

of the first film or whatever but it just it

felt like forever since i had seen these since

i had seen luther benji and and ethan interesting

and i'm kind of glad that they've stuck with

that team I mean, they bring in one or two other

members here and there throughout the movies,

but I'm really glad since Benji came on in the

fourth film that they've kept him kind of going

and he didn't... Yeah, it's a nice blend of personalities.

Tom and Simon have a great sort of camaraderie

together, which is fun to see. I think Luther

and Brant have a funny chemistry that works really

well. So it's been... I don't know who's coming

back for the next one, but certainly they could

do worse than to bring everybody, all the guys

back from five. Yeah, absolutely. At this point,

I'm not sure what else they could do. Like, I

mean, don't get me wrong. I want an MI6. Don't

get me wrong. But you look at the five films

and, you know, Mission 1 is all about, you know,

mole hunt and whatever else. Mission 2 is, you

know... John Woo. you know, jousting on motorcycles.

Mission three is JJ and exploding chips and heads.

And yeah, missions where they destroy, you know,

internal affairs, you know. Yeah. Yeah. And mission

four is almost continuing that kind of internal

affairs thing. And, and by the time we get to

rogue nation, it's like, oh, hey, well, I have

no, I have no insider info. I can only tell you

my own thoughts my own Suspicions if you will

but this is the first film that will be directed

by a Director who's already you know, every film

has had a new director. This is the first time

we're bringing a director back Right for mission

six. So I have a suspicion that mission six will

feel very much like a continuation of Mission

five, but that again I have no yeah, that's just

my guess You know, I think everybody really loved

Rebecca Ferguson. I wouldn't be surprised if

she came back. And that, you know, between that

and like we're talking about with the operatives,

with the IMF team, I think it'll feel like a

companion piece to mission five. And probably

the same way that Spectre feels like a companion

to Skyfall, for example. Yeah. Yeah. All right.

So before I let you go, Okay, I usually do this

and it usually should be stated that you would

have a way to listen to whatever That I'm gonna

ask you on this question. But okay, I gotta I

gotta ask you the desert island question if you

could only have One score from one other composer

not something you worked on What would it be

and why would you have it on there and be listening

to it forever? I Think it would be the Star Wars

score the first score Star Wars New hope as it's

called now But it'd be the special edition version

with all the music on it in film order Not the

original album, which I love the original album,

but you know, I'm a purist All right, what have

you got is there anything that you've got coming

up that you can kind of tease the folks with

There's nothing yet. You know, I was in England

for five months working on Rogue Nation and I

didn't get to see my family the whole time I

was gone because of work and stuff. So I've just

been enjoying being back home. I've been doing

lectures and classes and interviews about the

work on Rogue Nation. And I'm looking forward

to 2016 and seeing what opportunities Rogue Nation

will bring me with other filmmakers and other

producers. Awesome. Alright folks, you can get

Mission Impossible Rogue Nation from La La Land

Records .com. I will have a link in the show

it out. Seriously people, go listen to this score,

go watch this movie. Just so you know too, the

disc, the CD version from La La Land Records

has two tracks that aren't on the download from

iTunes or... digital services. So if you want

to get the most complete version, you want to

order the physical disc from La La Land Records.

Absolutely. I got hung up on that for a bit at

first with one of the other CDs they had sent

me. That just means that they're not on the digital.

Music that's in the movie, right? It just means

that it's not on the digital download version,

right? Well, what it is is because the CDs cost

a little bit more to manufacture And that means

that it costs a little bit more for the customer

to buy it The the the CD companies like to try

to include a piece of music from the film That's

exclusive to the CD. The only way you can get

it is on the CD. It's not on the digital version.

But yeah, it's from the movie. It was written

for the movie and recorded for the movie. In

the case of one of the bonus tracks, it's actually

an alternate alternative version to the one heard

in the movie. But it's it is it was intended

for the film. It's not like I just wrote it arbitrarily

and stuck it on the CD. Right. Right. Right.

Right. All right. Great. Well, I'd like to thank

Joe Kramer. We'll ask you to hold the line. Yep.

And folks, go check out Mission Impossible Rogue

Nation. Thanks for having me, Mike. Face to face.

Just as you wished, even. It hurts, I know. Gentlemen,

this is Solomon Lane. Mr. Lane, meet the IMF.

composer from Mission Impossible Rogue Nation.

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