#Joe Kraemer

[theimfarchives]

Mission: Impossible | All 7 Movies Soundtrack

[vcollies]

hi guys i need to be autistic about film scores for a second

so im rewatching mission impossible: rogue nation (for the third time in a week. don't mention it) and realized something about the non-diegetic music just before ethan goes into the opera: it features a flute. not just any flute, a bass flute!

this is most noticeable in the track starting right around the 3:40 mark. a few notes of the "mission impossible" theme is also played on bass flute at 4:40.

"now mav," you may be asking, "why do we care?" and to that i respond with two main reasons:

bass flute is a rare instrument to hear in film scores, mostly because it's a rare instrument in general. nearly every other time in the score when the typical mission impossible theme is played, it's introduced by your typical C flute, occasionally accompanied by piccolo trills. but this time, it's just one bar with a lone bass flute. why?

to answer the "why," it's highlighting joe kraemer's strike of genius in composing the score: he is using the instrument to foreshadow what comes next. the next scene shows a presumed musician getting his bass flute checked by security, and we later learn that there is a weapon hiding inside the flute (which, coming from a flute player, is a fantastic idea. nobody expects the bass flute!). by featuring the bass flute and having it play the mission impossible theme before we even see the plot-relevant bass flute in the film, we (the audience) are having something important alluded to us: this instrument is going to be relevant.

film composers love to do this; sprinkling blatant foreshadowing into their scores, telling the audience what's coming next in a way that the majority of viewers won't ever pick up. this is probably going to send me into yet another rewatch of the film where i try to find more silly little tidbits in the music.

anyways. that was a brief analysis of the importance of one singular instrument in a movie that came out a decade ago. thanks for letting me yap.

[fredseibertdotcom]

“I Want My MTV!” 1984-1985, featuring Cindy Lauper, Billy Idol, David Bowie,  Boy George & Culture Club, Hall & Oates, Joe Elliot/Def Lepard, The Police,  Madonna, John Mellencamp, Ric Ocasek/The Cars.

I Want My MTV! 1984-1985

Interview with animation director Candy Kugel

Director/animator Candy Kugel played a critical role in the original look of MTV: Music Television. She illustrated and directed the animation for the “Top of the Hour” (colloquially known as the “MTV moonman�� piece), and many others too.* Collaborating with producer Buzz Potamkin, Vincent Cafarelli and Marilyn Kraemer at Buzzco/New York, it was a special creative relationship. 

Alan Goodman and I had started Fred/Alan in April 1983, after we’d overseen the original “I Want My MTV!” campaign Dale Pon and George Lois (agency: LPG/Pon) the year before. Wouldn’t you know that after we left, MTV was doing so well that the next year, they could afford much nicer spots? 

Candy went on to supervise and direct the animation of the ‘84-’85 “I Want My MTV!” for Buzzco. The spots had a much higher production value –live action shots around the world, with hand painting and rotoscoped animation overlays– were beautiful. Because of MTV’s early successes, the company was able to fund a much larger media buy in many more markets across America.

In June 2020, I talked with Candy about the production of the campaign.

Candy Kugel: The concept of using animation over live-action developed from an earlier project we did for a radio station in San Francisco. We had experimented with a Xerox process that allowed us to print film frames onto paper, and then we manipulated them by hand. When it came time to figure out how to integrate rock stars into the MTV campaign, we thought this technique would allow us to work over the live-action footage in a way that made it unique and exciting.

Fred Seibert: How did you get involved in developing this animation style?

Candy Kugel: Kodak had just released a type of paper that made photo rotoscoping possible without needing negatives. It was a direct printing technique that seemed perfect for what we wanted to do. [MTV President]  Tom Freston, [account executive] Leslie Fenn, and I discussed what the final look would be. I didn't have a concrete vision at the time, but I confidently told them, "It’ll look like nothing you've ever seen before."

Fred Seibert: What was the process of shooting the footage and developing the animation?

Candy Kugel: We shot Hall & Oates first at Silvercup Studios in New York. Daryl Hall was standing with his legs apart, and John Oates was on an apple box to match his height. It was funny, but it worked. We chose a take, sent it to the lab for rotoscoping, and then it was entirely up to me to animate over it. I had free rein creatively, which was exciting.

Fred Seibert: How were some of the other artists handled?

Candy Kugel: Cindy Lauper was a standout. She was shot in New York and had this great energy. She asked me how her line looked in her costume, and I assured her I’d fix any issues in the drawings. The take where she was surprised by the last champagne bottle popping was genuine, so we used that. Def Leppard also filmed in New York, and Joe Elliott came up with the punching bag idea himself.

Fred Seibert: What about Billy Idol?

Candy Kugel: He was shot in New York as well. I didn’t know his music beforehand, but the moment he walked into the room, he took my breath away. He had incredible charisma—completely commanding the space. More than a musician, he had a presence like an actor.

Fred Seibert: And Culture Club?

Candy Kugel: That was shot in Europe. I didn’t know their music much beforehand either. I was given footage and had to create something from it. I had a lot to work with, so I just started experimenting.

Fred Seibert: The Police were part of this as well, right?

Candy Kugel: Yes, but that was a difficult shoot. Dale returned from filming them with really bad footage. Sting was reportedly difficult, and the material was nearly unusable. It was frustrating, but we worked with what we had.

Fred Seibert: How did the final edits come together?

Candy Kugel: The inserts and final compilation were done at PrinzCo Rack with editor Michael Biondi. Dale was always particular about what color should be behind people, even though everything started in black and white and we added color later.

Fred Seibert: Looking back, what stands out to you most about the project?

Candy Kugel: It was such a creative and experimental time. We were pushing boundaries with a style no one had seen before, blending live-action with bold, expressive animation. It gave MTV its iconic, rebellious visual identity. Dale, for all his quirks, had a vision and trusted us to execute it. The campaign became legendary because it captured the spirit of MTV’s early years—bold, unexpected, and unapologetically fresh.

Fred Seibert: Thank you for sharing these insights. It was an incredible project.

Candy Kugel: My pleasure. 

* Not to mention the work Candy did for my partner, Alan Goodman, and me later on at The Playboy Channel, Nickelodeon and Lifetime.

[snonkerdoodlefizzy221b]

GUYS GUYS GUYS

you know how when august walker does shit (yk like walking menacingly or taking the bomb key on the chopper, etc) there's this like theme that plays

in fallout it goes "d c d eb d ab d"

okay so I was just watching rogue nation and I realized that the same theme is there. SEVERAL TIMES. it's basically solomon's theme. in fact, i think it is solomon's theme, because when i googled it, I found out that joe kraemer's theme for solomon lane was appreciated by empire magazine as best of the year

so now my questions are

how the FUCK did I not realize that despite having watched rogue nation WAY MORE than fallout 😭 by this logic the viewer would've known that august walker is part of the villainy by like. 30 mins in.

how did the copyright thing work? because they changed from kraemer to balfe in fallout. so like was it owned by like the m:i franchise or whatever, not like his individual property? did he ask? was it too small to be that big of a deal?

WHAT ELSE DID I MISS 😭

WHY AM I FINDING THIS OUT ONLY AFTER HALF PAYING ATTENTION INSTEAD OF WHEN IM LOCKING IN 😭

also i know basically nothing about music copyright if that helps :D

[im-your-new-quartermaster]

ok hold up let me cook so i'm currently listening to the dead reckoning soundtrack by none other than the gigachad madlad lorne balfe, and i couldn't help but recognise (and obsess over) the callbacks to the last two films in the music??? like - every now and then we hear that repeating "plot tune" (ykwim - the one that goes DUUUN DUUUUUN DUUUUUUUUUN) that we've seen since rogue nation, and then those twinkly piano notes we saw in fallout!! absolutely love how lorne balfe takes a few bits and pieces from joe kraemer's score and just goes insane with it - the continuity!!!! impeccable also is it just me or are there hans zimmer references in there too -those ominous lower octave "BWAAAAAAAAAAAA"s, for instance? and he's added a new spin to the leitmotif here as well! during key moments have you noticed the SCORE? it's somehow uplifting, powerful and daunting at the same time. like it's telling us that shit is going to get wildly out of hand at some point and not to mention some of the segments are plain beautiful. mindblowingly gorgeous, even. shit's got me on the verge of a mental collapse and i'm so here for it. mi7 summer lets fuckin GO

[dr-drckken]

Day 15: The Needledrops Playlist

1. In The Dark of the Night , when Gil chose to save Holley instead of chasing after Clayton, resulting in Clayton getting away. 

Grave Consequences - Joe Kraemer (from the Mission: Impossible Rogue Nation Soundtrack)

This lives in my head rent free all the tiiiimmeee. I looooved this thread, I still love this thread, and everything between Clayton vs the RAS. I love that through line of Bianca getting murked by Clayton and then it come back around to affect what Gil was going to do when being put back in the woods with another agent down. I love parallels and book ends and all that good shit. This was just such a good execution of it. ANYWAY, we’re here to talk music: I think this song is a good fit for this moment not only because of the title, in fact I didn’t even know the title when I went searching through the album for this song lmfao, but because it’s got that quiet beginning that builds up and it takes it’s sweet time to get there. And then it gets to like the second minute where it’s got the sneaky spy vibes with some villain-esk/tension building moments in there for the cutting back and forth between Holley/Gil vs Clayton running around in the forest. And then at the end it gets darker and that could hold the place of being like, “oh no what am i to do,” and the audience being like, “oh my GOD what is he going to DO,” until that tension breaks and the last minute is fast strings, which could be gil running to get to holley cut between clayton running to get the hell on outta there, and the last seconds are a fading out of this. it isn’t a triumphant score or a soft ending, because that wasn’t what this moment was. it was a moment of character growth for gil, but in going to holley rather than going after the baddie, there is still an open case on the desk that will remain there. so while the song ends on like a long note, it’s got a crunchy chord in there that gives me, “it’s over but there’s still more questions left to be answered.” kind of ending, leaving it open to what will happen next… 

2. The Night Before Christmas, when Eli found and decided to look after bb Penny <3 

Christmas Surprise - Hans Zimmer (from the The Holiday Soundtrack)

Everytime I am reminded that mr. zimmer scored the music i am shocked. anyWAY. did i chose this because it happened on christmas? yes. BUT i also chose it because it’s such a cute little song and i think it fits the vibes art was putting down in this self para!! The christmas vibes, the undercurrent of ghosties, the kind of sad bits of Penny being left at the firehouse with the note from her mom go with the beginning minute, up until the like acoustic guitar plucks in and lifts everything up into a more hopeful, softer and happier tone, which go with the parts of Elliot being like, “I’m going to take her.” And then the like last 30 seconds of the song with the bells and lightness of them being added, like the small, young, baby Penny being added to the narrative and life of Elliot Morey being his lil Christmas Surprise <3 

3. Under the Tuscan Sun Arc, but when Isabela and Copper go to the art museum to see the statue of David

Full House - Alan Silvestri (from the Night At The Museum Soundtrack)

I have been on the nose with all of these and I’m not going to QUIT NOW! im obsessed with isa and copper, as anyone would be, and this whole arc was just mwah mwah mwah. loooove them just hanging out in italy, i could have read 5 books worth of them being on holiday there. the night at the museum soundtrack always hits me because idk it’s got some very optimistic sound shit in it with a childlike wonder that just hits. and while they are in a museum, surrounded by tourists and cool art and blahblahblah, and it would hit for them since i think they were both excited to be there and sight see, it also goes for their relationship and how nice and happy it is in this moment of time where they aren’t in town, they’re in this beautiful city surrounded by history and cool shit to look at and they’re there for a wedding of these people they helped together. and there’s that line where copper makes isa laugh, and isa doesn’t usually laugh in a way that isn’t something she planned to do, so that sort of whimsy of this adventure for them i think fits the sound of this song

4. Solar Haunt, when Jasper’s lackeys make a mess of Swynlake 

I Hate This Town - Steven Price (from the The World’s End Soundtrack)

there is nothing quite like a group of henchmen acting like wrecking balls together lmfao. I had such a fun time reading this, miss gigi you’re a comedic queen. Fuck a log book! lives in my mind when i’m at work all the time now. This movie came to my mind because I remember the score being very in the pocket of the scifi of the movie itself with the lil techno noises that would be implemented and i just wanted that to keep the reminder that these guys are out here doing this after they got off work putting in solar panels at the school lmfao. it’s the backdrop to a fight sequence in the movie (the best one imo!!!), so i think it fits well with all the action going on in this para, and having a more sinister feel to it with the way the strings and horns come in and the beat is just chugging along. there’s also this sound that’s almost like an alarm going off, which also adds to the over all “this is getting craaazzzyyy” antics these guys are getting up to. and the ending of the song drops off after ramping all the way off and peters out, which i feel fits with how the para ends with the guys booking it out and the henchmen being like, “boss isn’t going to like this! we’re fucked!” 

5. Giselle and Amity meeting face to face at Prom 2024 (this was on discord so no link for you) 

The Wedding - Joby Talbot (from the Penelope Soundtrack) 

oh bitch. I was obsessed with this plot from the jump. Horrible fact about me: You’ve Got Mail is a favorite movie of mine. SORRRYYYY it was just a staple in my household. So yeah, pen pals?????? One of my favorite tropes. Been ingrained into me since I was a child. So when they were going to meet at Prom I was like…………. Well now hold on a minute. Is this going to work out or what– and oop. sad as it was, it was a great read. plus getting to read the resulting after math of amity and giselle being in magnifico’s class and interacting there and giselle having a gay panic moment to herself is just, mwah. anywho, i was trying to think of what song could possibly encapture this moment. I was trying to think of a movie that captured a modern fairy tale vibes and penelope came to mind and i think this song has the same like, “i have such dread for what is about to happen,” that the audience has for these characters. and the overwhelming music of it all i think fits the fight that happened between these two, with giselle having pictured someone who wasn’t amity and then amity feeling betrayed by this refusal to be accepted by this person she thought she had already connected and been accepted by. and the build up to amity just shouting at giselle to gO. and while we didn’t necessarily see the direct aftermath of what the girlies were doing, like the quiet moment of amity being alone or giselle running off to the garden alone, the music slowing down and getting quieter could be those resulting scenes of them being apart and being like, “what just happened!!!”  

[confessionsofabingefreak]

A Place Called Home (2004)

Impression: had a few moments, as a whole it just failed

Collection: no

Overall: ⭐️⭐️

Concept: ⭐️⭐️⭐️

Story: ⭐️⭐️1/2

Storytelling: ⭐️1/2

Characters: ⭐️⭐️⭐️

Casting: ⭐️⭐️⭐️⭐️

Visually: ⭐️⭐️1/2

Score: ⭐️⭐️⭐️

Entertainment: ⭐️⭐️

Best: the idea of finding yourself in unexpected ways and in the people you least suspect.

Worst: felt like it dragged you through it

[leiathewarrior]

Here’s the full version of the Paternoster Gang Suite from the Big Finish audio dramas

[soundtracktracklist]

Comrade Detective Soundtrack by Joe Kraemer #tvseries #ost #soundtrack #music #buddycop Original Series Soundtrack (OST) from the Amazon series Comrade Detective (2017). The music composed by Joe Kraemer (

[disccommentary]

Commentary by writer/director Christopher McQuarrie and composer Joe Kraemer. 

 From the Way of the Gun (2000) DVD.

Listen here: https://anchor.fm/disccommentary/episodes/Way-of-the-Gun-2000---WriterDirector-Christopher-McQuarrie-and-Composer-Joe-Kraemer-e12t8te

[lakeshorerecords]

New Soundtracks: The Umbrella Academy, Comrade Detective Vinyl + More

New Soundtracks: The Umbrella Academy, Comrade Detective Vinyl + More

This week, we’re thrilled to release Jeff Russo’s score to The Umbrella Academy – Original Series Soundtrack, available digitally worldwide via Lakeshore Records!  The highly-anticipated new Netflix series also launches now, based the the comics and graphic novel by My Chemical Romance’s Gerard Way and published on Dark Horse Comics.  

Also out now is the Comrade Detectivesoundtrack vinyl from…

[cinesludge]

Movie #18 of 2017: Mission: Impossible - Rogue Nation

[bob-the-movie-man-film-reviews]

One Mann's Movies Film Review: Mission Impossible - Fallout (2018).

One Mann's Movies Film Review: Mission Impossible - Fallout (2018). FFFF. High class, literally bone-crunching, action, certainly on a par with Rogue Nation. Recommended.

Hunt on the edge… again.

2015’s “MI: Rogue Nation” was one of my favourite films of that year, so of all the summer blockbusters this was the one I was most looking forward to.  Was I delighted?  It’s a slightly qualified “YES!”. 

The film neatly follows on from Rogue Nation with arch terrorist-in-need-of-a-razor Solomon Lane (Sean Harris, “Harry Brown”) being extraordinarily renditioned…

[felassan]

according to IMDB the Composer for the series music of Dragon Age: Absolution is Penka Kouneva [source]. from her mini bio on IMDB -

Recognized in Hollywood as an extraordinary talent, Penka Kouneva has composed on iconic video games (League of Legends, Prince of Persia, The Mummy), a NASA theme park at the Kennedy Space Center, and numerous feature films (the Oscar contender Aga, Sony Pictures releases - Encounter and Devil's Whisper, and Cannes and Berlinale favorites). Her music has received national press as "fantastic, luminous and breath-taking" (Billboard, NPR and Forbes). The Grammy-nominated soundtrack Women Warriors created by Amy Andersson featured seven compositions by Penka. As one of the industry's most accomplished women composers, in 2019 she was invited by showrunner Mark A. Altman and composer Joe Kraemer to co-compose the CW primetime TV show, Pandora. In 2020, Penka scored the Super Bowl TV ad campaign for Olay, #MakeSpaceForWomen. Like a great musical storyteller, her music carries the listener forth on an emotional wave with soaring themes and innovative orchestral textures. [source]

her discography is here :)

[byneddiedingo]

Rebecca Ferguson and Tom Cruise in Mission: Impossible -- Rogue Nation (Christopher McQuarrie, 2015)

Cast: Tom Cruise, Jeremy Renner, Simon Pegg, Rebecca Ferguson, Ving Rhames, Sean Harris, Simon McBurney, Alec Baldwin. Screenplay: Christopher McQuarrie, Drew Pearce. Cinematography: Robert Elswit. Production design: Jim Bissell. Film editing: Eddie Hamilton. Music: Joe Kraemer. 

Tom Cruise's involvement with Scientology has made him a controversial and sometimes even ridiculous figure, but one of his redeeming virtues is his willingness to share the spotlight in his films with actors who are in some ways more likable than he is. In the case of Mission: Impossible -- Rogue Nation, they include Jeremy Renner, Simon Pegg, Ving Rhames, and Rebecca Ferguson. He has also shed the tendency to flash the famous toothy grin on any occasion, though his Ethan Hunt in this film doesn't have much to grin about. As the movie begins, the Impossible Missions Force is about to be disbanded and its members labeled "shoot to kill" by CIA director Alan Hunley (Alec Baldwin). It's a good premise for a thriller, if perhaps an over-familiar one: Make your good guys the target not only of the bad guys but also the other good guys. So off we go on a round of stunts that don't bear summarizing, but Christopher McQuarrie's script and direction keep the gee-whiz response pumping for an enjoyable couple of hours. Some critics thought the chief villain, a rogue MI6 agent named Solomon Lane (Sean Harris), wasn't villainous enough, but I have liked Harris's work since I first noticed him as Cesare Borgia's gay henchman Micheletto on the Showtime series The Borgias (2011-2013). He underplays in Rogue Nation, and the decision to dye his hair blond was probably a mistake, but I thought his subtlety was an effective contrast to Cruise's usual tendency to overplay. It has to be said that, at 55, Cruise is just beginning to be a bit implausible in his action sequences, especially the one at the film's beginning that has him leaping onto the wing of a cargo plane and clinging to it as it takes off, Perhaps it's true that he still does his own stunts, but in this golden age of camera tricks and CGI, that seems unnecessary: Audience are going to think it's faked anyway. There may in fact be a nod or two in the movie to Cruise's aging: After the extended underwater swim, Hunt has to be resuscitated, and there are a few moments, played mostly for comic relief by Pegg, when Hunt's disoriented state becomes a matter for concern.