Kraemer’s score for that film was so good, that he was immediately tipped to be the next ‘hot young composer’ in Hollywood, but instead Kraemer essentially disappeared for a decade, and by 2010 was getting by scoring low-budget straight-to-DVD action movies and the soft-core anthology series Femme Fatales for Cinemax. New York-born Kraemer first came onto the film music scene in 2000 as a 29-year old, scoring McQuarrie’s directorial debut, The Way of the Gun. The movie globe-trots from Belarus to Cuba, to Vienna, to Morocco, and finally the UK, with the usual array of breathtaking stunts it is directed by Christopher McQuarrie, the Oscar-winning screenwriter of The Usual Suspects. The film is the latest action extravaganza starring Tom Cruise, Jeremy Renner, Simon Pegg, and others, as agents with the top-secret IMF espionage and counter-terrorism force, seeking to take down ‘the Syndicate’, a network of highly skilled operatives who are dedicated to establishing a new world order via an escalating series of terrorist attacks and disasters. For the longest time Joe Kraemer was on that list too, but with the release of Mission: Impossible – Rogue Nation, I might finally be able to cross him off. Others are composers who, for whatever reason, have yet to make that major breakthrough despite having talent in abundance: people like Neal Acree, Scott Glasgow, Federico Jusid, Nuno Malo, and too many others to list here. Some of them are composers who used to get major assignments but have fallen off the radar of late: people like Bruce Broughton, Cliff Eidelman, Trevor Jones, and David Newman. I have, in my head, a list of composers whose level of talent is directly inverse to the number and quality of films they are asked to score.
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