Max Aruj
Composer
Alfie Godfrey
Composer
Steffen Thum
Additional Arrangements
Jeremy Earnest
Additional Arrangements
Stuart Michael Thomas
Additional Arrangements
Kevin Riepl
Additional Programming
Adam Price
Orchestrator
Gabriel Chernick
Orchestrator
John Witt Chapman
Music Scoring Mixer
Jill Streater
Music Preparation
MISSION: IMPOSSIBLE - THE FINAL RECKONING, 2025, Directed by Christopher McQuarrie
FILM CREDITS
Music by Max Aruj & Alfie Godfrey
"Mission: Impossible Theme" Composed by Lalo Schifrin
Score Produced by Cécile Tournesac
Supervising Music Editor: Cécile Tournesac
Music Editor: Timeri Duplat
Assistant Music Editor: Sarah Walsh
Score Recorded by Geoff Foster
Score Mixed by Chris Fogel
Score Conducted by James Seymour Brett
Lead Orchestrator: Adam Price
Orchestrators: Gabriel Chernick, Jack McKenzie & Aaron King
Additional Arrangements: W.F. Smith Leithart, Logan Gammill, Steffen Thum, Stuart Michael Thomas & Jeremy Earnest
Music Preparation: Jill Streater, Global Music Service
Score Recorded at Air Studios, London & 165 Broadhurst Gardens, London
Score Recordist: Jack Mills
Score Editor: Chris Barrett
Additional Recording by Alex Ferguson & Jean Martin
Additional Mix by John Chapman
Additional Score Editor: Chandler Harrod
Assistant Engineers: Rebecca Hordern, Laura Beck & Adam Magson
Mix Assistants: Evyn DeBoar & Jakov Naumoski
Music Production Assistant: Eliseo Hagerman
Musician Contractors: Jenny Goshawk & Millie Hooper for Isobel Griffiths
Concertmaster: Everton Nelson
Featured Percussionist / Balalaïka: Lou Wiss
Featured Inuit Throat Singer: Tanya Tagaq
Featured Violin: Clementine Brown
Featured Cellist: Sebrina Lambert-Rose
Choirmaster: Ben Parry
Choir & Throat Singers: London Voices
Synth Programming: Max Aruj & Alfie Godfrey
Additional Programming: Jon G. Kaye & Kevin Riepl
"Mission: Impossible Theme" & "The Plot (From Mission: Impossible TV Series)"
Written by Lalo Schifrin
BOOKLET CREDITS
Disc 1 Tracks 1–5, 7–15, 18–21 & Disc 2 Tracks 1, 3-16, 18-21
Contain Interpolations of "Theme from Mission: Impossible"
Composed by Lalo Schifrin
Published by Sony/ATV Melody (BMI)
Disc 1 Tracks 5, 6, 15, 18–20 & Disc 2 Tracks 1, 6-10, 12, 18 & 19
Contain Interpolations of "The Plot"
Composed by Lalo Schifrin
Published by Sony/ATV Melody (BMI)
Disc 1 Track 10 & Disc 2 Track 1
Contain a sample of "Chakra #1"
Disc 1 Track 19 & Disc 2 Track 1
Contain a Sample of "Chakra #5"
Disc 2 Tracks 1, 7–8, 10 & 1
Contain a Sample of "Chakra #3"
All Samples Written & Performed by Constance Demby
Published by Current Sounds Music/Sound Currents (ASCAP)
Courtesy of the estate of Constance Demby, by arrangement with Serwin Media Group
Music by Max Aruj and Alfie Godfrey
Score Produced by Cécile Tournesac
Supervising Music Editor: Cécile Tournesac
Music Editor: Timeri Duplat
Assistant Music Editor: Sarah Walsh
Score Recorded by Geoff Foster
Score Mixed by Chris Fogel
Score Conducted by James Seymour Brett
Lead Orchestrator: Adam Price
Orchestrators: Gabriel Chernick, Jack McKenzie & Aaron King
Additional Arrangements: W. F. Smith Leithart, Logan Gammill, Steffen Thum, Stuart Michael Thomas & Jeremy Earnest
Music Preparation: Jill Streater, Global Music Service
Score Recorded at AIR Studios, London & 165 Broadhurst Gardens, London
Score Recordist: Jack Mills
Score Editor: Chris Barrett
Additional Recording by Alex Ferguson, Simon Rhodes & Jean Martin
Additional Mix by John Chapman
Additional Score Editor: Chandler Harrod
Assistant Engineers: Rebecca Hordern, Laura Beck & Adam Magson
Mix Assistants: Evyn DeBoer & Jakov Naumoski
Music Production Assistant: Eliseo Hagerman
Musician Contractors: Jenny Goshawk & Millie Hooper for Isobel Griffiths
Concertmaster: Everton Nelson
Featured Percussionist/Balalaika: Lou Wiss
Featured Inuit Throat Singer: Tanya Tagaq
Featured Violin: Clementine Brown
Featured Cellist: Sebrina Lambert-Rose
Flute Solos: Helen Keen
Lead Trumpet: Tom Rees-Roberts
Horn Solos: Richard Watkins
Choirmaster: Ben Parry
Choir & Throat Singers: London Voices
Synth Programming: Max Aruj & Alfie Godfrey
Additional Programming: Jon G. Kaye & Kevin Riepl
Executive Album Producer: Christopher McQuarrie
Executive in Charge of Music for Paramount Pictures: Randy Spendlove
Soundtrack Album Coordinator: Michael Murphy
Executive Album Producers for La-La Land Records: MV Gerhard & Matt Verboys
Executive Album Producers for Sony Classical: Stefan Karrer & JC Chamboredon
Album Mastered by Reuben Cohen at Lurssen Mastering
Art Direction by Dan Goldwasser at Warm Butter Design
Production Assistance: Frank K. DeWald & Neil S. Bulk
Published by Paramount Allegra Music (ASCAP)
Max, Alfie & Cécile wish to thank:
Tom Cruise, Christopher McQuarrie, Eddie Hamilton, Randy Spendlove, Lorne Balfe, Kaiyun Wong, Micaela Cain, Jonah Menegaz, Stephanie Ito, Catherine Farrell, Timeri Duplat, Smith Leithart, Logan Gammill, Jonathan Kaye, Christopher Frith, Robert Aruj, Ruth Aruj, Richard Godfrey, Sue Hiller, Suzy Owenham & Sophie Tournesac
Paramount Pictures thanks:
Randy Spendlove, Lina Ajad, Lilly Bennett, Micaela Cain, Sheryl Carlin, Dina Durant, Raymond Gonzalez, Amanda Grossman, Jonah Menegaz, Vanessa Palmer, Ada Papila, Jessica Reddick, Ishita Sinha, Megan Walla, Jonathan Weiss & Kaiyn Wong
CD1
01 – We Live And Die In The Shadows (0:45)
02 – Another Sunrise (2:28)
03 – Come Home Ethan (2:28)
04 – The Final Reckoning – Main Title (1:07)
05 – Martial Law (3:06)
06 – Enter Paris (2:31)
07 – Origins (3:28)
08 – It’s Only Pain (1:42)
09 – It Will Change You (Ça Te Changera) (1:57)
10 – The Entity (4:07)
11 – The Entity’s Future (3:12)
12 – I’ll Be Waiting (2:49)
13 – This Is Where You Leave Me (3:08)
14 – I Know You (5:22)
15 – Mt Weather (2:07)
16 – Checkmate (3:12)
17 – I Have No Regrets (1:26)
18 – The Eye Of The Storm (2:04)
19 – Nothing Is Certain (4:37)
20 – Firefight (4:05)
21 – The Icecap (3:58)
CD2
01 – The Sevastopol (5:33)
02 – Ascending (2:32)
03 – I Owe You My Life (7:22)
04 – Consequences (3:23)
05 – Your Final Reckoning (5:18)
06 – We’ll Figure It Out (2:04)
07 – Liftoff (1:28)
08 – Decisions (2:23)
09 – This Is Not Good (1:11)
10 – Problems (1:31)
11 – Tailstrike (1:05)
12 – Ten Seconds… Maybe (2:26)
13 – Good Luck (1:59)
14 – Descending (2:19)
15 – A Light We Cannot See (9:16)
16 – Curtain Call (1:53)
BONUS TRACKS
17 – For Those We Never Meet (5:01)
18 – The Arctic (1:44)
19 – This Is My Decision (3:17)
20 – Encore (0:59)
21 – Final Reckoning – Sacrifice Teaser (1:59)
Looks like Balfe is doing a new Naked Gun movie
WTF Lorne isn’t composing the movie? it’s Max Aruj & Alfie Godfrey damn what a huge disappointment
I’m honestly kind of baffled by the idea having four composers on a score is not “big”
It’s all relative though…Look at all the composers on a Gore Verbinski Hans score….those make Nolan’s score teams look small. And besides, it doesn’t mean much for the overall output. By all accounts on this site, Lorne composed half of Inception, but he was the only additional composer on that. Something like TDKR or BVS, meanwhile, clearly has Hans doing the heavily lifting as far as themes, motifs, and structure, even if there are more “composers” on the project.
You reminded me of The Lone Ranger. It has a very big team for some reason…
The whole thing could be easily done & credited ‘composed by Zanelli/Balfe’… and honestly I would believe it
Tom, I think if you are producer (or director) and you decided to hire Hans Zimmer, you basically hiring “Hans Zimmer & Co”
Hans is probably the biggest name out there and He can afford to have a big team
@An0n, I think Lone Ranger was such a big team because Hans and co. came in late replacing Jack White. But yeah, Verbinski movies always have like 7 composers helping Hans
Not always. Silvestri on Mouse Hunt and Mexican did all the Music alone. And that’s Verbinski two first big projects.
I meant for his collaborations with Hans
Tom, it still doesn’t explain why this movie has a big team…
Hans also replaced Johann in Blade Runner 2 and it was only “Hans & Benjamin” (no Mazzaro, no Kawczynski)
As for PotC franchise, I can see why there are so many people working – many new themes, many arrangements… But Lone Ranger doesn’t have that (or maybe does, I haven’t listened to the whole thing for a while)
The reason the Lone Ranger needed a big team was because Hans was so busy in 2013-2014. Lone Ranger was a “last minute job” and he already made huge commitments to films like Man of Steel, Rush, 12 years a slave and Im guessing at that point already in the early early phase of begining work on Interstellar. Now Hans plans his schedule carefully so he has enough time to work on all these films, but you have to imagine it is time consuming and doesn’t leave too much room for relaxation. This why all these films have such big teams, deadlines need to be met at the studios request.
From 2017-2018 he had a much more flexible schedule as his was mostly doing Tours and so tackled less projects so there wasnt a need for a large team for the projects, even on last minute work on something like Blade Runner.