> It's also the stretch of time where he started to get burned out, which is
> why he took that time off a year later.

> It's hard to blame Harry for Cowboys & Aliens, an impossible
> assignment with two studios involved and giving copious amounts of notes.
> He acted like things were fine at the time, but that winter he'd be more
> frank.

> 'I’m still not quite sure how I feel about that score; I know how I
> feel about the film now. I left myself a lot of time. Perhaps too much
> time. By the time I’d actually written the score, huge chunks of the film
> were coming out, and it was becoming streamlined and fine-cut. And I
> thought I’d already lived it, in terms of a score’s life, and I had to
> energize myself to do it once again. That was very tricky.'

For sure, I'm (almost always) speaking purely to the end product, but, perhaps because I'm a biased big fan, I feel a nagging sense that HGW's ups and downs are largely attributable to opportunities and relationships.

> Also worth noting is that Harry likes alternating between the two sides of
> his hybrid style (the more symphonic vs. more contemporary), and would
> probably get sick of only writing the types of scores this community tends
> to like more. He seemed to really enjoy his time on Unstoppable as
> that's been featured in at least one of his master class-type
> presentations.

True. But those types of scores pre-2008 had some distinct appeal or at least a knockout track or two (Spy Game, Veronica Guerin (realize this wasn't on your list), Gone Baby Gone, etc.). There's not a single cue from The Equalizer(s), Total Recall, Live by Night, or Confirmation that I ever return to, which is why Infinite was such a pleasant surprise - I have a 20-minute playlist from that that I think is genuinely great (should've put it somewhere in that third tier).