> The simple answer is I forgot about it.

The film doesn't seem to exist in popular culture either! Frankly, when you're covering so many works, it would be entitled as hell to demand a minor work be included! (I do recommend it on your own time sometime if you like delicate, pretty, chilly atmospheres with a few passages of pathos, though overlong album warning.)

> The follow-up answer is that I probably could've snuck it in but was
> getting a little fatigued by lesser works at this point (note the absence
> of Deadpool).

And I forgot about Deadpool too. Frankly, you could get away with a * (that it's not a frisbee is thanks to Maximum Effort, everything else is wretched) and one-sentence review, and you're missing even less than when you decided you were done with Pereira's scores.

> It's an interesting quirk in Debney's 'chameleon' qualities as you put it:
> he is very good at emulating the style of others (Silvestri, Horner, maybe
> Williams), but he seems to rarely be asked to channel the MV / RC sound -
> and why would he be, when you can just hire those guys for likely less
> money?

That makes an astonishing amount of sense. Come to think of it, I really can't recall any score of his meaningfully channeling that sound (as in, a score that pastiches it, rather than it being a sound from the temp track). And I keep forgetting that the RC-to-the-rescue people aren't just the quick, predictable solution, but the budget one too.

> At the same time, I know other composers have spoken about the challenge
> of getting so far down the writing rabbit hole and then having to start
> again from scratch. Sometimes it's just easier to bring someone else in;
> this is exactly what happened to Marc Shaiman on Team America.

Yuuup. Rather than struggle with conflicting visions, getting someone who understands what went wrong and appreciates the time crunch makes more sense than possibly waste more time tinkering. (And Shaiman's TA:WP, that's another score I'd be interested to hear!)

> It was fascinating to cover The Simpsons Movie and find Alf Clausen
> quoted grousing about Zimmer doing the movie. Those were the good old
> days...

No clue what was coming down the line, I remember thinking when I read that lol

> That magnificent quote came at the end of interview Shea and Klebe did
> with Vice. You do have to love how the reporter basically says 'we're
> Vice, so we have to talk about drugs at some point'...#knowthyself

Heh, I missed that attribution. Know your audience!

> A simpler way to justify my rating would be
> a) It's not as good as Bourne Identity and I have that at ***
> b) It has nothing as wild as Bim Bam Smash or even Tangiers

> It's basically the Superman II of spy sequel scores.

Even as someone who hasn't heard Superman II, that makes a startling amount of sense. Indeed, I'll acknowledge that JB has no highlights approaching those. And Identity is a weird one, it's got four-star highlights with some 2-star passages. No idea what I'd average out the rating to. Ah, the curse of the fan!

> Never mind what I said about not being able to find any comments from
> Powell. There is shockingly little from Buckley on the record as
> well. I've only found only a few comments in a video interview with Daniel
> Schweiger, though it's possible he may have commented on it when doing
> press for The Sandman.

Woah, that's interesting. That really makes me wonder about what kind of atmosphere this film had. In cases like this, silence may be for the sake of civility, or not dwelling on a challenging project. I know not all scores get the publicity lap, but you'd think a major franchise of the 2000s with a major player and a composer of note would get at least one magazine profile. How bizarre.

Can't wait to read about Hubris!