> Feels like 2008 to 2011 was the turning point

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.

> Then in 2011, Arthur Christmas ends his animation run and Cowboys and Aliens feels like the depressing logical end point of the evolution that Wolverine/Prince of Persia signaled.

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.'

> There are huge gaps between his outstanding scores from Prince Caspian to The Martian (7 years) to The Last Duel (6 years), but there aren't a ton of films in that stretch that, based on genre and tone, feel like missed opportunities for something on that level

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.