> It is almost entirely a function of more composers to track, cuz it's
> certainly not a function of the music on average getting better. I'd say
> note how many TBTF entries were near the bottom of many composer rankings
> posts, but then it's an open question if you've read those.

> In the early days of Media Ventures it was just Hans and Mark Mancina
> doing solo work. Now we've got at least a dozen key composers in any one
> given year.

> If this becomes a book, figure out how to keep all the narrative
> throughlines coherent is going to be a pain.

> The funny part about that joke is that Solo is arguably the only
> one of those Powell scores that my wife doesn't recognize.

This would mean more if three of them weren't from the same franchise lol. Also, I was referencing when Nate was hyperbolically hinting at how incredible Solo was going to be before we heard it.

> Kingdom of Heaven, At World's End, and Paycheck are
> all right in the same neighborhood on the all-time rankings. It's possible
> the order would change if I did this next year.

> You can blame Call of the Wild if you like, but I'd argue more
> impactful was the reevaluation of Paycheck, which wasn't even a
> 4-star score in my book before the Deluxe Edition came out.

Yes but I really like Paycheck and when I listen to it next time I'll probably like it even more like you did.

> Ooof, it was rough going back and reading my first attempt at a write-up
> for that one, one of those early 'oh, hell, you all already know and like
> this' bits. Though I've since picked up a great story about Powell putting
> Britten's War Requiem along the ant march scene and Katzenberg leaning
> forward and saying, “I see where you’re going, but this is for
> kids.”

It's a score that I really would love to go deep and trace all of its influences back on.