If one wants to understand how composers are chosen for the top superhero films, it basically boils down to the same three additional factors beyond their music:
1. PREVIOUS EXPERIENCES WITH THE DIRECTOR. Filmmakers frequently favor returning to composers they know and trust from previous firsthand, positive experiences.
2. PREVIOUS EXPERIENCES WITH THE STUDIO. Studios frequently recommend composers that have delivered for them with great results previously.
3. PREVIOUSLY SCORED HIT FILMS ELSEWHERE. The reputation from other studios and experiences of providing scores to hit films contributes another level of attraction/insurance.
The Catch-22 for all composers trying to crack getting onto these top superhero films (which are typically high-profile, huge budgeted tentpole films for the studio) is that only a handful of composers crack into landing these jobs. The Top 50 Superhero films were scored by a field of the same 24 composers, all of which had at least one of the three items on the Previous Experience list (and typically two or all three of them).
Whenever trying to make an educated guess of who might score huge films like these, first ask how many of the three items on the Previous Experience List the composer in question has.
Having one, two or all three on the Previous Experience List is no guarantee of landing a huge Superhero film.
Not having ANY is probably a complete guarantee of NOT landing one.
