Given the task definition and input, reply with output. In this task, you're given a question, along with three passages, 1, 2, and 3. Your job is to determine which passage can be used to answer the question by searching for further information using terms from the passage. Indicate your choice as 1, 2, or 3.

Question: Which of the two film scores released in the 1990s had better sales? Passage 1:Yvan Muller started his BTCC career in 1998 replacing Audi Vice Champion Frank Biela that in the while came back in STW. Muller thanks to his major experience with front wheel Audi A4 got three podium and finished 7th in the 1998 championship while his teammate John Bintcliffe finished just 15th. After Audi withdraw at the end of 1998 BTCC, Yvan moved to the Vauxhall Motorsport team run by Triple Eight Race Engineering for 1999 alongside John Cleland using the Vauxhall Vectra. He would win his first BTCC race at round 7 Brands Hatch, he would eventually finish 6th in the championship while teammate John Cleland finished 13th. 2000 was the last year for the Super Tourers in the BTCC. Muller drove for Vauxhall again while Jason Plato and Vincent Radermecker joined after leaving Renault and Volvo who pulled out at the end of 1999. The Frenchman finished as the top driver for Vauxhall in 4th in the championship behind all three Ford drivers (Alain Menu, Anthony Reid and Rickard Rydell).
 Passage 2:In 1985, he founded his own recording studio—the wonder station. Their collaboration has invited comparisons to the collaborations of Steven Spielberg and John Williams. This big break led to Hisaishi's overwhelming success as a composer of film scores. In 1986, , would be the first feature to appear under the Studio Ghibli banner, and its gentle, faintly melancholic tone would become a familiar trademark of much of the studio's later output. And later, in the 1990s, Porco Rosso and Princess Mononoke were released. As Hisaishi strengthened his reputation as one of the budding anime industry's top musical contributors, his compositions (including eight theatrical films and one OAV) would proceed to become some of the very hallmarks of early anime in the 1980s and 1990s. Hisaishi also composed for such TV and movie hits as Sasuga no Sarutobi, Two Down Full Base, Tonde Mon Pe and the anime Tekuno porisu 21C (all 1982), Sasuraiger (1983), Futari Taka (1984), (1985) and Oz no mahôtsukai (1986). He also scored the sci-fi adventure series Mospeada (1983), which was later reworked (without his music) into the third segment of Carl Macek's compilation, Robotech. Other films he scored included Mobile Suit Gundam Movie II: Soldiers of Sorrow (1981), Mobile Suit Gundam Movie III: Encounters in Space, (1982), Birth (Bâsu) (1984), Arion (1986), Robot Carnival (1987), Totoro (1988), Crest of the Royal Family and Maison Ikkoku – Apartment Fantasy (both 1988), Venus Wars (1989), Kiki's Delivery Service (1989), Porco Rosso (1992) and Ocean Heaven (2010). He also did theme song arrangements and composed other anime opening, closing, and insert title theme songs such as Mahō Shōjo Lalabel (1980), Hello! Sandybell (1981), Meiken Jolie (1981), Voltron (1981), Ai Shite Knight (1983), Creamy Mami, the Magic Angel: Curtain Call (1986), and  (1988).
 Passage 3:Cat Mazza has a BFA from Carnegie Mellon University and received her master's degree from Rensselaer Polytechnic Institute. Her work has been featured in exhibitions nationally and internationally including the exhibitions Radical Lace & Subversive Knitting at the Museum of Arts and Design in New York City, Disobedient Objects at the Victoria and Albert Museum in London, Craft Futures: 40 Under 40 at the Smithsonian American Art Museum and in "She Will Always Be Younger Than Us" at the Textile Museum of Canada and the Art Gallery of Calgary, along with work from Orly Cogan, Wednesday Lupypciw, Gillian Strong, and Ginger Brooks Takahashi in connection to the "When Women Rule The World: Judy Chicago in Thread" exhibit also at the Textile Museum of Canada. Mazza has received many prestigious grants from institutions including Creative Capital, the Experimental Television Center, the Rockefeller Foundation in Media Arts, MacDowell Colony and the Craft Research Fund. She received a Creative Capital grant in 2012 for her project Knit for Defense and was a presenter at the 2011 conference The Influencers. Mazza has additionally served as an Eyebeam staff member.
2