There is this “temp music” editors and directors work with until the final score is finished. This temporary music helps to see how the picture works and flows with music and gives the scene direction on how it is supposed to feel. This is the first time directors see the scene working and flowing. And here comes the problem. The temp love trap. The director falls in love with the temp music and often wants to have the score composed as closely as possible to the temp music.
The British composer Christian Henson says on his youtube channel that the temp itself is not the problem, but it’s the temp love. “I think, what we fear the most are four words connected with this kind of love. But it’s not ‘will you marry me’ or ‘I want a child’ it’s ‘copy the fucking temp’.
Yes, this sounds very serious. And it is.
Once the temp love trap happens it's pretty painful.
Even the world famous composer Danny Elfman agrees on it. He once said that temp music is the bane of his existence. “I won’t listen to it but once, and if they’re addicted to it, it’s just going to make my job harder.”
It certainly makes the job harder. But there are also ways you can avoid or prevent this trap. You can simply use a temp track that you can afford in case everyone is wedded to that music and there is no way out of it. Or you can try to use the temp music for as short a time period as possible. These are ordinary ways you can stay out of the trap. But in this article we want to present you our TOP TWO ways of avoiding or preventing temp love trap.
