Use of Temp Tracks - Pros and Cons

The mere mention of the words ‘temp track’ can be enough to send shivers down any film composer’s spine. The time-honoured practice of temporarily scoring a movie with existing music is one that many film scorers are passionately against. So what is the point of creating a temporary score that will have to be discarded anyway? And is it really such a terrible idea?

Everyone in the studio may agree that that newly cut battle scene works brilliantly when scored with the main theme from Gladiator. Or that Coldplay’s latest single is the perfect track to roll the credits to. And so these exquisite pieces of music are hastily added to the film’s temp track. Usually put together by the director and/or editor, the temp track, as its name suggests, is a temporary music score used to add atmosphere to an otherwise dry cut of a film. A specially hired film composer will later replace the track with original music.

For many composers, working with a temp track is the creative equivalent of a straightjacket. After weeks or months of cutting the film to that amazing John Williams theme, the director has usually fallen in love with his or her temp score and nothing else will do. There is little more daunting task for the composer than to be asked to replicate music from one of the greats of film scoring. It is a common request however, with composers regularly asked to ‘make it sound like James Horner’, or Bernard Herrman or any other composer whose scores have become iconic. The amount of student films with music replicating American Beauty must by now be somewhere in the millions. For emerging composers, it is obviously less than ideal to have their work compared to some of the greatest names in the business. Although most directors are realistic in terms of not expecting the next Oscar winning score, the presence of the temp track subconsciously leaves an idea in their mind in regards to what the music should sound like.

For musicians, this also restricts their ability to develop a unique and recognisable style. Scores by composers like Phillip Glass, Danny Elfman and A R Rahman are often instantly identifiable and it is the attainment of this individual voice that many composers strive for. Being shackled to a temp track often hampers a composer’s ability to produce anything groundbreaking or fresh. When unusual instruments appear, or a jazz saxophone replaces a lush romantic string section, the director is often unable to appreciate the music’s innovation; hearing only that the music is wildly different from the temp track he or she has come to know so well. It is a safe bet to assume that Hans Zimmer wasn’t handed a temp tracked film when he produced his innovative score for Sherlock Holmes.

But in spite of all the moaning and groaning a temp track usually elicits from a composer, it is really such a terrible idea? The truth is, a properly constructed temp track can bring a film to life and convey the music’s desired effect much more efficiently than the creative musings of the director. A director often knows exactly what they want from the score, but, as is the nature of music, it can be difficult to put into words. “Sparkly music with a hint of grey” may make perfect sense to one person, but will leave anyone else scratching their head. Temp tracks can be particularly helpful if the director has no musical experience.

Usually, the un-initiated director will be open about his or her lack of knowledge and will be willing to be guided by the intuition and experience of the composer. This is not always the case however, with odd requests like ‘a tango that sounds just like Mozart’ springing up from time to time. In cases like this, the use of a temp track would benefit everyone involved. Indeed, when faced with such a request, the best thing a composer can do is ask the director if there is an existing piece of music that captures the mood or style they are referring to.

Without a temp track, composers are often merely guessing what it is the director would like from the music. Whilst their new music may fit the scene perfectly, it may be completely different from the director’s vision, leading to countless drafts and rewrites.

Temp tracks can also lead to great opportunities for the proactive composer. Directors and editors will sometimes look to free online music libraries for pieces to complete their temp score. Composers with their own libraries or sample tracks can benefit hugely from offering free use of their pieces to create the temp. Whilst prewritten and library tracks are rarely a perfect fit, if a director falls in love with a particular composer’s work, he or she certainly becomes the front runner to win the job of scoring the film. Similar opportunities exist, of course, for any bands or singer/songwriters looking to get their music into the movies.

There are considerations both director and composer should take into account when working with a temp track. After using the temp to guide the composer, it is good idea for the director to remove the pre-existing music from the cut, thus reducing their attachment to unobtainable or wildly expensive tracks. The composer should also appreciate the temp track for what it is: a tool to assist in the creation of the best product possible and not an attempt to thwart his or her burgeoning creativity. Film scoring, like every other aspect of the production, is after all a team effort. When used properly, temp tracks can aid communication and lead to productive and high quality collaborations.