Quote:
Originally Posted by DaneMcCloud
Yeah, I do.
It happens all the time. Directors fall in love with the Temp Score, composers get pissed, then are either fired or quit. I'm talking big time composers like the Newman's, John Ottman, John Powell, Howard Shore, etc. and so on.
Some directors want a temp score and others don't. Temp scores work for directors that aren't good with music score, so they trust their music supervisors and music editors.
But to put a temp score in a John Williams scored film is just ridiculous, IMO, because what happens then is that John will be expected to score it with the same rhythm, tempo, instrumentation and feel as the temp score, whereas he might have scored the scene completely different and of course, completely awesome.
I think this is a recipe for disaster.
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If you need a temp score, you're probably not much of a storyteller.
The music is the icing. If you can't think, imagine, and work without it, that's on you.