Temp Track for Filmmakers: 3 Empowering Ways to Break Up With It
“Three empowering ways filmmakers can let go of the temp track and build a healthier, more creative partnership with their composer.”
Introduction
When you put together your rough cut, it’s tempting to lean on a temp track — that placeholder music that feels emotionally satisfying, even “perfect” for the moment. But if you cling too hard, you risk stifling your composer’s creativity or worse: locking yourself into something unshakable. Here are 3 empowering ways filmmakers can move beyond their temp track while keeping their relationship with their composer strong.
A temp track (aka scratch music, temp score) is existing music used during editing to guide pacing, mood, or emotional tone. While it’s a powerful editing tool, directors can grow deeply attached to it — a phenomenon sometimes called “temp love.” That attachment can make it very hard to let go, even when a composer delivers an original score. When handled poorly, this dynamic even leads to final scores being rejected in favor of the temp track.
1. Re-Frame the Temp Track as a Blueprint, Not a Destiny
What to do:
In your first spotting session, clarify: “This temp track is a reference, not a contract.”
Invite your composer to reinterpret what you love about it — not to copy, but to capture its spirit.
Why it helps:
This sets creative boundaries without shutting down your emotional vision. Your composer knows what’s important to you, but retains space to innovate.
When Producers and Music Supervisors Use Temp Tracks in TV and Film — The Sync Report https://www.thesyncreport.com/Blog/8102/20251111/When-Producers-and-Music-Supervisors-Use-Temp-Tracks-in-TV-and-Film?utm_source=chatgpt.com
Composer-friendly script:
“I love how this piece builds into that swell at 1:47. I’d like you to lean into that emotional arc, but feel free to reshape the harmony or instrumentation however you like.”
2. Set a Temp-Track “Sunset Date” Early
What to do:
Before you fall too deeply for your placeholder, set a mental (or even calendar) deadline for when you’ll let go of the temp.
Tell your composer: “I’m attaching to this now, but I will release it when your score arrives.”
Why it helps:
Having a “sunset date” makes your composer’s job psychologically and practically easier. It prevents the temp from becoming a crutch — and helps prevent “temp creep,” where you postpone replacing the temp for too long.
How to Avoid the Temp Love Trap: Music Supervisors Weigh In — Soundstripe (Feb 2025) https://www.soundstripe.com/blogs/how-to-avoid-temp-love?utm_source=chatgpt.com
Inside the Mind of a Music Supervisor: How Songs Get Picked for Film and TV Aaron Davison, Medium https://medium.com/%40htlympremium/inside-the-mind-of-a-music-supervisor-how-songs-get-picked-for-film-and-tv-9cf3bd7d0057
Composer-friendly script:
“I’m attached to this temp track emotionally, but I want to move to an original score. Let’s agree: when you deliver the first pass, we sunset the temp and lean fully into your ideas.
3. Use A/B Listening to Stay Open-Minded
What to do:
Ask your composer for a 60–90 second mock-up (or key cue) that captures their vision, then compare it with your temp in a listening session.
Use blind listening if you can — try playing both without labeling which is temp and which is original.
Why it helps:
Hearing them side-by-side reminds you why you hired them. It lets you evaluate emotional fit, not just familiarity. And it gives the composer a chance to surprise you — which is where magic often lives.
Disappearance of Themes in Film Music — Equal Artist (Oct / Nov 2025) https://www.equalartist.com/post/the-disappearance-of-themes-in-film-music?utm_source=chatgpt.com
Composer-friendly script:
“Let’s get a short mock-up of your cue, then I’ll A/B it with the temp. No judgment — I want to be fully present for what you’re bringing.”
The Emotional Payoff
You preserve your emotional intent from the temp, but free your composer to deliver something original and powerful.
You reinforce trust: your composer feels respected and safe to take creative risks.
You grow as a director: you learn to value collaboration over imitation.
Christopher Caliendo is an Emmy-nominated TV composer, twice winner of the Heritage Award, the first composer in Hollywood history to re-score a major motion picture film for SONY Pictures, winner of the Henry Mancini Award for Film Scoring, and has had his music for film performed the LA Phil at the Hollywood Bowl alongside John Williams, James Horner, Jerry Goldsmith and Rogers and Hammerstein. Lauded for his “excellent orchestra scores…” David Kehr NY Times, Christopher embraces diverse styles from classical to electronic to world pop whose music “signals the next generation of Hollywood music.
