A good analysis of temp music and its effect on scores

The youtube channel Every Frame a Painting – worth a follow if you’re the slightest bit interested in film – recently took a look at the music of recent Marvel films.

I agree with most of what he says – I understand the usefulness of temp in the process of building an edit, but I’ve experienced the temp-love scenario a few times. Sometimes a director or editor is so used to a piece of temporary music that it’s hard to get them to accept a slightly different option, let alone a wholesale change of perspective (like using Barber’s Adagio in Platoon).

I did think the theme vox-pop idea was a little unfair, as the Star Wars theme has been consistently used throughout seven (plus) films, videogames, adverts, parodies etc for forty years. It’s a brilliant and memorable theme, but it has a huge time and cultural-saturation advantage which isn’t true for the Marvel themes.

And despite the prevalence of temp music, there have been some great scores recently which didn’t sound like an identikit ‘temp copy’ – scores like Daniel Pemberton’s Man From U.N.C.L.E,  Mica Levi’s Under The Skin, Hans Zimmer’s Interstellar, and Jóhann Jóhannsson’s Siccario.