A few years ago, I heard a film composer tell of a director's reaction to his labors: "O.K., now make it twenty per cent more Cuban." Such is the humble lot of composers in Hollywood: they enter the creative process late, they write on dire deadlines, and they grapple with all manner of vague or arbitrary demands. The scourge of their existence is the "temp track""the temporary soundtrack of preëxisting musical se…
SOURCE: The New Yorker at 10:01AM on February 27, 2015