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Problems listening to these files? See media help.Usually, after the film has been shot (or some shooting has been completed), the composer is shown an unpolished "rough cut" of the film (or of the scenes partially finished), and talks to the director about what sort of music (styles, themes, etc.) should be used — this process is called "spotting." More rarely, the director will talk to the composer before starting shooting, so as to give more time to the composer or because the director needs to shoot scenes (namely song or ance scenes) according to the final score. Sometimes the director will have edited the film using "temp (temporary) music": already published pieces that are similar to what the director wants. Most film composers strongly dislike temp music, as directors often become accustomed to it and push the composers to be imitators rather than creators.On certain occasions, directors have become so attached to the temp score that they decided to use it and reject the score custom-made by a composer. One of the most famous cases is Stanley Kubrick's 2001: A Space Odyssey, where Kubrick opted for existing recordings of classical works rather than the score by Alex North, which eventually led to a law suit by composer György Ligeti when he was surprised to hear his compositions in a motion film; though one should note Kubrick hired two composers (the other Frank Cordell) to do a score, and while North's 2001 is indeed a famous example, it is not the sole example of well-known rejected scores. Others include Torn Curtain (Bernard Herrmann), Troy (Gabriel Yared), Peter Jackson's King Kong (Howard Shore) and the The Bourne Identity (Carter Burwell).