The only major difference is you really want to check for mono and surround compatability to make sure nothing weird or unexpected is going to happen. Most lower budget film/tv productions are pretty clueless when it comes to audio so they are usually happy with anything that sounds half decent. Generally you probably want to go for a little less dynamics then usual. That helps the music sit in the mix and not overwhelm the dialog or sound effects.
Larger budget productions may have more specific requirements but they usually have their own people doing the final mix anyway and they can do extra EQ or dynamic adjustments then.
Just be glad you don't have to try and shoehorn the music into an optical track on a film print. That was like mastering for telephone.
