A diatribe about temp tracks

As someone that's both a director and a composer, I'm really sick of film scores. They're all boring and generic, including the hip, vaguely avant-garde indie scores. I blame the lack of imagination of my generation. In the old days, one made a six-stave score and demonstrated a film score on the keyboard or with a crude synth. Now, film demos are almost studio-quality, and often used in the final film. Not to mention people cloning the same six temp tracks for every mood. - Only problem is most directors only know how music makes them feel, not why. To use a good example, James A got me to play Herrmann music on set for The Usher, but my score was more like 1980's synth. I thought he was a very aware director, with taste. David White was similar, but he wasn't as articulate about what he did/didn't like. A lot of films want found sounds in the score, which is interesting, but again, not every team is Reznor/Ross. The Dakumentary was me playing ball with those conventions, but adding my sound. I'd prefer to write trad music for a score.