When I do collaborate with a director, often we throw stuff away early on. We did on REAR WINDOW. I was in the right ballpark, but the director said, "Well, it isn't quite right yet--but I like the direction it's going." So I did something else on my synth and sent it to him and he said, "That one's great." But you don't always get a chance to work that way, especially in television. With a score I used to get a month for, I now get ten days or two weeks for because the post-production is so sped up with that digital editing thing and the composer just has to go along.