Hmmm... my take... A composer can communicate ideals and intentions with music and so, as an example, formulate a question and spend the rest of the film -- using half or partial answers -- to finish it out.
Don't just read the script but have the director tell you the story in his own words so you can get an idea of what things are most valued from his view point.
Stick with the story and 'live' within it as a musician as much as possible. (Hans was ill-tempered during the production of 'Dark Knight')
Some directors get into the film to such a degree that they want to partially 'compose' the music and though it's important to listen, it's also important to remind them to take the leap and at least listen to other ideas.
Don't use temp music! Some directors may use it but that makes it difficult to score 'around' it or compete with it. One example of its use was Barbers Adagio https://soundcloud.com/idsaalbers/samuel-barber-adagio-for
. BTW this was done with EWQL.
Know when to talk to the producer an not the director, e.g., does the budget cover the full orchestra or just a string quartet?
Keep doors open both physically and socially.
That's pretty much it, so far. 27 or so 'lessons' to go. We get into the musical 'palette' next. -h