I'll explain this scenario that soured me. I was hired a year ago to score an animated film and given a relatively nice package. The music would be challenging and I got to work on it right away not yet having seen any of the film because it was CGI animated/semi animated so what I would see were just green screens and concept art. I composed very good music (if I can say so) that I was proud of and saw a rough cut of the film (maybe 25% of the cgi/animation were in place. I then got word that the team had fallen in love with royalty free temp score that they edited to but wanted to retain me but now adapt the royalty free music. I said, but wait, I would charge you the contractually agreed fee regardless if they use my music or not because I created it even though they went the free route. I was now competing with generic free music and told I had to compose exactly like that music because it was approved already. So in what scenario would they pick my full price music that was already composed just for them but not like the generic royalty free music if they got what they needed for free music and any original music would have to follow the exact same rhythm, beat, style, of the temp? I did it for one cue and said screw this - it was zero joy just to write music exactly like what they were getting for free but mine would be the full price we agreed to. They would just say for each cue, we'll take the free one instead because mine would be just like the free one but cost alot more. I told them, I'll let them off the contract and let's go separate ways and the original music I composed is fully mine to do whatever I want with but this issue of having to compete with very generic royalty free music is becoming more and more common and far less creative or interesting for the composer. Something very similar happened to Davis on Matrix where DJ music was brought in replacing some of his music and he was told to merge his style to blend with them. At the very least, it was insulting, and he didn't take it well, plus very uninteresting to the composer. This sort of approach is more and more common now. There are some composers through various methods (maybe they have a music production team or are improvisors), but for those of us who want to sit at a desk and craft a well-conceived score that helps tell the story, it's frustrating and very unnerving that at any moment, even if they haven't heard the score, they might say the direction has changed and they're going with the generic free music. For some people who are fine with this being a business and they produce a product, it's probably not that big a deal but others actually love music and prefer working in settings that are more collaborative and supportive of that goal. I spent the rest of last year working on personal projects and very specific collaborations that were far more rewarding than doing the grind of writing music directly for directors then having it tossed for something easy to edit to or someone else had just gotten used to. I hope that explains the scenario better.