Get the information you need from your director and producer so that your initial submissions are not massively wide of the mark. It is very difficult to listen when you are speaking, so it is recommended you try and curtail this activity at a creative briefing in favour of listening.
You are a conduit for creating music from their description, and briefing, and for the producer, responsible for delivering on time and to the correct technical specifications and high quality bar expected of a professional music department. There is an inbred distrust in what we do (“you have to keep those guys close, they change shit up” - Terry Gilliam) so it is the primary job of a head of department (HOD) whether that be a music editor, supervisor, or composer, to make sure the director feels that you are merely an extension of her or his vision. Establishing a lingua franca is crucial to a successful collaboration. You should retort “well they say talking about music is like dancing about architecture”. The first thing most directors and producers will say to you is “excuse me I find it really difficult to talk about music”.