Question: Hi All,

I recently got feedback from a client that they prefer an in-person approach for sound design, preferring to be in the room as the sounds are created. This is something I understand from a composition perspective, improvising on a keyboard to hone in on what they're looking for. It seems more difficult for sound design though. 

Any tips on processes that work where the client can be more present?

Answer: 
Oh man, bad move on the sound recordists part and even worse move from the producer to use those sections! Obviously not your fault at all so I'd say explain the situation to the director/producer and let them decide what they want to do
What Joseph said. I think your best option would be to suggest playing the scene with music and no other sound, or maybe sound really low so only the loudest things pop through and it makes sense you can't hear the talking. Your next option would be to lip read or get someone who can lip read and have another actor overdub the lines. 

I was in a similar situation once where the director and producer originally planned for a scene to be all music and shot it MOS and then later decided they wanted sound. Actor not available, hard to figure out what they said, hard to match other actors voice with the way the original actor looked etc. Same sitch. Great examples of why no one should never ever shoot MOS.