"Maybe we could talk a little about the different animation 'tasks' you've gone through over the years.
It's hard to remember specifically, but what basically happens is that whenever I'm feeling stuck, I don't have to go looking for a task - the task finds me.
That can be hard to express in words.
That can be a pretty painful thing to go through, not being able to improve your drawing skills - not being able to draw things the way you want. But, strange as it may sound, that can actually be the first step to getting better. You've got to feel dissatisfied with your drawings, or you won't improve. Figuring out how to do that can be hard. One thing you can do is to find someone who draws the way you're trying to draw, who draws a certain pose just the way you want to draw it. That can help you to find the way out. Though it's not good to just cheat and use that to learn shortcuts to make your drawing look passable. (laughs)
Another technique is to accept the fact that you can't get that one drawing right for now, and be satisfied with getting the surrounding drawings down. After all, the whole point isn't to draw the hardest-to-draw pose. What should concern you is making sure that you get the overall movement down as you wanted. Being stubborn about it and getting held up by one drawing isn't a good thing. Animation isn't illustration, after all. So long as it moves the way you wanted it to move, then that's all that matters. If you get hung up on drawing it the way so-and-so draws it, from this difficult angle, no matter what, then any lack of drawing skill is going to be painfully obvious in the finished drawing.
Because in animation, there are any number of ways of getting a similar result. You don't necessarily have to draw this complicated split-second slice of an action to achieve the same effect. It's not a contest to see who can draw the most difficult drawing. There are plenty of people who don't necessarily have the best drafting skills, but they can still achieve incredible results with the movement. I for one probably couldn't beat Hiroyuki Okiura in a straight drawing contest, but I don't let that get me down, because what's unique about animation is that, if you figure out a style suited to your skill level, then you can create movement that achieves a comparable effect.
If you've got to finish the shot by tomorrow, and you're stuck on this one drawing from this hard angle, then that's no time for being stubborn. You've got to settle for passable. Any other time, you can go back to being stubborn. It's important to have that determination to draw a drawing a certain way no matter what. Drawing skill comes as a result of that process. Even if you can't draw it as well as you want, you're definitely getting better by trying. If you're not struggling to draw a drawing right, then you'll never get better. It's important to have that determination to get better no matter what when you're young, because that's how you improve. Of course, it's also important to learn when to give in and move on, as contradictory as that may sound. Both are important."Nothing quite groundbreaking, but I guess it resonated with me simply for the fact that it's just the everyday thoughts, frustrations, and insecurities that I'm sure a lot of us feel at some point when we're working whether or not it's towards a deadline.
Feel free to check out the whole interview (2 parts) for some other interesting tidbits here.