Dick liked to clean up at least a few key poses for every shot in the film himself. As an animator your goal was to get your poses as close as possible to the way he would draw, so he wouldn't have to change too much. If you were confident you could go and get your model check drawings early. After a while I started to do it more often that way, because it was faster. He did not like to look at pose tests, though. To get your animation approved you had to have the stuff pretty much rough inbetweened on twos. If he didn't like your animation you would have to address the notes and ask him again at some point to go over your revised drawings. It felt safer to get your scene roughed out on twos and once it was approved let him do a few key clean ups and then adjust the inbetweens. You were responsible for the shot until it went through trace&paint, everything on ones. You had assistants to help you with inbetweens, but there was no clean-up department.
I forgot to mention that clean-up on the Thief meant clean-up ready for trace&paint. Previously the craft of tracing animation drawings onto cel had not been practiced much since Disney introduced the xeroxing process on One Hundred and One Dalmatians .
All the drawings had to have a very clear pencil line, but you could have color roughs under the drawings. Another thing that contributed to the quality was that we worked with enormous scope field sized paper, keeping line thickness and wobble really low.