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The better you get at seeing artistic problems the better you become at preventing them before they even happen. You want speed and accuracy of sight. This is what it really means to work fast as an artist.
The writer who sees plot problems when the story is only still a concept. The director who sees editing problems when a scene hasn't even been shot. The cinematographer who sees lighting problems before the lights are rigged.
To see the problem is to not only avoid it before it manifests but to clear an early path to the solution and so to efficiency. This enables you avoid unnecessary experimentation (experimenting to confirm ignorance) and focus on artistic exploration (creative experimentation).
It's the difference between finishing and executing.
When you come to really understand this, you'll get to see that time spent on a project isn't valued by how long it passes but how well it passes.
A bad 2 weeks (quick in passage but poor in output) can cost you extra time and expenses and even compromise your psychological/emotional grasp of the project. I've seen so many projects die this way I'm probably due for PTSD benefits.
A good 3 months (extended in passage but quality output) gives you value for time, money, &, crucially, solidifies that phase of work, giving the next phase proper foundation. The next department now has a basis for improved efficiency & you can get a continuity of quality going.
