Jeff Lynch, on the other hand, would sometimes add more poses to scenes I did in order to emphasis certain actions or words of dialog. I recall one scene in Marge Gets a Job where during a job interview at the nuclear plant Smithers was very impressed with her (padded) resume, and welcomes her to the job in Swahili. I just had one drawing for all of Smithers's Swahili dialog, but Lynch added several more poses to accentuate the accents of Smithers's dialog. (Such as leaning forward, tilting his head up and down, for example.) I learned a lot from Lynch's direction, including certain technical things about animation.
Carlos Baeza also pushed some of the character poses I drew much further than I thought the show would ever allow. I had a scene in Deep Space Homer, where Homer shakes his fist in the air and yells, "Inanimate?! I'll show you inanimate!" Carlos redrew the weaker pose I had done as something much bolder and stronger. I was impressed with his drawing abilities. Apparently he was a harsh taskmaster, though. He would make the layout crew redraw scenes again and again until they were to his liking. Some of the crew really hated this. (They would get behind in their quotas for the studio. We were supposed to turn in 15 finished layout scenes a week -- a very difficult task.) Some complained to management, I think, and eventually Baeza was let go.
When Silverman or Brad Bird needed a scene with better animation or acting they would do it themselves, as opposed to pushing the layout artists to try for that.