One of the realities of professional animation is being told to do something to your shot that you really don't quite agree with. Maybe there's an expression or a gesture you're trying to pull off. All the feedback you've gotten from your fellow inmates... err, "animation co-workers", says the expression or gesture is working. Folks are digging what you're dishing. Then in dailies the director says something like "Hmm. It's not clear to me what he's thinking." Then the director probably will give you a suggestion for a completely different performance beat there.
This is the point where you earn your money. Do you mentally and emotionally give up on the scene? Or do you enthusiastically adopt this new approach and try to make it work? The difference between being a pro and an "art-eest" is clear. An "art-eest" will whine and fight and pout, complain to everybody about how obviously 'clueless' the director is for not seeing his genius animation- then do a half baked job at the new performance and subconsciously sabotage the effort to be sure that his or her original idea coms out looking better. That's bush league. A pro, on the other hand, figures , Oh well. Guess that one didn't work. This new idea should be a fun puzzle. Sure, there is room for valid disagreement over how to handle a scene, and there are such things as stylistic differences. But this isn't your student short film, this is a job.
Listen, when somebody else signs your paycheck, they call the shots. So you do your best, try to offer your unique take on a scene. But when they call for something different, you shrug your shoulders, toss the old idea away and get back to it with the same level of enthusiasm and energy as when you first got your scene in handoff. It's not always an easy thing to do (especially when you're on your third "Let's try this...." version of a scene), but it's important to keep that positive vibe going. In the end you're gonna have mixed feelings about the scene probably, but there's a fairly good chance that you'll also like that scene a LOT more than if it had been bought off on the first whack. Almost invariably the scenes that I liked a lot when they get approved on my first attempt end up not being the scenes I really like with the process of time. It's the scenes where I'm pushed to find something new, find something different in a character than I thought was there originally- those are the ones that taste a bit bitter at first, but they age much better with time.
There is NO such thing as a 'perfectly animated scene'. I'm absolutely convinced of that. There are any number of 'valid ways to solve a scene'. If your way is valid, but it doesn't fit the director's vision for that moment, well, then it's your job to find another valid solution that does fit. You can like your version better, that's fine, but you better hold your precious ideas loosely. You cannot hold the opinion that it is inherently better just because it was your idea. When you think there's only one way to do a scene and have it be "right" you shoot yourself in the foot and set yourself up for a lot more frustration than you really need.