There is a world of difference between animating an 'action' scene such as a fight etc. in a slice of life series and animating an actual action sequence which has a flow of events.
An action sequence has a number of 'flags' which chain these events together, else they would just be a collection of things happening. For example a car flips over, collides with a lamppost is a flag, which then causes the lamppost to bend and strike a building window which shatters at the same time as the car's trajectory changes and rotates at a completely different angle which is a flag for the people in the car to be flung in a different direction and for something else to come into view etc. etc. etc. you could go on forever describing every small detail.
It's a lot of hard work and imagination and doesn't just depend on the number of inbetween frames. People consider old 80s and 90s action series to be better than today, the common argument is that 'x anime is better animated because it has more frames', but it's not necessarily the number of frames or fluidity that make better animation as the mind will naturally fill in these gaps if they aren't there. The reason the classics are considered so despite seeming less polished or less fluid than current series is because the action sequences themselves are much more interesting and inventive.
It's like an ugly girl made to look pretty with lots of airbrushing and photoshop compared to a pretty girl looking naturally pretty without any of these things...you can carry this analogy across to hollywood movies and music too.
The two (animators and storyboad artists) work together very closely though, which is why if 50 of KyoAni's animators were to move to another studio the quality of the anime KyoAni produce would not change. It's like programming, anybody can learn to read and write a programming language but a good programmer is someone who thinks like a programmer. It's not about how much code you can write, it's about how creatively you can come up with solutions to problems in the most eloquent way.
The point is that animators are doing monkey-work basically, not to discredit from what they do...but if a number of animators were to be transferred, then the animation would be down to the remaining number of animators meaning that while less frames (and thus, less fluidity) would be able to be drawn, the animation itself wouldn't change...the same things would be happening. Essentially the point I'm getting at here is that quality of animation is not a simple matter of number of frames, just like the speed of a car is not just about the size of the engine. KyoAni are often praised for being good animators but the reality is that while it looks impressive, a lot of it is really just a lot of frames drawn to make it look more fluid.
SO why're you guys still talking about monkeys of the anime industry?