Well, for my industry, construction and design, it is not so.
I don't know about you industry in specifics of construction and design, but when it's done in the computer, whether it be cgi, editing, effects, titling, grading, retouching, (well you get the idea), the "committee process" tends to slow the back end up tremendously.
Maybe because the AD and clients, think anything on a computer is an easy fix, or maybe because most of the work is done overnight and then on the server for the client to review the next morning, but ask anyone in the effects and editorial side of motion imagery how long it takes to get a locked edit and it's amazing what the "real" answer is.
If you can get a client/AD to sit with the editor, or effects artist during the process, you'll get to an edit in a few days, given the fact that nobody wants to spend weeks sitting there watching people move data, but if you do it from afar the approval time goes up 10 to 100x.
We had one series of 4 edits (actually from a good AD) that went through 56 final locked edits. 56.
Creative approved it, said go to color then conform and just when the last pixel was burned in, here would come a client "request".
So ... 56.
On set, decisions are usually made quickly, especially when you have a large crew, lots of talent, expensive locations. Then we have a have to list, a want list and a maybe list and there is so many hours in an on set day.
IMO
BC