Ed Catmull and the Harvard Business Review

Ed Catmull, the president of Pixar and Walt Disney Animation, has written an article for the Harvard Business Review that can be read here. There is also a podcast you can find here.

Both focus on organizational structure and the steps that Pixar has taken to prevent the mistakes that are all too common in business. Here are some excerpts from the article:
"To act in this fashion, we as executives have to resist our natural tendency to avoid or minimize risks, which, of course, is much easier said than done. In the movie business and plenty of others, this instinct leads executives to choose to copy successes rather than try to create something brand-new. That’s why you see so many movies that are so much alike. It also explains why a lot of films aren’t very good. If you want to be original, you have to accept the uncertainty, even when it’s uncomfortable, and have the capability to recover when your organization takes a big risk and fails. What’s the key to being able to recover? Talented people!"

"Creative power in a film has to reside with the film’s creative leadership. As obvious as this might seem, it’s not true of many companies in the movie industry and, I suspect, a lot of others. We believe the creative vision propelling each movie comes from one or two people and not from either corporate executives or a development department. Our philosophy is: You get great creative people, you bet big on them, you give them enormous leeway and support, and you provide them with an environment in which they can get honest feedback from everyone."

"Everyone must have the freedom to communicate with anyone. This means recognizing that the decision-making hierarchy and communication structure in organizations are two different things. Members of any department should be able to approach anyone in another department to solve problems without having to go through “proper” channels. It also means that managers need to learn that they don’t always have to be the first to know about something going on in their realm, and it’s OK to walk into a meeting and be surprised. The impulse to tightly control the process is understandable given the complex nature of moviemaking, but problems are almost by definition unforeseen. The most efficient way to deal with numerous problems is to trust people to work out the difficulties directly with each other without having to check for permission. It must be safe for everyone to offer ideas."
I've never worked at Pixar or even visited the place. Catmull makes it sound somewhat utopian, but I've worked in enough companies to know that people within a company are always competing for plum assignments or for having their vision prevail. That's human nature and I doubt that Pixar has found a way to re-engineer it. However, Pixar has had a remarkable run at the box office and remains a leader in the field, so I can only assume that the company philosophy has helped them in their continued success. It certainly sounds different from most of the places I've worked, none of which have been as successful.

(link via Cinematech.)

Comments

Post a Comment

Popular posts from this blog

Dumbo Part 11

Image
How many elephants in a pyramid? In shot 1, there are eight elephants standing around the ringmaster. In shot 4, there are seven around the ringmaster. In shot 23, the pyramid consists of six elephants. In shot 40.1, there are eight elephants in the pyramid. In shot 41.1, there are seven, as there are in shot 51.1. All of this takes place before they trip over Dumbo and scatter, so the number should be consistent. Hugh Fraser does excellent work in this sequence. He manages to capture the drawing and the personalities of the elephants in a manner consistent with Bill Tytla's work. He does that while dealing with multiple characters whose weight must be animated believably or the sequence loses its effectiveness. Shot 10.2. gets even more complicated with one of the elephants being swung towards and away from the camera, adding a size change to the rest of the difficulties. While Fraser has Tytla's work as a template, the animation challenges here are possibly great...
Read more

What Does A HOME, Mean To You?

By  Richard Brody   Most of us, have heard, the expression, A house, is not, a home, but, we often, pay far too little attention, to that, before we commit to purchasing a particular house. Wouldn't it make sense, if, we spent, a little more time, and effort, considering, what would make us, consider it, to be, a HOME, and what emotional, family, and personal considerations, and necessities, might differentiate between, simply living in some house, and truly, making it, a home, of our own? With that in mind, this article will attempt to briefly, review, consider, and discuss, using the mnemonic approach, some of the key components, involved, etc. 1. Human; humane; heart; heals; houses: A key difference, to consider, in advance, is beginning the process, by delving deeply, into our personal needs, etc, realistically, and based on our real, human priorities, including, whether, it will fulfill some of our humane - needs, such as how it might, address, family needs and consid...
Read more

Dumbo Part 7

Image
Once again, the principle of contrast is front and center here. The first half of the sequence is relaxed and heartwarming while the later half is tense and frightening. The bath section is really a musical sequence, though there are no lyrics. The animation has been tied tightly to the beat and melody of the music. Certainly that was a specialty of sequence director Wilfred Jackson. Animator Bill Tytla, himself the parent of a young son at the time, perfectly captures how a parent and child tease each other and play games, both secure in their loving relationship. One thing that makes their relationship obvious to the audience is the use of touch. Touch is a powerful way of communicating in life and on film. A caress, a pat on the back or a punch in the nose all communicate clearly. Mrs. Jumbo's trunk is there to wash her child, lift her child or caress it. Dumbo pulls on his mother's tail. The willing physical connection between the two makes their feelings for each ...
Read more