Creativity, Inc. (The Expanded Edition)

Informationen zum Autor Ed Catmull with Amy Wallace Klappentext "For nearly thirty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner eighteen Academy Awards. The joyous storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, Catmull reveals the ideals and techniques that have made Pixar so widely admired--and so profitable. As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student, and then forged a partnership with George Lucas that led, indirectly, to his founding Pixar with Steve Jobs and John Lasseter in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie's success--and in the twenty-five movies that followed--was the unique environment that Catmull and his colleagues built at Pixar, based on philosophies that protect the creative process and defy convention, such as: Give a good idea to a mediocre team and they will screw it up. But give a mediocre idea to a great team and they will either fix it or come up with something better. It's not the manager's job to prevent risks. It's the manager's job to make it safe for others to take them. The cost of preventing errors is often far greater than the cost of fixing them. A company's communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody."-- Leseprobe Chapter 1 Animated For thirteen years we had a table in the large conference room at Pixar that we call West One. Though it was beautiful, I grew to hate this table. It was long and skinny, like one of those things you'd see in a comedy sketch about an old wealthy couple that sits down for dinnerone person at either end, a candelabra in the middleand has to shout to make conversation. The table had been chosen by a designer Steve Jobs liked, and it was elegant, all rightbut it impeded our work. We'd hold regular meetings about our movies around that tablethirty of us facing off in two long lines, often with more people seated along the wallsand everyone was so spread out that it was difficult to communicate. For those unlucky enough to be seated at the far ends, ideas didn't flow because it was nearly impossible to make eye contact without craning your neck. Moreover, because it was important that the director and producer of the film in question be able to hear what everyone was saying, they had to be placed at the center of the table. So did Pixar's creative leaders: John Lasseter, Pixar's creative officer, and me, and a handful of our most experienced directors, producers, and writers. To ensure that these people were always seated together, someone began making place cards. We might as well have been at a formal dinner party. When it comes to creative inspiration, job titles and hierarchy are meaningless. That's what I believe. But unwittingly, we were allowing this tableand the resulting place card ritualto send a different message. The closer you were seated to the middle of the table, it implied, the more importantthe more centralyou must be. And the farther away, the less likely you were to speak upyour distance from the heart of the conversation made participating feel intrusive. If the table was crowded, as it often was, still more people would sit in chairs around the edges of the room, creating yet a third tier of participants (those at the center of the table, those at the ends, and those not at the table at all). Without intending to, we'd created an obstacle that discouraged people from jumping in. Over the course of a decade, we held countless meetings around this table in this waycomplet...

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Ed Catmull with Amy Wallace

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"For nearly thirty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner eighteen Academy Awards. The joyous storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, Catmull reveals the ideals and techniques that have made Pixar so widely admired--and so profitable. As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student, and then forged a partnership with George Lucas that led, indirectly, to his founding Pixar with Steve Jobs and John Lasseter in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie's success--and in the twenty-five movies that followed--was the unique environment that Catmull and his colleagues built at Pixar, based on philosophies that protect the creative process and defy convention, such as: Give a good idea to a mediocre team and they will screw it up. But give a mediocre idea to a great team and they will either fix it or come up with something better. It's not the manager's job to prevent risks. It's the manager's job to make it safe for others to take them. The cost of preventing errors is often far greater than the cost of fixing them. A company's communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody."--

Résumé
*The co-founder and longtime president of Pixar updates and expands his 2014 *New York Times bestseller on creative leadership, reflecting on the management principles that built Pixar’s singularly successful culture, and on all he learned during the past nine years that allowed Pixar to retain its creative culture while continuing to evolve.

“Might be the most thoughtful management book ever.”—Fast Company
 
For nearly thirty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner eighteen Academy Awards. The joyous storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, Catmull reveals the ideals and techniques that have made Pixar so widely admired—and so profitable.
 
As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student, and then forged a partnership with George Lucas that led, indirectly, to his founding Pixar with Steve Jobs and John Lasseter in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the twenty-five movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on philosophies that protect the creative process and defy convention, such as:
• Give a good idea to a mediocre team and they will screw it up. But give a mediocre idea to a great team and they will either fix it or come up with something better.
• It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them.
• The cost of preventing errors is often far greater than the cost of fixing them.
• A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody.

Creativity, Inc. has been significantly expanded to illuminate the continuing development of the unique culture at Pixar. It features a new introduction, two entirely new chapters, four new chapter postscripts, and changes and updates throughout.&#1…