Between Books - Creativity, Inc.

Creativity Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration by Ed Catmull with Amy Wallace provides Catmull's insights into management and animation history.  Many readers may assume that Creativity Inc. is either an autobiography or a personal history of Pixar.  And while there are elements of both, the text is really Catmull's reflections on both innovation and management.  Catmull uses history and personal narrative to provide other managers and innovators insight into his own career.  The episodes reflected on include his own early education and steps into animation, the establishment and then sale of Pixar, success under the ownership of Steve Jobs and later its purchase by Disney including expanded roles at Disney.  His review of history includes his relationship with the at times mercurial Jobs, the Pixar Brain Trust and it's function, and how Catmull and John Lasseter transitioned from Pixar to Disney leadership.

Creativity Inc. is a really good book!  Honestly it is something that managers and innovates need on their bookshelf not just Disney fans.  Catmull is largely honest about his mistakes and missteps that Pixar took under his direction.  Not everything Catmull attempted was a success, including attempts to revolutionize production.  And he shows us how a company losing its vision and edge can at falter after early overwhelming success.  

One of the chief themes in Catmull's leadership is candor.  Catmull and John Lasseter require it.  They make it clear what candor is and is not.  And how candor can be squashed by a inappropriate tone.  One of the examples used throughout the book is the famed Pixar Brain Trust.  Catmull describes its rules including that Pixar directors can and do ignore its advice.  And he explains that everyone is able to provide guidance.  These sessions are meant to hone the director's vision and improve the story.  And largely they do help Pixar to make some of the best animated features in the world.  If I was to criticize Catmull for anything it would be that he does not address claims that the candor of these meetings is not as described, with some not always feeling like they are able to share.  Also, I would say that Catmull does ignore some negative elements of Pixar history like the removal of Alvy Ray Smith, a Pixar co-founder.  In short he is not always candid.    

One of the things that I found fascinating is that Catmull made sure with his transition to Disney leadership that he kept the two animation units separate with clear separate structures.  The two would not mix or help each other.  That way they each could retain separate and clear identities, goals and projects.  Additionally, they chose to retain the one Disney animation executive everyone thought Catmull and Lasseter would remove, Andrew Millstein the head of Circle 7 Productions which produced sequels.  An early goal for the new leaders was no more cheap sequels.  Instead they made him general manager of the studio as he caught their vision.  Still there missteps as Catmull and Lasseter worked to overcome Pixar concerns they had lessened their attention on Pixar.  

Creativity Inc. is a great management and innovation book.  I could easily see reading it on a regular basis with using it for occasional innovation advice.  The book helps reinforce, in his own words, Catmull as a leadership and innovation leader.

Between Books - The Disney Way Interview

After reading The Disney Way Third Edition, author Bill Capodagli agreed to take a few questions about the book and Disney management that were inspired by the book.

Between Disney:  I have read a lot of Disney management/business books, but this one really seems relevant to the non-Disney fan.  For the non-Disney fan who might think of Disney as a Mickey Mouse affair.   Why should the non-fan care about the Disney Way?

Capodagli:  The Walt Disney Company is more than just a benchmark for the entertainment and hospitality industries.  Walt Disney World has the fifth largest laundry in the world, the largest in the US. It is a production facility that processes thousands of costumes, bedding, towels and linens every single day.  Cast members work hard in the heat, and they are paid a little bit more than minimum wage. Yet, there is less than 5 percent turnover in that facility.  Disney also has world-class maintenance facilities; they maintain hundreds of miles of roads on their properties; and they staff departments such as Horticulture and the Living Seas with experts in their fields. Pick any process...Disney has likely mastered it; any organization can learn from Disney’s example beyond the world of “Mickey Mouse.”


Between Disney:  I really resonate to the partnership materials in the book.  Disney really seems to operate best when a strong partnership is in place with Walt/Roy, Eisner/Wells Lasseter/Catmull.  How can we foster this type of relationship building in our own workplaces?

Capodagli: Within organizations, relationship building requires two important factors, the first of which is clarifying individual accountabilities.  Employees need to clearly understand their individual roles, and secondarily, they need to understand how their roles complement those of others to produce what Disney calls the “good show” experience.  However, there is one more factor that is critical to long-lasting successful relationships – mutual respect and trust.  One great example is the “loving kindness” culture of Acts Retirement-Life Communities, a FEATURED ORGANIZATION in the 3rd edition of The Disney Way.  All the best partnerships in history – from Walt and Roy Disney to John Lasseter and Ed Catmull – were based upon mutual respect and trust and “loving kindness.”

Between Disney:  I recently storyboarded to get ideas.  I was struck by the power of this tool.  But what I am really wondering what common qualities do you see in leaders willing to open themselves up to a leadership storyboard?

Capodagli: Leadership storyboards are beneficial when a leader is open to changing his or her ineffective behaviors based upon team feedback.

Between Disney: I work in a volunteer position where I provide leadership and a clear vision.  But sometimes the vision gets lost to the work.  How can I reinforce the dream, especially with a non-paid and low-paid staff?

Capodagli: Any leader who is responsible for a team needs to continually reinforce the vision, “dream”, or story at every opportunity including team meetings and company events. These critical cultural elements must be included in an organization’s hiring process as well as communicated to vendors, stockholders and other stakeholders.

Between Disney:  You focus on start-ups in your examples of using the Disney Way throughout the book.  What about the culture of a start up opens them to using this model?

 Capodagli: The beauty of a start-up organization is that they have a “blank sheet of paper” for creating a culture.  When an organization has been in existence for years or decades, asking employees to embrace a new set of values can be challenging.  So, establishing the core values at the outset is the best scenario to achieve long-term success.



 Thank you very for your time and your additional insights into The Disney Way and how we can Dream, Believe, Dare, Do in our own business and personal lives.

Between Books - The CG Story: Computer Generated Animation and Special Effects

The CG Story: Computer Generated Animation and Special Effects by animation historian Christopher Finch is a comprehensive history of computer generated animation that presents the history of this now common application of computer technology from it's origins to its maturity today.  Finch documents early attempts by computer pioneers to use their computing power to create images.  He then outlines how these early images lead to very early computer animation by pioneers like Ed Catmull which would eventually lead to a dream to create an entire animated feature with computing power.  The author outlines the evolution of that dream within Pixar which eventually lead to the creation of Toy Story.  This is followed by a discussion of computer animated features and how they evolved the art and the growing use of computer generated special effects in live action films.  Finch's words are illustrated by 350 images, primarily showing the results that programmers and artists generated.

The CG Story is a big big book.  It is over-sized, and though I tried, it is not really a book you snuggle to in bed.  The size allows the illustrations to be gorgeously displayed.  There is no squinting for a reader in reviewing and appreciating the images.  My only real complaint of the book is some images are turned on their side, and the size and weight of the book really does not allow a quick orientation change.  But honestly that is a very small complaint.

Finch's text is well researched and has clarity.  Especially in the early portions of the book there are a lot of technical concepts and words that could intimidate a non-specialist if handled incorrectly.  However, I was able to keep pace with the text and never felt like I was missing out on content.  If asked for a history of computer generated animation, that went beyond Pixar, I could see myself recommending this text in a heartbeat.

For me the real star of The CG Story was the discussions of character animation.  And Finch gave me much to think about.  His comparison of Toy Story to Snow White and the Seven Dwarfs helped me see Pixar's new film in a new way.  Finch notes how for both the Disney and Pixar animators working on their first full-length project they were pioneers into a unknown world.  And I enjoyed the use of Glen Keane's comparison between Disney (Once upon a time) and Pixar (Wouldn't it be cool if) story approaches.  That small included quote really made me see the two studios in a different way, and I wonder how those approaches will continue to bleed into each other with movies like Brave and Wreck-It-Ralph.  Finch's discussion of animated features includes nearly every important feature including key international releases.  Though Mars Needs Moms did not make the cut.  Of course that is really not a bad thing!

As a fan of the Marvel Cinematic Universe, I was excited to see the inclusion of special effects.  Though I was shocked to find out that Hellicarriers were not real, I loved a peak into these computer generated specials effects along with an understanding of their costs.  I did not fully grasp the complicated system of computer generated special effects, with most movies contracting to numerous houses and even having competitors work on effects for the same frame.  And I appreciated Finch's discussion between directors who rely heavily on computer generated effects and those that prefer the "weight" of a practical effect. 

The CG Story by Christopher Finch details the evolution of the idea of using computer generated images in theatrical releases.  The text outlines key moments, like the growth of Pixar, in both character animation and live action special effects.  And that history is punctuated by the gorgeous color images used extensively in the book!



Review Copy Provided by Publisher

Between Books - The Art of Pixar Short Films

The Art of Pixar Short Films by Amid Amidi outlines the history of Pixar's shorts up until 2009, providing both history and concept art and stills.  The "Introduction" provides a brief history of each short's development with few images.  This is followed by over 100 pages of art without much narration.  The images include sculptures, concept art, storyboards and stills.  The following shorts are all covered by the book:

• The Adventures of Andre & Wally B.
• Luxo Jr.
• Red's Dream
• Tin Toy
• Knick Knack
• Geri's Game
• For the Birds
• Boundin'
• One Man Band
• Lifted
• Mike's New Car
• Jack-Jack Attack
• Mater and the Ghostlight.      

The Art of Pixar Short Films is well researched and really provides a short history of Pixar.  Amidi shows how the shorts were a platform to build both the technology and artistic skills needed to elevate Pixar to feature films.  Then with entry into full length movies, Pixar continued to see shorts as both a training ground for future big screen artists and a bonus for film audiences, a bonus that had historic precedents in the history of cinema.  It cannot be a called a complete history of Pixar however, with ownership changes for example not being mentioned.  But Amidi does provide a nice history of the shorts that he actually discusses.  There are a number of facts that I found enjoyable including that Ed Catmull was recruited by Disney at one point to design Space Mountain.  The featured art is fun, informative and displays the skill of Pixar's artists.

I am just now getting into the Art of books, so I am a novice in this genre still.  I did find the format different than volumes I have read in the past.  But the large blocks of narration helped keep a cohesive history.  Overall for me the history of The Art of Pixar Short Films is what has led me to consider this a necessary volume for those interested in Pixar history.

Mousey Movies - A Computer Animated Hand

Yes, a Computer Animated Hand!

This short video from 1972 is referenced in The Pixar Touch.  Compared to a big screen Pixar production, or even Pixar's earliest shorts this video is simple.  And it does not impress our 21st Century tastes.  But this production by Pixar founder Ed Catmull was a landmark moment in computer generated animation.

The segment was later reused in the 1973 movie Westworld.  And it was included in the U.S. Film Archive for preservation due its historical significance. 

Yes, a Computer Animated Hand!  And one more step towards Toy Story!

Between Books - The Pixar Touch

David Price in The Pixar Touch: The Making of a Company details the origins, struggles, and successes of Pixar Animation Studios until its 2006 purchase by the Walt Disney Company.  Price begins his story with college student Ed Catmull who wanted to be an animator but determined that he had limited drawing talent.  The highly intelligent Catmull instead threw himself into computers and became determined to use computers to create animation.  In 1972, he created a graduate film in which he animated his hand.  The video was both simple and revolutionary in showing the potential available in computer animation.  Catmull became recognized as a leader in computer graphics and professionally tied himself to like minded Alvy Ray Smith in the quest to improve computer animation with a shared goal of an animated feature.  Eventually Catmull and Smith found themselves drawn to Lucasfilm, working on computer systems and graphics for the George Lucas’ production company.  While at Lucasfilm, Catmull and Smith recruited a third revolutionary figure, former Disney animator John Lasseter who provided the animation skill needed to create convincing character animation.  Catmull, Smith and Lasseter hid their efforts to achieve their common goal of an animated feature with Lucasfilm, who chose to sell Catmull’s computer unit off or shut down their operation.  They reached out to former Apple executive Steve Jobs who was attracted to the hardware potential in his new acquisition.  Still Catmull lead his team with the goal of animation, despite Jobs’ apprehension.  After years of being a financial lose, Jobs’ incorporated Pixar Animated Studios found enough success with commercials and short films to partner with Disney to complete and distribute an animated feature, Toy Story, which filled with character and innovative animation began an instant hit and classic film.  Price then outlines the problems in the Pixar-Disney relationship including friction between Jobs and Disney CEO Michael Eisner which was leading to an eventual end to their partnership.  Instead of a lasting schism, new Disney leadership under Bob Iger led to the Disney acquisition of Pixar Animation Studios.  This purchase lead to Lasseter becoming Disney’s and Pixar’s Chief Creative Officer, including Walt Disney Imagineering, and Catmull being named President of Walt Disney Animation Studios, along with Pixar.  The disgraced Disney animator and the boy who could not draw had become the guiding forces behind the world’s most prestigious animation organization.   

Price does an excellent job of presenting the details of a complex story.  He makes it clear that the leadership of Pixar were always united around a common vision, making an animated movie.  While others may have seen them as computer hardware or software group, the Pixar leaders regardless of their company name, were always dedicated to a common cause.  With their vision not aligned to their owners at times, leaders like Catmull had to make hard decisions or be partially dishonest to do things like add John Lasseter to the payroll.  And Price makes to clear how that vision was shared with others, with Lasseter at one point rejecting a return to Disney in order to make history in the Pixar ranks. 

I was also shocked how my opinions of some within the Pixar story changed.  I had pictured Jobs as a benevolent leader who guarded the Pixar staff from economic forces with his own personal fortune so they could evolve towards making an animated feature.  Price instead gives us a picture of Jobs who is at times more adversary than benefactor, with figures like Catmull protecting the Pixar staff and at times unsuccessfully.  Additionally, Price shows that Jobs was a late comer to the dream of an animated film.  And I found my already high opinion of Catmull being further extended as one realizes the opportunities he turned down for short gain that resulted in his and Pixar’s success in achieving their dream.

The Pixar Touch is well written and engaging.  It is not a fictional thriller, but a straight forward and highly accessible read.  It may be considered a business book, but it is one that any Pixar or animation fan can read and enjoy.  Price takes the time to explain highly technical points, especially around software and hardware, that those not in the information technology realm would not readily know.  And he does a good job explaining these to the common man.  The book clearly demonstrates the power of vision to technical and business leaders.  Additionally, it is well researched based on interviews and primary and secondary sources. 

The Pixar Touch is an engaging and educational book.  It shows how the power of vision and the determination to follow it through can make something clearly amazing.  It is a must read for animation fans, those interested in the history of computing, and Disney enthusiasts.  Those wishing to explore the history of Pixar should begin with The Pixar Touch.