![]() ![]() By discovering and addressing these issues, Pixar created truly robust teams capable of repeatedly bringing blockbuster movies to life. The real issues were around control and communication. Production was frustrated by being treated as second class citizens which they tried to address by controlling communication channels. Creative balked at the hierarchical communication structure imposed by the production managers. Once the production managers were employees, organizationally one team under Pixar, Catmull discovered a serious underlying rift between production and creative. “Assembling freelancers builds efficient and effective teams.” Toy Story was created with the entertainment industry standard for production managers which is a freelance model. ![]() Orthodoxies are deeply held and widely shared conventions or beliefs about products, markets, industries or any aspect of business that can blind us to opportunities. Catmull reveals how creativity can be sustained within a corporate structure by actively removing unseen organizational impediments that obstruct the creative process.Īt Strategos, we call those unseen organizational impediments Orthodoxies. But you just can’t argue with Pixar’s success. ![]() ![]() Many, from creatives to pure finance types, still see the combination of art and commerce as contradictory. is a simple yet thought-provoking title that connects creativity and commercialization in Ed Catmull’s recent book about Pixar. ![]()
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