Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration

IN THE VERY early days of Pixar, John, Andrew, Pete, Lee, and Joe made a promise to one another. No matter what happened, they would always tell each other the truth. They did this because they recognized how important and rare candid feedback is and how, without it, our films would suffer. Then and now, the term we use to describe this kind of con

“We should be careful to get out of an experience only the wisdom that is in it—and stop there,” as Mark Twain once said, “lest we be like the cat that sits down on a hot stove-lid. She will never sit down on a hot stove-lid again—and that is well; but also she will never sit down on a cold one anymore.” The cat’s hindsight, in other words, distort

The takeaway here is worth repeating: Getting the team right is the necessary precursor to getting the ideas right. It is easy to say you want talented people, and you do, but the way those people interact with one another is the real key. Even the smartest people can form an ineffective team if they are mismatched. That means it is better to focus

Don’t wait for things to be perfect before you share them with others. Show early and show often. It’ll be pretty when we get there, but it won’t be pretty along the way. And that’s as it should be.

To be a truly creative company, you must start things that might fail.

Our mental image of balance is somewhat distorted because we tend to equate it with stillness—the calm repose of a yogi balancing on one leg, a state without apparent motion. To my mind, the more accurate examples of balance come from sports, such as when a basketball player spins around a defender, a running back bursts through the line of scrimma

“Here are the qualifications required: The people you choose must (a) make you think smarter and (b) put lots of solutions on the table in a short amount of time. I don’t care who it is, the janitor or the intern or one of your most trusted lieutenants: If they can help you do that, they should be at the table.”

“People want decisiveness, but they also want honesty about when you’ve effed up,” as Andrew says. “It’s a huge lesson: Include people in your problems, not just your solutions.”

the coping mechanisms used by Pixar and Disney Animation’s directors, producers, and writers draw heavily on visualization. By imagining their problems as familiar pictures, they are able to keep their wits about them when the pressures of not knowing shake their confidence.

I remember going home at night, exhausted, feeling like I was balancing on the backs of a herd of horses—only some of the horses were thoroughbreds, some were completely wild, and some were ponies who were struggling to keep up. I found it hard enough to hold on, let alone steer.