Creativity, Inc.
Ed Catmull has written a book about Pixar’s creative process: Creativity, Inc.
Creativity, Inc. is a book for managers who want to lead their employees to new heights, a manual for anyone who strives for originality, and the first-ever, all-access trip into the nerve center of Pixar Animation — into the meetings, postmortems, and “Braintrust” sessions where some of the most successful films in history are made. It is, at heart, a book about how to build a creative culture — but it is also, as Pixar co-founder and president Ed Catmull writes, “an expression of the ideas that I believe make the best in us possible.”
For nearly twenty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Monsters, Inc., Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner thirty Academy Awards. The joyousness of the storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, in this book, Catmull reveals the ideals and techniques that have made Pixar so widely admired — and so profitable.
Catmull was a founder of Pixar and while he never got the press Jobs and Lasseter did, he was instrumental in the company’s success and is currently president of both Disney and Pixar’s animation studios. Fast Company has an excerpt of the book.
Candor could not be more crucial to our creative process. Why? Because early on, all of our movies suck. That’s a blunt assessment, I know, but I choose that phrasing because saying it in a softer way fails to convey how bad the first versions really are. I’m not trying to be modest or self-effacing. Pixar films are not good at first, and our job is to make them so — to go, as I say, “from suck to not-suck.”
Think about how easy it would be for a movie about talking toys to feel derivative, sappy, or overtly merchandise driven. Think about how off-putting a movie about rats preparing food could be, or how risky it must’ve seemed to start WALL-E with 39 dialogue-free minutes. We dare to attempt these stories, but we don’t get them right on the first pass. This is as it should be. Creativity has to start somewhere, and we are true believers in the power of bracing, candid feedback and the iterative process — reworking, reworking, and reworking again, until a flawed story finds its through line or a hollow character finds its soul.
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