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Our job as managers in creative environments is to protect new ideas from those who don’t understand that in order for greatness to emerge, there must be phases of not-so-greatness. Protect the future, not the past.
Creativity, Inc.
Ed Catmull and Amy Wallace
The conservative man, being more inhibited, is not used to enjoying himself. Give him a chance to get out of himself in a crowd and—I tell you I’ve seen it a thousand times—you can’t hold him down. And remembering that he has had the time of his life, he becomes your best customer.
Veeck--as in Wreck
Bill Veeck, Ed Linn
the film industry was hardly immune to the downturn. The Disneys, however, were. While other studios saw their revenues dip precipitously—not so much because audiences declined, though they did, as because the studios had overextended themselves in a wild theater-buying spree in the 1920s, and the value of the property collapsed—the Disneys, without theaters or personal investments beyond the shares they owned in one of Uncle Robert’s get-rich-quick oil schemes and some plots of real estate, sailed along unscathed by the national trauma. Though they suffered financial wounds, most of them were self-inflicted, the result of Walt’s unwillingness to compromise the quality of his films. Rather than cutting costs, he kept increasing them. Even usually reserved Roy felt that he and Walt had somehow cheated the Depression by constantly reinvesting in their own studio rather than investing in the stock market. “Anything that we had saved up was all put into our business,” he wrote his parents in 1932.
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