Not being surprised by failure when it happens, the people at Pixar acknowledge it up front. They greet it right at the door. By accepting that <a href="https://fourminutebooks.com/mistakes-were-made-but-not-by-me-summary/">mistakes are just part of the deal</a>, they can design their processes to be iterative, meaning they can weed out the mistakes they find with the next project and not repeat them again.At Pixar mistakes are never made by individuals, only by teams. When failure happens, the entire team is responsible.Failure-sharing is exactly that. When everyone feels safe to take risks do you have an environment where <a href="https://fourminutebooks.com/creative-confidence-summary/">everyone can have the courage to be creative</a>.

Risk Taking: Individual or A Team's Effort?

Failure isn't a necessary evil. In fact, it isn't evil at all. It is a necessary consequence of doing something new.

“It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them.”

<ul><li>There’s one thing you should definitely hand over before you enter your building, and that’s boredom.</li><li>Let everyone design their own workspace to keep boredom out of your building.</li><li>Creativity is about embracing that people are different – that’s how it happens in the first place, so you should encourage your employees to show who they are by letting them design their own workspace.</li><li>Let everyone work according to their own working style, whether that’s <a href="https://fourminutebooks.com/remote-summary/">remote or in-house</a>, in the morning or at night, more alone or more in teams. Focus on the results, not the design.</li></ul>

Creativity, an antonym for boredom?

Is having right people with you a more important aspect, or having the right idea? According to Ed Catmull (The President and Co-Founder of Pixar Studios), having right people takes the edge. <ul><li>If you give a good idea to a mediocre team, they will screw it up. </li><li>If you give a mediocre idea to a brilliant team, they will either fix it or throw it away and come up with something better.</li><li>Getting the right people and the right chemistry is more important than getting the right idea.</li></ul><a href="https://fourminutebooks.com/how-google-works-summary/">Hire inspired people</a>, then give them good ideas. Never try to do it the other way around.

What's more important? People, or Ideas?

Practical exercises, tools and concepts to help you develop and enhance your creative thinking 

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Unlocking your Creative Potential

From a co-founder of Pixar Animation Studios—the Academy Award–winning studio behind Coco, Inside Out, and Toy Story—comes an incisive book about creativity in business and leadership for readers of Daniel Pink, Tom Peters, and Chip and Dan Heath. NEW YORK TIMES BESTSELLER | NAMED ONE OF THE BEST BOOKS OF THE YEAR BY The Huffington Post • Financial Times • Success • Inc. • Library Journal Creativity, Inc. is 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 creativity—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, WALL-E, and Inside Out, 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. As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student at the University of Utah, where many computer science pioneers got their start, and then forged a partnership with George Lucas that led, indirectly, to his co-founding Pixar in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the thirteen movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on leadership and management philosophies that protect the creative process and defy convention, such as: • Give a good idea to a mediocre team, and they will screw it up. But give a mediocre idea to a great team, and they will either fix it or come up with something better. • If you don’t strive to uncover what is unseen and understand its nature, you will be ill prepared to lead. • It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them. • The cost of preventing errors is often far greater than the cost of fixing them. • A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody.

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From a co-founder of Pixar Animation Studios—the Academy Award–winning studio behind Coco, Inside Out, and Toy Story—comes an incisive book about creativity in business and leadership for readers of Daniel Pink, Tom Peters, and Chip and Dan Heath. NEW YORK TIMES BESTSELLER | NAMED ONE OF THE BEST BOOKS OF THE YEAR BY The Huffington Post • Financial Times • Success • Inc. • Library Journal Creativity, Inc. is 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 creativity—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, WALL-E, and Inside Out, 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. As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student at the University of Utah, where many computer science pioneers got their start, and then forged a partnership with George Lucas that led, indirectly, to his co-founding Pixar in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the thirteen movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on leadership and management philosophies that protect the creative process and defy convention, such as: • Give a good idea to a mediocre team, and they will screw it up. But give a mediocre idea to a great team, and they will either fix it or come up with something better. • If you don’t strive to uncover what is unseen and understand its nature, you will be ill prepared to lead. • It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them. • The cost of preventing errors is often far greater than the cost of fixing them. • A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody.

Edwin Earl "Ed" Catmull, PhD is a computer scientist and current president of Walt Disney Animation Studios, DisneyToon Studios, and Pixar Animation Studios. As a computer scientist, Catmull has contributed to many important developments in computer graphics.

Ed Catmull

Amy Wallace was an American writer. She was the daughter of writers Irving Wallace and Sylvia Wallace and the sister of writer and populist historian David Wallechinsky.

Creativity, an antonym for boredom?

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