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

The theme park job felt like a diversion that would lead me down a path I didn’t want to be on. I didn’t want to design rides for a living. I wanted to animate with a computer.

Most people have heard of the Eastern teaching that it is important to exist in the moment. It can be hard to train yourself to observe what is right now (and not to bog down in thoughts of what was and what will be), but the philosophical teaching that underlies that idea—the reason that staying in the moment is so vital—is equally important: Everything is changing. All the time. And you can’t stop it. And your attempts to stop it actually put you in a bad place. It causes pain, but we don’t seem to learn from it. Worse than that, resisting change robs you of your beginner’s mind—your openness to the new.

In general, people are resistant to self-assessment. Companies are bad at it, too. Looking inward, to them, often boils down to this: “We are successful, so what we are doing must be correct.” Or the converse: “We failed, so what we did was wrong.” This is shallow.

When our people asserted that they only wanted to make films of the highest quality and when we pushed ourselves to the limit in order to prove our commitment to that ideal, Pixar’s identity was cemented. We would be a company that would never settle. That didn’t mean that we wouldn’t make mistakes. Mistakes are part of creativity. But when we did, we would strive to face them without defensiveness and with a willingness to change.

Rather than trying to prevent all errors, we should assume, as is almost always the case, that our people’s intentions are good and that they want to solve problems. Give them responsibility, let the mistakes happen, and let people fix them. If there is fear, there is a reason—our job is to find the reason and to remedy it. Management’s job is not to prevent risk but to build the ability to recover.

t isn’t enough to pick a path—you must go down it. By doing so, you see things you couldn’t possibly see when you started out; you may not like what you see, some of it may be confusing, but at least you will have, as we like to say, “explored the neighborhood.” The key point here is that even if you decide you’re in the wrong place, there is still time to head toward the right place. And all the thinking you’ve done that led you down that alley was not wasted. Even if most of what you’ve seen doesn’t fit your needs, you inevitably take away ideas that will prove useful. Relatedly, if there are parts of the neighborhood you like but that don’t seem helpful in the quest you’re on, you will remember those parts and possibly use them later.

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 on how a team is performing, not on the talents of the individuals within it. A good team is made up of people who complement each other. There is an important principle here that may seem obvious, yet—in my experience—is not obvious at all. Getting the right people and the right chemistry is more important than getting the right idea.

I believe the best managers acknowledge and make room for what they do not know—not just because humility is a virtue but because until one adopts that mindset, the most striking breakthroughs cannot occur. I believe that managers must loosen the controls, not tighten them. They must accept risk; they must trust the people they work with and strive to clear the path for them; and always, they must pay attention to and engage with anything that creates fear.

People who take on complicated creative projects become lost at some point in the process. It is the nature of things—in order to create, you must internalize and almost become the project for a while, and that near-fusing with the project is an essential part of its emergence.

Because early on, all of our movies suck.