Archive for the ‘Casting’ Category

Role Model

Monday, December 12th, 2011

Our friend, Howard was the publicist on the film, Tex, which was Matt Dillon’s breakout role as a leading actor in a feature film. Young Dillon was barely out of his teens at the time, maybe even still a teenager, and was, by all accounts, a raw and rambunctious lad. He and Howard were in Atlanta visiting the nerve center of new media at the time, Turner Broadcasting, the first of the Superstations, where Young Dillon would be doing a series of interviews. After his first interview, he began chatting up a young Turner employee who was beautiful in a way that only southern girls can be. They can say everything without saying anything. A Turner exec pulled Howard aside to tell him Young Dillon had to back off the belle. “That’s Ted’s girl,” explained the exec.

Nobody, including Young Dillon, had to ask what this meant.LeadershipFlowers1A

The old role model of leadership was about control.  How do I get what I want when I want it?

Leadership in a networked world is not nearly as much about control as it is about adaptability. How does a team get the resources it needs to solve the problem?

Now—-

Just because leadership is highly adaptive doesn’t mean it is without structure. In fact, it’s the opposite: Because what it means to lead can change from scene to scene, it  calls for even more structure and definition than the old models did, when one org chart covered every leadership scenario.

We call our role model the 3A Role Model. Here’s why: There are three A’s to every role: Accountability, Autonomy, and Authority. When the 3 A’s are clearly defined and understood by all the players in a scene, and when they are complementary between players, leaders will emerge organically and authentically from that team and its scene.

When the 3 A’s are muddled, overlapping or disputed, leadership can get territorial and ’status-y.’ When this happens, leadership  arises from something that’s not part of the scene—qualifiers like job titles, seniority, family ties, company politics, intimidation, scapegoating, etc.—all of which are unrelated to the problem to be solved in the scene and therefore offer only an illusion of leadership, not the real deal.

The 3A Role Model:

Accountability. We are Accountable to our team, and to the ‘game’ of solving the problem at hand. We are also Accountable to our company, to the agreement that we are engaged (one hopes) in generating something worthwhile in the world, and in caring for families, loved ones, communities, and ourselves. These are the most important aspects of Accountability, because they are intrinsic to teams and individuals. Beyond that, Accountability does, in fact, mean organizational responsibility–who reports to whom? This structure is extrinsic, though, and does not guarantee a good flow of communication. In fact, if leadership is extrinsic, scenes often produce a one-way flow of communication, which is a big no-no. Good leaders make it clear they are every bit as Accountable to their team as their team is to them. And so it flows…

Autonomy. If Accountability is the root system of an organization, nourishing and sustaining it from within, Autonomy is the leaf system, which has the potential to energize and give it life by drawing in outside resources and opportunities.  Autonomy means the freedom to decide and act on one’s own, without any other player’s approval or oversight. Nobody tells a leaf which way to turn! A company’s spirit of entrepreneurship and ability to innovate are liberated by Autonomy. Its ability to turn these energies into growth rests with Accountability and….

Authority. Authority—-which stems from a 13th-Century Old French word, autorite, meaning “a book or quotation that settles an argument”—–is the ability to empower and disempower. It governs the other two A’s. To extend the permaculture metaphor, this is the planter or designer who decides what grows where. In the parlance of IT departments and gamers (and IT departments), this is ‘god’ or ’superpower’ status.’ This ‘A’ regulates the other two ‘A’s’, by deciding, for instance, the makeup of a team. Authority also means Authorship—of strategies, plans, vision, letters to employees, and the game elements of Environment, Roles, Guidelines and Objectives. It can also mean Authorization and Authentication: Who has access to accounts? Lists? Records and reports? Facilities? Fellow employees? Who can call a meeting? End a meeting? Okay a budget?

Ultimately, leadership is the art of role-modeling. When a team’s roles are modeled artfully, its leaders will emerge when and where they are needed.

Fresh Quote

Sunday, June 12th, 2011
Jason Terry

Jason Terry

Interviewed after his Dallas Mavericks’ victory tonight over the Miami Heat for the NBA championship, their star shooting guard Jason Terry was asked how they did it, and he said (I’m paraphrasing)…

“We found a home for everybody’s stories. Everybody’s story came together here. Dirk (Nowitzki’s), Jason (Kidd’s), mine, Shawn Marion’s, Stojakovich, Berea, Tyson Chandler, Deshawn Stevenson’s–all our stories, together, made this happen.”

This is a really great expression of a team concept, especially, for a pro athlete in the wake of a big victory, when the cliche is to spout cliches, thank God and sponsors, credit the opponent for a hard-fought game, and then say something about going to Disneyland. A quote about the secret to the Dallas Mavericks’ success that they that they built a narrative consisting of all their individual stories? That’s an athlete’s voicing  fresh thought. And it’s an idea that can benefit any organization.

We saw this theme again seconds later when the Mavericks’ owner, Mark Cuban, deferred to the team’s previous owner and founder, Fred Carter, by asking Mr. Carter to accept the championship trophy. When Cuban was interviewed by the TV announcer, he couldn’t get the team’s coach, Rick Carlisle, to the mike quick enough. For someone known to love the sound of his own sound bites, this ‘best supporting actor’ role is a new one for Cuban, and he wears it well.

The Miami Heat, by contrast, are a team of individual stories that have not yet found a way to co-create a championship narrative. In the wake of the season, the stories about them will be all about divisiveness, disappointment and unfulfilled promise,  about who was responsible and who should take the fall.  The team’s stories, in other words, will continue to exist independently of one another, without really benefitting the franchise brand.

Your company, your brand, your team, isn’t a single story, it is a narrative composed of all your stories, and your customers’ stories, too. Evolved leaders like Jason Terry and Mark Cuban don’t inflict their story on the organization, but rather, create an environment in which individual stories can flourish in the shared pursuit of the business objectives.

Well-said, Mr. Terry! Well-played, Mavs!

The Trapped Chilean Miner Game

Thursday, August 26th, 2010

Several years ago, in a Level One improv class at I.O. West, I did a scene with Parvesh Cheena where he and I were given the situation of being trapped together in an elevator.   I immediately began McGuyvering my way out of the situation.   (”You got a paper clip?  We’ll pick the lock on that panel and…blah blah blah.”)  Big rookie mistake.  Our teacher, Sarah Gee, said to me, “If you get out of the elevator the scene’s over.  Show us who you are to one another while you’re trapped!”

TrappedMiners1This broke today over CNN. The 33 men trapped in a Chilean copper mine have begun to assume different roles that will help them survive the time, estimated to be months, it will take rescuers to drill through 2300 feet of solid rock to rescue them.  This is brilliant.  They’re designing a game to help them get out alive without going batshit crazy while they’re waiting to be rescued.  This is going to give us all a good look at how a game works, and how it informs and inspires group strategies.  One thing is already clear:  There are some good improvisers trapped in that mine.

To review, here are the elements of a game: Environment, Roles, Rules, Objective(s).

Let’s begin with the Objective.  Simple:  ‘Get out of here alive without going crazy.’  Same as most survival strategies.

The Environment of the Trapped Chilean Miner Game could not be more starkly defined:  A pool of darkness deep beneath the surface of the earth, and the rest of the world watching up above.  The contrasts between the Down Below and the Up Above are extreme, an archetype embedded deep in every human’s subconscious.  The Well, the Fallen Rubble, the Cave, the Mine–all tap deep into our unconscious, where our memories of the womb are stored.   As my friend Richard Wynn Taylor says, “It will remind us of something we’ve never seen before.”

The Roles, as stated in the CNN story, are developing.  One of the miners has become a spiritual leader.  Another an entertainer who sings Elvis songs.  Expect that all or most of the miners will eventually define roles for themselves, some as group characters (’peacekeepers,’ ’storytellers,’ ’spokespeople,’ ‘mediators’ etc. etc.)  Some of the miners will play more than one role, depending on the scene they’re in.  Eventually some of them may trade roles, taking turns speaking to the media, for example.  What’s also interesting about the roles element of the game is that all 33 men trapped in the cave will, for the duration of their rescue, abandon the roles they were playing when they went Down Below: None of them will be playing the role of a miner.  Note also that ‘trapped miner’ is not a role.  It’s a circumstance.  Your circumstance does not define your role; it’s your behavior in your circumstance that defines your role.

Expect that in the coming weeks, we’ll be hearing about the Rules of the TCMG. These Rules will be designed to create agreement and establish ground rules for the miners’ interactions.  The rules will initially address the fundamentals such as sleeping, eating, sharing resources, communicating with Up Above etc., and then get more detailed.  The rules of a game will not be designed to create sameness or repetition, but to liberate performance, by empowering players to play their roles well.  The miners cannot afford to get weary of their roles.  It will be interesting to see how many rules will be set or influenced Up Above.

Unlike a reality TV show like Jersey Shore, where editors manipulate the juxtaposition of shots to create scenes and the sequence of events to construct a narrative, the ‘live-ness’ of this scene will demand improvisation, and that means the miners will be the primary architects of their narrative.

The intense focus on this particular scene by the world media, is going to make the elements of the game highly visible.  We will be able to track how well the trapped miners are doing by how focused and productive they are in playing their game.

What’s going to hold our interest about the Chilean Miner scene will not be the drama of whether or not they make it out alive.  The objective, the ‘Will they or won’t they’ aspect of the narrative, will only carry it so far.  What will hold our interest is how the miners behave in the meantime.  How well we get to know them.  Who they are to their families, and to one another.  What kind of character traits emerge. This is true of any narrative.  If you want to hold your audience’s interest, don’t focus on how you want it to end, but on how you want it to be.

When the miners’ survival becomes imminent, their game will transform from a survival strategy to a business strategy.  To the objective of ‘Get out of here alive without going crazy,’ they will undoubtedly add, ‘Make Money.’  When the miners finally walk into the light, the game may change, but it will not end.

Buena suerte, Mineros!

ChileanMiners2

GameChangers Glossary, A to G

Monday, August 23rd, 2010

Adapted from GameChangers–Improvisation for Business in the Networked World, by Mike Bonifer:

Addition–Entering a scene in progress for the purpose of contributing immediately to the team’s performance; contributing to a scene; giving a gift

Agreement, The Agreement Principle–A principle of improvisation, characterized by players’ openness towards each other and an organization or communications network’s openness at its edge; the group consensus around a game or theme that informs a scene

Audience–Those within and outside of an organization whose reactions and opinions will determine the success of a scene or performance

Audience, External–People outside an organization or network, including customers (and potential customers), competitors, bloggers, users, fans, viewers, etc. whose reactions ultimately determine the value of a performance or narrative

Audience, Internal–People inside an organization or network, whose judgment acts as a kind of filter on scenes and narratives before they reach the External Audience

Blocking–A performance-related problem that occurs when players impede the progress of a scene by refusing the gifts offered them by their teammates

Callback–The act of recalling information that was stated by a player earlier in a scene or in a previous scene.

Cast–Players who share the same business objective; also called a Group or Team; can also refer to the employees of an entire division or organization (Disney, for example, refers to all employees as ‘cast members’)

Casting–The process of selecting players who will comprise a business team

Character–Traits that make a player unique as an individual and consistently valuable to his or her team

Close, Del–Credited as one of the originators of longform improvisation, and one of its most influential teachers, Close (1934-1999) created ‘Harold,’ probably the most-performed structure for group improv theater performances; his proteges include Bill Murray, Dan Ackroyd, John Belushi, Amy Poehler and Tina Fey; legend has it that he willed his skull to the Goodman Theater in Chicago to be used in future productions of Hamlet, in which he was to be billed as playing the role of Yorick

Coach–A person who casts a team; an objective observer and critic of a team’s performance; one who establishes game-based strategies and standards of preparation and performance in directing a team toward its objectives; manager; director

Cosmetic Communication/Meaning–The surface level of communication within a scene, primarily through spoken dialogue; data; information. (See ‘Emotional Communication/Meaning‘ and ‘Meta Communication/Meaning‘)

Crazy Town–A performance-related problem that occurs when players indulge in fantasies, magical thinking, or egoistic behavior, until the scene becomes un-moored from any actionable reality.

Denying–A form of blocking in which a player repeatedly contradicts or ignores other players, confusing the audience and fellow players; refusing to recognize another player’s reality

Edit–The action of making an entrance for the purpose of shifting the scene’s focus, or to begin a new scene; edits usually occur in concert with other players exiting the scene

Emotional Communication/Meaning–The most dynamic and meaningful level of communication in a scene. conveying its players’ passions and desires, where reactions (both positive and negative), and reinforcements/alienation are strongest

Energy–The pitch at which a player or group performs (and modulates) its performance; an umbrella term for the level of activity and intensity the audience observes in the group, and that players in the group experience in one another

Entrance–A player’s first appearance in a scene

Environment–The setting in which members of team collaborate to achieve their objective; any place where players interact; more expansively, any place where an audience experiences a brand; the overall business climate in which an organization operates, shaped by factors such as regulatory agencies, competitors, geopolitical factors and the desires, attitudes and beliefs of customers

Exit–A player’s departure from a scene

Fantasizing–A performance-related issue that occurs when players build outlandish, or wildly fictitious scenarios that do not acknowledge or act on the real world environment or the businessa; magical thinking; (see ‘Crazy Town‘ and ‘Invention‘)

Flatlining–A performance-related problem that occurs when players show no energy or life, impeding or halting a scene’s progress

Game–Rules, roles, environment and objective(s) defined; an exploration of a theme; a strategy used to achieve a business-related objective; games fall into two broad categories – productive and unproductive

GameChanger–A player who has mastered the art and practical techniques of business improvisation; a manager/coach or player with the ability to identify and support productive games and quickly change or edit unproductive ones

Gift–A move that supports the scene and the players in it; ‘giving gifts’ is one of the most powerful and effective moves a player can make

Grandstanding–A performance-related issue that occurs when a player wastes time and effort trying to contribute something ‘heroic’ to a scene; holding back for effect instead of engaging in the moment; habitually swinging for the fences or reaching for the ‘Wow Factor’; going for a home run when a single would better serve the scene

Group Mind– The tangible web of connectivity between players that achieved through a shared focus on a game and the exploration of a theme; the collective unconscious; not the same as ‘Group Think

Group Think–Rubber-stamping; going along to get along; consensus for its own sake; agreement that does not involve a game or theme; behavior that is not intended to achieve the objective, but rather to reinforce status; uncritical or unquestioning support for a political agenda, ideology or hierarchy

TO BE CONTINUED….

Work Your Way to the Bottom

Monday, February 15th, 2010

Thanks to our friend, Nilofer Merchant, founder of Rubicon Consulting in San Francisco and author of the insightful new book, The New How, for fanning this New York Times interview with Vineet Nayar, CEO of HCL Technologies.  HCL is a 54,000-person IT services company based outside Delhi with 2009 revenues of $2.3 billion.

Vineet Nayar Leads With Modesty

Vineet Nayar Leads With Modesty

Nayar’s ‘employees first, customer second’ philosophy aligns with a basic concept of improvisation:  Take care of yourself first.  Mick Napier hits this hard in his book, Improvise:  Scene from the Inside Out.  If you wait for the other people in your scenes to have an idea, to initiate, you’re making yourself powerless, and you leave your scene partners and the audience hanging.  And if the other person in your scene waits on you, you’re lost, and so is the audience.  Nayar’s point is the same:  HCL can only be as good to their customer/audience as its employees are to one another.  These behaviors cannot be separated.  You cannot be one way to your scene partners and another to the audience.  It is all part of the same space-time continuum.  And productive action can only begin with you.

Other quotes by Nayar that are consistent with improvisation, and my notes in italics:

“I did not know where I had to go, and I was projecting as if I knew. I assume that you expect me to know where I am going, and you will respect me for that, and the day I tell you both of us are in the same boat, we would fail. That was a very big learning for me.”  Pretending is not illusion  if it is a step on the path to being.

“If you see your job not as chief strategy officer and the guy who has all the ideas, but rather the guy who is obsessed with enabling employees to create value, I think you will succeed.”  Support, the giving of gifts, is the most powerful tool in the improviser’s repertoire.

“How do I communicate to employees to not look up to me, but to look within, to communicate that I’m one of you, to destroy that hierarchy? So I decided I’m going to go into this big gathering of employees dancing to a very famous Bollywood song. And I can’t dance for nuts, right? I was dancing in the aisles with these employees and making lots of noises. What happened? It completely destroyed the gap.”  When you want to communicate something important, use more than information to do it.

“The failures are far in excess of successes.”  Failure is not defeat if it is a step on the path to understanding.

“I don’t want people who are coming here and teaching me something or teaching the organization something. I don’t want teachers. I want people who are not only charged up because they like it, but because they will learn from this experience. I’m looking for people who see experience as a continuum and not as an end in and of itself.”  Improvisers are not teachers.  We are builders of  environments in which communication, learning and transformation can happen.

IMPORTANT FOOTNOTE!

When we tried linking to the HCL URL with Mozilla Firefox 5.0, we got this message:

HCLFail1

We noted this ‘FAIL’ in the post.  Within minutes of publishing the post, an HCL employee, Aruj Kapoor, wrote to say he was sorry they’d been down, that they’d fixed the bug and the site was restored.  And not only that, he ‘yes-anded’ by asking what specific information we were seeking when the site went down.  Aruj’s awareness of what my experience must’ve been when I hit the dead link–frustration, confusion, puzzlement–led him to offer his support to the scene I’d initiated with HCL. Be sensitive to your environment and it will tell you what you need to know. By yes-anding, Aruj converted a mistake into an opportunity to extend the dialogue between the HCL brand and me.  Nice move.  Every mistake is an opportunity to do something useful.

Scrumprovisation

Thursday, May 14th, 2009

There is no shortage of improvisation in business.   The challenge is doing it well.  If you improvise well, you will be consistently productive, generate wealth over time, and have the ability to maintain your independence.  Improvise poorly and you are a drain on productivity, dependent on wealth generated by others, and develop habits that conceal your shortcomings instead of displaying your skills.

In the Networked World businesspeople not only need the ability to improvise well, the environment demands systems and processes to replace the tired and increasingly ineffective methodologies of the Industrial Age,  systems and processes that bring discipline, structure and consistent performance to the googly dynamics of networks. (more…)

How to Get Hired When Your Life Depends on It

Tuesday, February 3rd, 2009

I’ve noticed it, and if you’ve driven past a Home Depot lately, you’ve probably noticed it, too:  A surge in the number of day laborers looking for a gig.  On the occasional morning I drive past the Home Depot at Sunset and St. Andrew Street.,  I see 40 or 50 men waiting outside the the entrance to the parking lot, hoping to get hired for the day.  One day last week, I stopped to talk to them.  It was sort of an unintentionally mean trick on my part.  They of course wanted me to hire them, and that was not my aim.

HomeDepot1

My aim was to learn what kind of strategies these men use to get hired.  After all, what could be a more honest scene than one that has to be productive if a player wants to eat that night?  When lives literally depend on one’s behavior, how does one behave?  This is obviously far from scientific.  I draw no firm conclusions from it, and neither should anyone else.  But everything, even five minutes talking with day laborers outside a Home Depot, is a learning opportunity if you are open to it.

In my brief and chaotic encounter with the day laborers on the sidewalk in front of the Home Depot, here’s what I learned: (more…)

GameChanger of the Month – November 2008

Tuesday, December 2nd, 2008

ObamaPoster1Our November GameChanger of the Month selection was a slam dunk. Barack Obama is going to be America’s first baller president, and he’s going to be its first Improviser-in-Chief.

His and his team’s ability to improvise their way to an election victory against rivals who were, initially, much better funded, more networked and more familiar brand names proved beyond any doubt how skillful improvisation can change the game. Obama is the epitome of what it means to be a gamechanger. (more…)

(Game)Change.Gov

Friday, November 21st, 2008

ChangeGov1

Back in January of this year, Barack Obama tossed out an aside at a coffee talk with a couple dozen senior citizens in Indianapolis, an aside that was probably lost on most of the audience listening in person: If he got elected, he and his team were going to re-design the White House web site to become more of a utility for citizens. I pointed out at the time what a brilliant initiation this was, with implications related to technology, jobs creation, art and design, and citizen activism, to name a few of the themes that could be explored as a result of it. (more…)

The Electric Car Scene

Monday, October 6th, 2008

MuskLutz1

Lesley Stahl did a report last night on 60 Minutes about the development of electric cars in Silicon Valley and by the American auto industry in Detroit. That was the cosmetic level of the story.

On the more meaningful, emotional and meta levels of communication, Stahl’s piece depicts a clash between two mighty cultures, and ultimately between two different ways of conducting one’s business. One of them is highly improvisational. The other is rigid, scripted, dogmatic. Over the past 30 years, Silicon Valley’s ability to improvise has enabled it to lead the world in the development of new technologies and the markets for them. The heavily-scripted and stage-managed Detroit performance has for the most part been a multi-car pile-up on the Interstate, like a series of scenes from Gone in Sixty Seconds. (more…)