Posts Tagged ‘Pixar’

Leave it to Jobs

Thursday, July 21st, 2011

Over the past three and a half years at GameChangers, we have gone through Cirque du Soleil-like contortions  to explain improvsiation and its value to business in the Networked World.

We have defined it as “A process for producing consistently positive outcomes from unforeseen circumstances.” We call it “serendipity by design.” “A game, a theme, and an exploration.” “Collaborative problem solving.” “Acting on environment and letting environment act on you.” Listening, Learning and Transformation.” “Agility + Ability.” “Freedom within Structure.” “Creating a cosmos out of chaos.” “Openness to opportunity.” “The Big Yes-And.” “Flexible Vision.” “How Tina and Amy Got Their Grooves,” and “Not comedy.”  Among others.

Leave it to Steve Jobs, interviewed in The Pixar Story, Leslie Iwerks’ 2007 feature documentary, to phrase it with the assured elegance of an Apple design.”Unplanned collaboration” is the phrase he uses.

“We wanted a place that would encourage unplanned collaboration,” said Jobs in describing the design of Pixar’s new studio. He repeatedly cites this this as the architecture’s objective.

He didn’t connect this phrase to improvisation, per se, but it’s as good a definition as we’ve heard. Improvisation is unplanned collaboration. And even though it’s unplanned, it’s all part of the design. In the architecture of improvisation, you fully expect to run into someone unexpectedly. When you do, you are prepared to exchange information, find an agreement, and build a scene together or continue one that had begun earlier. You expect that others might jump into this scene with you, and you are prepared for anything they might add. Through this process, in thousands upon thousands of such unplanned increments, each filled with its own unique potential to be productive, you move your narrative forward.

It’s hard to imagine a better case study for the value of improvisational design than Pixar’s studio, or a better model of what it means to be a GameChanger than Steve Jobs.JobsCirque1

Jobs also said it took ten years for Pixar to make any money. We’re just going to ignore that one. Play on.

C-Suite to Street

Sunday, October 31st, 2010

With each passing week, we hear more about the application of improvisation to business.  American companies, from core to edge, from the C-suite to the street, are becoming more conscious of the need to be agile in a networked business environment, and that means learning how to improvise better.   These companies (excluding the already-agile Silicon Valley/tech and financial sectors) are coming to the realization that in a networked world, it is impossible to script for every scenario we encounter.  There’s too much too much choice, change and transacting in the marketplace.  In this environment, improvisation is the most fundamental business skill there is.  At GameChangers™, we call it a system for producing positive outcomes from unforeseen circumstances.

The anecdotal evidence–what we’re seeing and experiencing over the past three months:

- A study in the magazine Science co-authored by MIT scientists cites a 30-40% improvement in performance in groups that apply collective intelligence to problem-solving.  This is another perfectly legit definition for what improvisation is:  The conscious application of collective intelligence to the solving of problems.

- A major airline hires GameChangers™ to improve its customer relations for its sales staff.  In 3 months, offices that institute the GameChangers™system show a 90% reduction in customer complaints.

- Oakley yes-ands the 33 Trapped Chilean Miners by giving them all a pair of their grooviest sunglasses to wear when they exit the mine, demonstrating that improvised branding has a huge ROI advantage over traditional media models.

- Legendary improvisation-trained actor Alan Alda establishes a program with science writer KC Cole to teach scientists how to communicate better using improvisation.  Alda’s  program is co-located at the Brookhaven National Laboratory, USC’s Annenberg School of Journalism, and Stony Brook U. in New York.  I’m honored to continue the program in a workshop exploring biomimicry (in which we riff on exercises taught to me by the brilliant Belina Raffy in the U.K.) as part of Social Media Week in L.A..

- The ‘Old Spice Man’ viral video campaign, partly designed by a social media manager who attended several GameChangers® workshops and a copywriter who plays jazz trumpet, boosts Old Spice sales by 1200% in three months.  This suggests that brands must begin to measure ROI not by platform, but by narrative.

- The Applied Improvisation Network holds its annual meeting in Amsterdam in September.  Success stories abound!

- Renowned London-based organizational expert, Peter Robertson, is adapting  the AEM-cubeanalysis tool created by his group, Human Insight Ltd., to include metrics for how well large organizations, and their employees individually, improvise.

- We hear that two divisions of a large global consulting firm, unbeknownst to one another, hire improvisers to conduct workshops for their managers in two different U.S. cities.  The company’s training staff, hearing of this, requests a proposal from one of its vendors for a company-wide program for more than 12,000 employees that is based on improvisation.

- The Spirit of Football®, an improvised narrative that explores the theme, “One Ball, One World,” has already signed its first two sponsors for the 2014 World Cup in Brazil, putting them exactly three years ahead of the pace they were on for this year’s World Cup.

- A Harvard Business Review article on Pixar University and its director, Randy Nelson, cites ‘plussing,’ which is an old term Walt Disney used, as an essential part of its culture.  Plussing is another word for  ‘yes-and,’ a basic concept of improvisation.

This is just a partial tip of one iceberg, the one we see from our little boat at GameChangers™.  There are a lot more icebergs in the ocean than what we can see, and let’s be honest, there are a lot more icebergs in the ocean than there have ever been before.

Consequently, there has never been a better time, no matter what profession you’re in, to be an improviser.  Play on!IcebergField1

Chance Favors the Connected Mind

Thursday, September 30th, 2010

The author Steven Berlin Johnson, recently gave a TED talk on the subject of his next book, which will be his seventh: Where do good ideas come from?

He’s an observant man, so the observations come tumbling out of him in a 17-minute torrent, from why coffee shops were important to the Enlightenment, to the debunking of ‘Eureka’ moments.  If you want the full effect, step into the Johnson waterfall and view the video.

If you’re looking for a summing up, well, there’s a one-word answer to the question, ‘Where do good ideas come from?’ The answer is ‘Improvisation.’  Good ideas come from improvisation.  Check this out:

Johnson says, “Don’t protect ideas, share them.” This is precisely the concept behind of yes-anding.  Instead of scripting, blocking, denying, judging or yes-butting–all anathema to innovation–add to the ideas of others.  Walt Disney used to call this “plussing,” a phrase that has been adopted by Pixar Animation Studios.  In doing so, Pixar yes-anded Disney.  That’s how it works.  Ideas evolve.  And when you yes-and by sharing, they evolve faster and more purposefully than if you don’t.

Johnson says, “Ideas are a network.” This equates to the Group Mind of improvisation, where ideas belong not to any one individual, but to the group, and the scene.  Ideas are not isolated phenemona.  They always exist in relationship to other ideas, and other people.  An apple falling on Newton’s head was not his idea.  It was a connection between a number of ideas that described the physical world at that time.  Johnson says, “Chance favors the connected mind.”  He might just as well have said, “Chance favors improvisers.”  It was because he was able to connect it to other phenomena that the chance occurrence of an apple falling on his head became meaningful to Newton.  This is no different than what a good improviser does in a scene.  He or she turns chance into meaning by making connections.  That’s the work.  It’s not easy.  It is a practice that takes study, discipline and time.

Johnson says, “Ideas are a slow hunch.” This equates to the patience some of the best improvisation groups have for finding the game in a scene. My favorite example of this from improv theater is the L.A.-based group, Dasariski.  Those guys take their time about finding the game, this discovery arises organically–though quite predictably–from conversations, and it is a beautiful thing to see.  Good ideas are the equivalent of productive games in improvisation.  They often arise from anomalies or even mistakes.  They’re generative, that is, they led to other ideas.  Even though it makes for better anecdotes, ideas are not like a single frame from a movie, a frozen image—apple hits man on head!—they are montages of images, and jumps back and forth in time.  Ideas are narrative.

Johnson says, “Ideas are a product of environment.” Yes and this, too, is one of the most fundamental ideas of improvisation:  Environment fuels performance.  This is why Belina Raffy conducts improvisation classes in Europe that are based on Biomimicry, where performers mirror biology to help their innovation process.  Today, thanks to our connection with Belina (ideas are a network, remember?) we are beginning to play with biomimicry at GameChangers.   As Viola Spolin said, “Act on environment and enviroinment will act on you.”

The Caged Bird Effect

Thursday, May 21st, 2009

BirdandCage

Multi-tasking is a myth, in the sense that a person can only do one thing at a time, otherwise there is no true focus.  We can process on many parallel levels, but our actions happen in sequence. Skilled players can perform tasks so quickly in sequence that it looks like they’re doing two things at once.  This is an illusion, like a flip card with a bird on one side and a cage on the other.  Twirl the card fast enough and the bird appears to be in the cage.  Skilled players can make you think the bird is in the cage, when in reality it is the fast juxtaposition of bird and cage that creates this illusion. (more…)

Surfi Culture

Tuesday, December 9th, 2008

The idea that two seemingly unrelated or conflicting points of view can be synthesized into a new and rewarding perspective is at heart of improvisation. The ability to resolve conflict by identifying and playing productive games is the secret to creativity, innovation and, ultimately, entrepreneurship.

Warm heart of Disney animation meets Steve Jobs’ cool tech to produce Pixar.

Choir songbooks plus moribund 3M R&D project yields PostIt notes.

Simplicity of a 32-word landing page plus complexity of human language brands Google.

Here’s a great example that surfaced this week on the BBC showing how improvisers resolve conflict to conjure up fresh ideas. Thanks to our friend James Dean Conklin (iconic actor meets bop on the head to shape a uniquely evolved human being) for calling it to our attention.

Phillip George, a designer from Australia, was ‘inspired’ by a series of riots on Sydney beaches in 2005, in which the Surf crowd attacked the Sufi crowd. George has produced a series of surfboards featuring beautiful Arabic designs that’s being shown right now in Australia as a museum exhibit. Right on, duddah!

Surfi1

Mass Animation

Wednesday, November 26th, 2008

MassAnimation1Facebook, with sponsorship support from Intel and AutoDesk, is hosting an online collaboration called Mass Animation designed to produce a short animated film entitled Live Music directed by Yair Landau (The Chub Chubs), about the ‘unlikely’ romance between a guitar and a violin. Now, absolving the story itself of criticism except to say that it’s like something Disney would’ve done in the 1940s, or Pixar in the 1980s, the noteworthy aspect of this project is the distributed production model.

The production of animation, as I have long maintained, will point the way toward new models for production for all sorts of products and brands, just as television animation led the way in outsourcing manufacturing to Asia in the early 1980s, ten years before American industry embraced the model en masse. How it works is going to be a key to the creation of jobs and the generation of new wealth in the networked economy. (more…)

TRON Story

Monday, November 5th, 2007

I had coffee on Friday with Michael Slane, a creative director at Exopolis, an uber-hip L.A.-based design agency, and the conversation got animated when the subject of TRON came up. Slane, like many artists of his generation, was profoundly influenced by the film. This phenomenon first came to my attention about ten years ago — 15 years after the film’s original release, when I casually mentioned to Mike Goeddeke of Belief Productions in Santa Monica, that I’d worked on TRON. You’d have thought I told him I had invented the internet, or Doc Martens. “You worked on TRON?” Goeddeke, himself a graphics genius, asked, getting all googley-eyed. “I love TRON.” From that day on, I’ve worn my participation in the film as a special badge of honor.

TRON 1

I began my career as TRON’s publicist, (more…)

The Joe Ranft GameChangers Fund

Monday, October 29th, 2007

One of the most important things I’ve learned from improvisation is to act instantly and instinctively on opportunity.

In improv theater, when you’re observing your teammates in a scene and you sense an opportunity to add to the scene — you don’t even have to know what you’re going to add, you just get a sense that the time is right and the scene will gain energy from your addition — you jump in. This did not come easily to me. I am by nature, an observer, a describer of the narrative, and I have to work hard to stay out of my head, trust my gut, move on instinct. (more…)