That’s a blunt assessment, I know, but I choose that phrasing because saying it in a softer way fails to convey how bad the first versions really are. Why? Because early on, all of our movies suck. The one thing that has never changed is the demand for candor.Ĭandor could not be more crucial to our creative process. Over the years, its ranks have grown to include a variety of people–directors, writers, and heads of story–whose only requirement is that they display a knack for storytelling. After the release of Toy Story 2, the Braintrust evolved from a tight, well-defined group working on a single film into a larger, more fluid group. Most crucially, they never allowed themselves to be thwarted by the kinds of structural or personal issues that can render meaningful communication in a group impossible. They were funny, focused, smart, and relentlessly candid when arguing with each other. From Pixar’s earliest days, this quintet gave us a solid model of a highly functional working group. The Braintrust developed organically out of the rare working relationship among the five men who led and edited the production of Toy Story–John Lasseter, Andrew Stanton, Pete Docter, Lee Unkrich, and Joe Ranft. And when they do, you must address them squarely. The fear of saying something stupid and looking bad, of offending someone or being intimidated, of retaliating or being retaliated against–they all have a way of reasserting themselves. This part of our job is never done because you can’t totally eliminate the blocks to candor. While I attend and participate in almost all Braintrust meetings, I see my primary role as making sure that the compact upon which the meetings are based is protected and upheld. Published by Random House, a division of Random House LLC Reprinted from Creativity, Inc., by Ed Catmull with Amy Wallace.
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