Disney Asked For Quotes

Do you have a Wish?' he asked, referring to this organization, The Genie Foundation, which is in the business of granting sick kids one wish. 'No' I said. 'I used my Wish pre-Miracle.' 'What'd you do?' I sighed loudly. 'I was thirteen,' I said. 'Not Disney,' he said. I said nothing. 'You did not go to Disney World.' I said nothing. 'HAZEL GRACE!' he shouted. 'You did not use your one dying Wish to go to Disney World with your parents.' 'Also Epcot Center,' I mumbled. 'Oh, my God,' Augustus said. 'I can't believe I had a crush on a girl with such cliché wishes.

I'm Min's fairy godmother, Charm Boy,' Liza said, frowning down at him. 'And if you don't give her a happily ever after, I'm going to come back and beat you to death with a snow globe.' What happened to "bibbity bobbity boo"?' Cal asked Min. That was Disney, honey,' Min said. 'It wasn't a documentary.

Ask the questions you need to ask, admit without apology what you don’t understand, and do the work to learn what you need to learn as quickly as you can.

For a few moments I want to be 5 years old again. I want someone to plunk me down in front of a Disney movie and ask me if I want apple juice or grape.

We went to the New York World's Fair, saw what the past had been like, according to the Ford Motor Car Company and Walt Disney, saw what the future would be like, according to General Motors. And I asked myself about the present: how wide it was, how deep it was, how much was mine to keep.

But why didn't you just ask me?" I set down my fork and glare at her. "Because you were sleeping," She says, taking a sip if Chardonnay. "I was taking a nap, Mom. It wasn't intended to be some kind of Disney fairy-tale hundred-year snooze.

Any other Disney movies?” I was tempting my luck here. Aaron’s expression remained serious. “All of them.” Shit. “Even Frozen? Tangled? The Princess Frog?” I asked, and he nodded. “I love animated movies. They take my mind off things.” He dipped his hands in the pockets of his jeans. “Disney, Pixar … I’m a big fan.” This was too much. First, he’d opened up about his childhood earlier today, and now, this. I wanted to ask how and why, but there was a more pressing issue. “What’s your favorite?” Please don’t say the one that will send my heart into cardiac arrest. Please don’t say it. “Up.” Fuck. He had said it. My heart struggled there for a moment. And that little spot that had been softening throughout the night got a little bigger.

Okay, so how does this work exactly?" I ask as we walk toward his car. "Do we float down the bayou in rowboat while little critters sing 'Kiss the Girl'.

You’re kidding, right?” I asked in response to his song choice. I was being dragged through a tunnel by a tripping madman singing Disney songs…with zombies above me. I couldn’t have made this shit up if I tried.

Pick someplace that you could actually get to without building a spaceship.” Six asks I think it over for a moment. “I don’t know. Disney World?” Six and Sarah both exchange a look and then start laughing. “Disney World?” exclaims Six. “You’re so cheesy, John.” “No, it’s sweet,” says Sarah, patting my hand. “It’s the most magical place on Earth.” “You know, I’ve never actually been on a roller coaster. Henri wasn’t down with the whole amusement-park thing. I used to see the commercials and I always wanted to go.” “That’s so sad!” exclaims Sarah. “We’re definitely going to get you to Disney World. Or at least on a roller coaster. They’re amazing.” Six snaps her fingers. “What’s that one ride? It’s supposed to be like a rocket ship?” “Space Mountain,” answers Sarah. “Yeah,” replies Six, and then hesitates as if she’s worried she’s about to divulge too much. “I actually remember looking that up online when I was little. I insisted to Katarina that it had something to do with us.” The thought of a young Six investigating Disney World is priceless. The three of us share a laugh. “Aliens,” mutters Sarah jokingly. “You need to get out more.

Before long, everyone was giving him answers, and feeling a little superior, because it was really remarkable the number of things Chrestomanci seemed not to know. He had heard of Hitler, though he asked Brian to refresh his memory about him, but he had only the haziest notion about Gandhi or Einstein, and he had never heard of Walt Disney or reggae.

I stand before her, meeting her eye to eye and nose to nose. My head takes a slight bow as I clench my fist. “I should have just killed you like any other bloodsucking vampire.” “So why didn’t you?” She tiptoes, clenching her first as well. I have to admit. She is a much better version of the Snow White you see in a Disney movie. She’s kind of kickass. I like it, but I will never let her know.“Why do you care so much about me then? Ha?” She asks. "I should have killed you before," I repeated while all I could do is wonder how I'd ever fallen in love with a monster girl.

Ask Disney World workers: 'What time does the park close?' They're supposed to answer "The park is open until 8 p.m.'... I knew then. That's the way the rest of my life would need to be lived.

You have to ask the questions you need to ask, admit without apology what you don’t understand, and do the work to learn what you need to learn as quickly as you can. There’s nothing less confidence-inspiring than a person faking a knowledge they don’t possess. True authority and true leadership come from knowing who you are and not pretending to be anything else.

This leads me to ask how it came to be that Pluto is Mickey’s dog, but Mickey is not Pluto’s mouse. Something is awry in the taxonomic class of mammals in the Disney universe. I

Once we face our fear, once we treat our anxiety itself as a thing, we can then choose otherwise. Instead of filling the unknown in our minds with expectations of the tragic, we can choose to fill the void with a different expectation – the expectation of adventure. For example, Seneca, the Greek philosopher, refused to be afraid of what he did not know. When asked if he was afraid of dying, he replied, “Absolutely not, why should I be afraid of something I know nothing about.” His orientation toward the unknown of death was not to fill the gap in his understanding with horror but potential.

I first set the needle on this record and bingo! the whole mechanism begins: the record player's arm tugs at a thread as the record plays; the thread pulls over this glass and lets this marble loose; the marble rolls down this miniature slide and snap! the spring is released, cutting off your heads! Brilliant! 'And just to be on the safe side,' he continued, 'this crossbow will shoot you as the trap is released, the axe will chop you in half and the anvil will crush you to pieces!' 'And do you see this gun?' Ratigan asked with a smile. 'In case you hadn't noticed, dear friends, it's also pointed at you! Ha! Ha! Ha!' Ratigan burst you laughing

You have to ask the questions you need to ask, admit without apology what you don’t understand, and do the work to learn what you need to learn as quickly as you can.

What do you mean 'speaking of fairy tales'? Since when do fairy tales include gigolos?" Annie asked. "Well, since most fairy-tale princes are either gay or weirdly attached to their mommies, I think Walt Disney should seriously consider their inclusion," Sophie answered.

How is it?" I ask as we stroll towards the dressing rooms. "Working at the playground. That must be fun." "Sure, they're just adorable," she says, "For the first five minutes. And then I want to wring their adorable little necks." I stop, shocked. "I always figured you loved kids." "Yeah, no." Kayla shakes her head emphatically. "One kid, I can do, even two-- just stick them in front of a Disney movie, let them play Xbox all night. But a herd of them?" She shudders.

Think hard. Be as specific as possible. Ask yourself: “Exactly what is it that I am after every day?” If you are Federal Express, your clarity of purpose is get it there. If you are Disney, it is make people happy. If you are the Ohio State

We needn't quibble about numbers," I said, loftily. "Oh, I think we do need," he said, and then just when I was about to relax, thinking I'd steered us back into safer waters, he dropped his arms again and his face went open and a little pale, leaving scared pink standing out on the edges of his collarbone. "I'd - - I'd like to ask. But not - - in here. After we - - if we - -" "Don't even try. I'm not getting engaged to go out with you," I said rudely, shoving in before he could drag us back onto the shoals. "If you're not asking, that's sufficient unto the day! If we make it out of here alive and you slog across the pond to come ask me, I'll decide what I think of it at the time, and until then, you can keep your Disney movie fantasies," and your secret pet mal, my brain unhelpfully inserted, "to yourself." He said, "Okay, okay, fine!" in a tone one-tenth irritation and nine-tenths relief, while I looked away, trying to stop my mouth contorting around the laugh I was having to fight so desperately to keep in yet again: thanks ever so, Aadhya. Her mum was a genius, actually.

Creativity is just connecting things,” Apple cofounder Steve Jobs said in 1996. “When you ask creative people how they did something, they feel a little guilty because they didn’t really do it, they just saw something. It seemed obvious to them after a while. That’s because they were able to connect experiences they’ve had and synthesize new things. And the reason they were able to do that was that they’ve had more experiences or they have thought more about their experiences than other people.” People become creative brokers, in other words, when they learn to pay attention to how things make them react and feel. “Most people are too narrow in how they think about creativity,” Ed Catmull, the president of Disney Animation, told me. “So we spend a huge amount of time pushing people to go deeper, to look further inside themselves, to find something that’s real and can be magical when it’s put into the mouth of a character on a screen. We all carry the creative process inside us; we just need to be pushed to use it sometimes.

Diversity is being invited to the party; inclusiveness is being asked to dance.

All I ask of myself is to live a good Christian life and toward that objective I bend every effort in shaping my personal, domestic and professional activities and growth,

I loved you enough to bug you about where you were going, with whom and what time you would get home. I loved you enough to insist you buy a bike with your own money even though we could afford it. I loved you enough to be silent and let you discover your friend was a creep. I loved you enough to make you return a Milky Way with a bite out of it to the drugstore and confess, “I stole this.” I loved you enough to stand over you for two hours while you cleaned your bedroom, a job that would have taken me 15 minutes. I loved you enough to say, “Yes, you can go to Disney World on Mother’s Day.” I loved you enough to let you see anger, disappointment, disgust and tears in my eyes. I loved you enough not to make excuses for your lack of respect or your bad manners. I loved you enough to admit that I was wrong and ask for your forgiveness. I loved you enough to ignore what every other mother did or said. I loved you enough to let you stumble, fall, hurt and fail. I loved you enough to let you assume the responsibility for your own actions at age 6, 10 or 16. I loved you enough to figure you would lie about the party being chaperoned but forgave you for it—after discovering I was right. I loved you enough to accept you for what you are, not what I wanted you to be. But, most of all, I loved you enough to say no when you hated me for it. That was the hardest part of all.

How long before I die?” he answered, “You probably have three to six months of good health.” That reminded me of my time at Disney. Ask Disney World workers: “What time does the park close?” They’re supposed to answer: “The park is open until 8 p.m.” In

he dropped his arms again and his face went open and a little pale, leaving scared pink standing out on the edges of his cheekbones. “El, I’d—I’d like to ask. But not—in here. After we—if we—” “Don’t even try. I’m not getting engaged to go out with you,” I said rudely, shoving in before he could drag us back onto the shoals. “If you’re not asking now, that’s sufficient unto the day! If we make it out of here alive and you slog across the pond to come ask me, I’ll decide what I think of it at the time, and until then, you can keep your Disney movie fantasies,” and your secret pet mal, my brain unhelpfully inserted, “to yourself.

Wait, and you had to ask him if Faye’s in danger? IF? Okay, first of all, I’m just going to admit that I didn’t know Japan had a Mafia, but I also didn’t know they got a Disney World. If someone gets an invitation from the Mafia, I’d say there’s potential for a bit of danger, wouldn’t you? I mean, am I the only one here who saw Goodfellas?

The two little girls and I crossed the Delaware River where George Washington had crossed it, the next morning. We went to the New York World’s Fair, saw what the past had been like, according to the Ford Motor Car Company and Walt Disney, saw what the future would be like, according to General Motors. And I asked myself about the present: how wide it was, how deep it was, how much was mine to keep.

You said something once,” he adds quietly after a moment. “When you were four or five, maybe? I don’t know, but you were young. I was in town for the weekend, and I was watching you for the night. We were watching some Disney movie, I think? I don’t remember which one, but…” He trails off, inhaling deeply. Frowning, I look up at him. He smiles sadly, searching my gaze. “You asked if boys get princes too.

The Toyota Production System unlocked employees’ capacity to suggest innovations by giving them more control. The Disney system does something different. It forces people to use their own emotions to write dialogue for cartoon characters, to infuse real feelings into situations that, by definition, are unreal and fantastical. This method is worth studying because it suggests a way that anyone can become an idea broker: by drawing on their own lives as creative fodder. We all have a natural instinct to overlook our emotions as creative material. But a key part of learning how to broker insights from one setting to another, to separate the real from the clichéd, is paying more attention to how things make us feel. “Creativity is just connecting things,” Apple cofounder Steve Jobs said in 1996. “When you ask creative people how they did something, they feel a little guilty because they didn’t really do it, they just saw something.

Lasseter and his Pixar team had the first half of the movie ready to screen by November 1993, so they brought it down to Burbank to show to Katzenberg and other Disney executives. Peter Schneider, the head of feature animation, had never been enamored of Katzenberg’s idea of having outsiders make animation for Disney, and he declared it a mess and ordered that production be stopped. Katzenberg agreed. “Why is this so terrible?” he asked a colleague, Tom Schumacher. “Because it’s not their movie anymore,” Schumacher bluntly replied. He later explained, “They were following Katzenberg’s notes,

and at one point she held my hand and asked what I was thinking, and I told her that you had once been a dolphin in the Banana River, that you had saved me from drowning, that it had felt too Disney to ever say out loud but that I wanted her to know me, I wanted to tell her more, to blow it wide open, and I nearly told her my real name, but I was too startled by her face, her faint smile, the way she nodded her head. I could tell she thought I was crazy, or making shit up, and I suppose I don't blame her. I stared at the deep, dark, dolphin-free Hudson, a real river with a swift current, and thought about trying again.

Ben had the most expressive face I’d ever seen. When he told a story, he dove into it, re-enacting each character with a new set of his jaw and cast of his brow. His eyes shone vibrantly, and every time he laughed, it showed in his whole body. Just watching him made me smile. I felt warm around him, and happy, and comfortable. I felt like flannel pajamas, hot cocoa, a teddy bear, and my favorite comedy on DVD. I felt like home. I loved Ben, that’s what I felt. It popped into my head, and I didn’t doubt it for a second. I loved Ben. Well that was settled then, wasn’t it? Then my eyes darted to Sage, and I noticed he wasn’t focused on Ben’s story either. He was watching me. He was watching me watch Ben, to be precise, leaning back on his elbows and staring so fixedly that I could practically hear him scratching his way into my brain to listen to what I was thinking. And the minute I felt that, I was desperate to take back what I’d thought, and make sure he hadn’t understood. Especially since I had this strong feeling that if he believed I loved Ben, he’d disappear. Maybe not right away, but as soon as he could. And that would be the end of the world. “Okay, Sage, your turn,” Rayna said. “What’s the most embarrassing thing you’ve ever done in the middle of a social function?” Instantly Sage’s intense stare was gone, replaced by a relaxed pose and a charming smile. “Um, I would say doing a spit take in front of Clea’s mom, several senators, and the Israeli foreign minister would probably cover it.” “You did that?” I asked. “Oh yes, he did,” Rayna nodded. “And the minister still offered you his house in Tel Aviv for the honeymoon? That’s shocking.” “Rayna is particularly charming,” Sage noted. “Thank you, darling.” She batted her eyes at him like a Disney princess. “What happened?” Ben asked. “Piri spiked your drink with garlic?” “You say that like it’s a joke,” Sage said. “I’m pretty sure she did.” “She must really have it out for you,” Ben said. “Palinka’s Hungarian holy water. You don’t mess with that.” “Speaking of holy water, I so did not get that on our trip,” Rayna put in. “Clea and I were touring one of the cathedrals in Italy, and in front of the whole tour I go, “That’s too cute! Look, they have birdbaths in the church!

When the war ended in 1945, Robert Newton’s film career took off. And then he landed the part of Disney’s Long John Silver. “What accent do you want me to put on?” he asked Walt, in his natural thick West-country, ‘Cornwall/Devon/Dorset’ burr. Pointing at his face excitedly, “Why, that one.” Disney replied. And THE OFFICIAL PIRATE ACCENT was born. Newton went on to do another Long John Silver film, then a 26 part television series. He died early, aged 50, from chronic alcoholism, just the way a pirate would want to go. But he left the legacy of ‘the’ pirate accent ‘til the end of time. Every pirate ‘R’ or ‘Arrrgh’ joke you ever heard, owes its very life to the combination of Robert Newton, R. L. Stevenson, and Walt Disney. -- Renaissance Festival Survival Guide

The Victory tour was my first chance to be exposed to the Michael Jackson fans since Thriller had come out two years earlier. There were some strange reactions. I’d bump into people in hallways and they’d go, “Naw, that can’t be him. He wouldn’t be here.” I was baffled and I’d ask myself, “Why wouldn’t I? I’m on earth somewhere. I’ve got to be somewhere at any given time. Why not here?” Some fans imagine you to be almost an illusion, this thing that doesn’t exist. When they see you, they feel it’s a miracle or something. I’ve had fans ask me if I use the bathroom. I mean, it gets embarrassing. They just lose touch with the fact that you’re like them because they get so excited. But I can understand it because I’d feel the same way if, for instance, I could have met Walt Disney or Charlie Chaplin.

Walt Disney's orchestration of his animation studio was often likened to that of a Renaissance artist's workshop: 'Of all the things I've done,' he stated, 'the most vital is coordinating the talents of those who work for us and pointing them at a certain goal.' Disney understood the amorphous nature of his role as repeatedly relayed in what may be an apocryphal anecdote: 'You know,' Disney said, 'I was stumped one day when a little boy asked, 'Do you draw Mickey Mouse?' I had to admit I do not draw any more. 'Then you think up all the jokes and ideas?' 'No,' I said, 'I don't do that.' Finally, he looked at me and said, 'Mr. Disney, just what do you do?' 'Well,' I said, 'Sometimes I think of myself as a little bee. I go from one area of the studio to another and gather pollen and sort of stimulate everybody.' I guess that's the job I do.

She’s just getting a tat,” she says, turning me around. “What kind of tat?” “A tiny little butterfly or something equally as cute. Maybe a Disney princess. She hadn’t decided yet.” She rolls her eyes. Friday has skulls and crossbones and turtles and all sorts of weird shit all over her body. “I want to help her pick something,” I say, trying to push past Friday. “Stop,” she says. “She wants to surprise you.” I run a frustrated hand through my hair. “Tats mean different things to different people,” Friday says. “This means a lot to her, and she should be the one to decide what she gets.” I already know this, but I want to be involved, dammit. “You don’t trust Paul to take care of her?” Friday asks, her eyebrows crashing together. Of course I trust him. “But this is my girl,” I say. I know I sound like a baby. But there it is. She pats me on the arm. “Suck it up, buttercup,” she says.

Jay took them and stepped in front of the TV. His biceps bulged as he swung the weapon. Carlos watched him, laughing and whooping as Jay fought off the animated attackers. “Guys!” said Mal. “Do I have to remind you what we’re all here for?” “Fairy Godmother, blah, blah, blah,” said Jay as he swung. “Magic wand, blah, blah, blah.” Evie laughed at him. “This is our one chance to prove ourselves to our parents,” said Mal. Evie stopped laughing and faced Mal. “To prove that we are evil and vicious and ruthless and cruel,” said Mal. Jay and Carlos stared at her, too. She had their attention. “Yeah?” Mal asked them. Her friends nodded solemnly. “Evie, mirror me,” said Mal. Mal and Evie sat at the table as Jay and Carlos gathered around them. Evie lifted her mirror. “Mirror, mirror, on the…in my hand. Where is Fairy Godmother’s wand”—she searched for a rhyming word—“stand?” In the mirror, there was an extreme close-up of the sparkling wand. “There it is!” said Evie. “Zoom out,” said Carlos. “Magic Mirror, not so close,” Evie whispered into it.

People always feel sorry for you if you’re physically sick. It doesn’t matter if you have cancer or a cold. People always feel sorry for you and ask you if you’re okay. You need money? You got it! You want to meet a celebrity? Of course you can! You want to go to a convention, ComiCon, Disney World, anywhere in the world? You’re going to go there. That doesn’t happen when you’re mentally ill. If you’re mentally ill, people look at you differently. People roll their eyes when you talk about how sad you are. People won’t lift a finger to help you. “Get a job,” they’ll tell you. “Stop being so lazy. Be grateful you don’t have cancer. Get over it. It’s in the past. You have no reason to be sad.” And that isn’t how it works. But, of course, they wouldn’t know that. They’ve never been mentally ill, they don’t know how you can be so permanently damaged by your past that your present is painful and your future looks bleak. They don’t understand that most days getting out of bed is a chore. They don’t get that sometimes getting a job is out of the question because you’re just too damn afraid to even speak to anyone. That isn’t something you can just get over. But no one knows that because mental illnesses aren’t a real problem apparently. Apparently, the fact that over 800,000 million people die from suicide each year isn’t a real problem. Apparently, the fact that 15% of the adolescent population self-harms isn’t a real problem either. And, apparently, it isn’t a cause to worry that one in 200 American women suffer from an eating disorder. And, as I stand on the balcony, staring at the glittering city, thinking about the short time I spent in Paperthin Hearts, meeting all of the damaged children, I wonder how in the world people don’t understand what a mistake they’re making when they assume that having cancer is worse than being depressed or anxious or wanting to starve yourself to the point of death. How is that a mystery to anyone? Cancer patients are told they’re brave. They’re all made out to be martyrs. They’re given everything they need. Almost all of them. Mental health patients? They’re lucky if they get the right treatment they need before their broken, bleeding hearts, desperate only for love, destroy a part of them that can never be repaired.

Fox was the most junior member of a group assigned to the Team Disney Building in Burbank. Her first job was typical grunt work, laying out bathrooms in the executive wing. MICHAEL GRAVES: Bernadette was driving everyone insane. She wanted to know how much time the executives spent in their offices, how often they’d be in meetings, at what time of day, how many people would be in attendance, the ratio of men to women. I picked up the phone and asked her what the hell she was doing. She explained, “I need to know what problems I’m solving with my design.” I told her, “Michael Eisner needs to take a piss, and he doesn’t want everyone watching.” I’d like to say I kept her around because I recognized the talent that would emerge. But really, I liked the sweaters. She knitted me four, and I still have them. My kids keep trying to steal them. My wife wants to give them to Goodwill. But I won’t part with them. The Team Disney Building was repeatedly delayed because of the permitting process. During an all-firm meeting, Fox presented a flowchart on how to game the building department. Graves sent her to Los Angeles to work on-site. MICHAEL GRAVES: I was the only one sad to see her go.

There’s no good playbook for how to fire someone, though I have my own internal set of rules. You have to do it in person, not over the phone and certainly not by email or text. You have to look the person in the eye. You can’t use anyone else as an excuse. This is you making a decision about them—not them as a person but the way they have performed in their job—and they need and deserve to know that it’s coming from you. You can’t make small talk once you bring someone in for that conversation. I normally say something along the lines of: “I’ve asked you to come in here for a difficult reason.” And then I try to be as direct about the issue as possible, explaining clearly and concisely what wasn’t working and why I didn’t think it was going to change. I emphasize that it was a tough decision to make, and that I understand that it’s much harder on them. There’s a kind of euphemistic corporate language that is often deployed in those situations, and it has always struck me as offensive. There’s no way for the conversation not to be painful, but at least it can be honest, and in being honest there is at least a chance for the person on the receiving end to understand why it’s happening and eventually move on, even if they walk out of the room angry as hell.

Once, we were artists. Pure! But we, all of us, we became a distraction, compromised for the sake of fame, comfort, the approval of strangers. We spend our lives pursuing something as empty as `relevance' and they use our fear of losing it to corral us. Dirty Malaysian money. Saudi money. We'll take it all. What went wrong? We sing and dance not to entertain but to distract people from the crushing gears of a capitalist machine that has no ideals save for greed and violence. And let's not kid ourselves, Hollywood is the best PR firm the gunmakers ever had. What a sick culture." "But what about artistic beauty?" asked Cameron Diaz. "When you can perceive beauty there's no excuse for serving ugliness. For aiding cons, inflaming desires, promising everything and delivering nothing. It doesn't matter what you put on TV because people are so frightened and lonely they'll watch it just to hear human voices and feel like they're not alone. They're so beaten down all they need is a soccer tournament every four years and they stay in their place. This is not a society. This is a system of soul-murder. And history will not be kind to us for our complicity, because we know better. The executives"—he nodded Maoishly to the Disney team —"they can say they were serving their god Mammon, but we artists can't. We're all East German playwrights now, complicit with the regime! And there will come a time of judgment. We're destroying the planet. This cannot last.

My stutter started soon after, and the doctors said it was from the head injury. My mom said that when I stuttered it looked like my brain and I were trying to say ten things at once. My voice just wouldn’t work. “You can’t focus on the one idea you need to talk about,” she told me. “Just say the one thing, Jess.” She is the youngest of three—the Drew girls of McGregor, Texas—and her middle sister Connie was a speech therapist. Aunt Connie advised her to get me to calm down. “Take a breath,” my mother would say, getting down to my level to look me in the eye. That only worked so well. If you want someone to calm down, try telling them “calm down” and see where it gets you. But Connie had another idea, something that worked with other people who stuttered. Singing. “What you’re trying to say,” Mom said to me one day, “sing it to me.” I turned the phrase over in my mind, smoothing the edges of its consonants and vowels until the words became the breaths of a song. A lyric I could control. “I want Cheeeeeeri-ohhhhs,” I sang. I can’t describe that release. The rush of simply being understood. “Yes, you can have Cheerios,” my mother yelled. “You can have whatever you want! You sound so beautiful.” For the next two years, singing was the only time I didn’t stutter. I sang for everything I wanted, like some Disney princess making a wish. Around four, the stutter became more pronounced and my parents took me to a therapist. He used art therapy and asked me to draw myself in the family. I drew my parents standing in front of our house, then put myself inside looking out from a window. He told my parents I had a fear of abandonment. Looking back, I know my parents never left me alone, and maybe I was even around them too much. But somehow, I still had a fear that they would leave me.

I’m going to say this once here, and then—because it is obvious—I will not repeat it in the course of this book: not all boys engage in such behavior, not by a long shot, and many young men are girls’ staunchest allies. However, every girl I spoke with, every single girl—regardless of her class, ethnicity, or sexual orientation; regardless of what she wore, regardless of her appearance—had been harassed in middle school, high school, college, or, often, all three. Who, then, is truly at risk of being “distracted” at school? At best, blaming girls’ clothing for the thoughts and actions of boys is counterproductive. At worst, it’s a short step from there to “she was asking for it.” Yet, I also can’t help but feel that girls such as Camila, who favors what she called “more so-called provocative” clothing, are missing something. Taking up the right to bare arms (and legs and cleavage and midriffs) as a feminist rallying cry strikes me as suspiciously Orwellian. I recall the simple litmus test for sexism proposed by British feminist Caitlin Moran, one that Camila unconsciously referenced: Are the guys doing it, too? “If they aren’t,” Moran wrote, “chances are you’re dealing with what we strident feminists refer to as ‘some total fucking bullshit.’” So while only girls get catcalled, it’s also true that only girls’ fashions urge body consciousness at the very youngest ages. Target offers bikinis for infants. The Gap hawks “skinny jeans” for toddlers. Preschoolers worship Disney princesses, characters whose eyes are larger than their waists. No one is trying to convince eleven-year-old boys to wear itty-bitty booty shorts or bare their bellies in the middle of winter. As concerned as I am about the policing of girls’ sexuality through clothing, I also worry about the incessant drumbeat of self-objectification: the pressure on young women to reduce their worth to their bodies and to see those bodies as a collection of parts that exist for others’ pleasure; to continuously monitor their appearance; to perform rather than to feel sensuality. I recall a conversation I had with Deborah Tolman, a professor at Hunter College and perhaps the foremost expert on teenage girls’ sexual desire. In her work, she said, girls had begun responding “to questions about how their bodies feel—questions about sexuality or arousal—by describing how they think they look. I have to remind them that looking good is not a feeling.

You have a job. They’re expecting you to turn this business around. Your inexperience can’t be an excuse for failure. So what do you do in a situation like that? The first rule is not to fake anything. You have to be humble, and you can’t pretend to be someone you’re not or to know something you don’t. You’re also in a position of leadership, though, so you can’t let humility prevent you from leading. It’s a fine line, and something I preach today. You have to ask the questions you need to ask, admit without apology what you don’t understand, and do the work to learn what you need to learn as quickly as you can. There’s nothing less confidence-inspiring than a person faking a knowledge they don’t possess. True authority and true leadership come from knowing who you are and not pretending to be anything else.

Word spreads like wildfire in a town as small as Cedar Ridge, and by the time I make it to work, the streets of downtown are bustling with locals and tourists alike, all asking the same question. It’s sort of like being in the opening sequence of a Disney movie, but instead of singing about the funny girl who likes to read or the street rat who stole a loaf of bread, all of the colorful townspeople are wondering whether or not their neighbors have heard about the Bogman. And of course, everybody’s answer is “Yes.

In Hollywood today, the simple truth is that there are two types of movie studios: Disney, and those that wish they were Disney. Understanding why studios have turned so aggressively toward franchises, sequels, and superheroes and away from originality, risks, and mid-budget dramas takes more than an appreciation for the financial pressures faced by executives like Michael Lynton and Amy Pascal. Just as Olympic swimmers can’t help but pace themselves against Michael Phelps, Sony and its competitors have for years been jealous of and frustrated by Disney. Hollywood is a herd industry. Its executives are constantly looking out the side window or at the rearview mirror and asking, “Why aren’t we doing that?” For those peering at Disney, that means slashing the number of movies made per year by two-thirds. It also means largely abandoning any type of film that costs less than $100 million, is based on an original idea, or appeals to any group smaller than all the moviegoers around the globe. Disney doesn’t make dramas for adults. It doesn’t make thrillers. It doesn’t make romantic comedies. It doesn’t make bawdy comedies. It doesn’t make horror movies. It doesn’t make star vehicles. It doesn’t adapt novels. It doesn’t buy original scripts. It doesn’t buy anything at film festivals. It doesn’t make anything political or controversial. It doesn’t make anything with an R-rating. It doesn’t give award-winning directors like Alfonso Cuarón or Christopher Nolan wide latitude to pursue their visions.

Many in Hollywood view Disney as a soulless, creativity-killing machine that treats motion pictures like toothpaste and leaves no room for the next great talent, the next great idea, or the belief that films have any meaning beyond their contribution to the bottom line. By contrast, investors and MBAs are thrilled that Disney has figured out how to make more money, more consistently, from the film business than anyone ever has before. But actually, Disney isn’t in the movie business, at least as we previously understood it. It’s in the Disney brands business. Movies are meant to serve those brands. Not the other way around. Even some Disney executives admit in private that they feel more creatively limited in their jobs than they imagined possible when starting careers in Hollywood. But, as evidenced by box-office returns, Disney is undeniably giving people what they want. It’s also following the example of one of the men its CEO, Bob Iger, admired most in the world: Apple’s cofounder, Steve Jobs. Apple makes very few products, focuses obsessively on quality and detail, and once it launches something that consumers love, milks it endlessly. People wondering why there’s a new Star Wars movie every year could easily ask the same question about the modestly updated iPhone that launches each and every fall. Disney approaches movies much like Apple approaches consumer products. Nobody blames Apple for not coming out with a groundbreaking new gadget every year, and nobody blames it for coming out with new versions of its smartphone and tablet until consumers get sick of them. Microsoft for years tried being the “everything for everybody” company, and that didn’t work out well. So if Disney has abandoned whole categories of films that used to be part of every studio’s slates and certain people bemoan the loss, well, that’s simply not its problem.

After the funeral, Laurene came up to me and said, “I’ve never told my side of that story.” She described Steve coming home that night. “We had dinner, and then the kids left the dinner table, and I said to Steve, ‘So, did you tell him?’ ‘I told him.’ And I said, ‘Can we trust him?’ ” We were standing there with Steve’s grave behind us, and Laurene, who’d just buried her husband, gave me a gift that I’ve thought about nearly every day since. I’ve certainly thought of Steve every day. “I asked him if we could trust you,” Laurene said. “And Steve said, ‘I love that guy.’ ” The feeling was mutual.

In the spring of 1935, an editor at the New York publishing house Macmillan, while on a scouting trip through the South, was introduced to Mitchell and signed her to a deal for her untitled book. Upon its release in the summer of 1936, the New York Times Book Review declared it “one of the most remarkable first novels produced by an American writer.” Priced at $3, Gone with the Wind was a blockbuster. By the end of the summer, Macmillan had sold over 500,000 copies. A few days prior to the gushing review in the Times, an almost desperate telegram originated from New York reading, “I beg, urge, coax, and plead with you to read this at once. I know that after you read the book you will drop everything and buy it.” The sender, Kay Brown, in this missive to her boss, the movie producer David Selznick, asked to purchase the book’s movie rights before its release. But Selznick waited. On July 15, seeing its reception, Selznick bought the film rights to Gone with the Wind for $50,000. Within a year, sales of the book had exceeded one million copies. Almost immediately Selznick looked to assemble the pieces needed to turn the book into a movie. At the time, he was one of a handful of major independent producers (including Frank Capra, Alfred Hitchcock, and Walt Disney) who had access to the resources to make films. Few others could break into a system controlled by the major studios. After producing films as an employee of major studios, including Paramount and MGM, the thirty-seven-year-old Selznick had branched out to helm his own productions. He had been a highly paid salaried employee throughout the thirties. His career included producer credits on dozens of films, but nothing as big as what he had now taken on. As the producer, Selznick needed to figure out how to take a lengthy book and translate it onto the screen. To do this, Selznick International Pictures needed to hire writers and a director, cast the characters, get the sets and the costumes designed, set a budget, put together the financing by giving investors profit-participation interests, arrange the distribution plan for theaters, and oversee the marketing to bring audiences to see the film. Selznick’s bigger problem was the projected cost.

My first response is “Do you make callbacks to your surgery patients?” The answer is almost always “Yes.” Then I ask if they do the same for their nonsurgical patients. The answer is almost always “No.

You promised to go to Disney World with me!” “I never actually promised that,” I said. “You still betrayed me! You’re a quaitor!” “Quisling plus traitor?” Mike asked. “Duh,” Ashley sneered.

Kingdom? Or queendom?" "What?" Flounder asked, exasperated. "The mer are ruled by a queen. Shouldn't it be queendom?

That day he was looking at one that didn’t seem to be written in their language. It was filled with symbols and drawings of trolls. She longed to know what her father was studying, but didn’t ask.

The first rule is not to fake anything. You have to be humble, and you can’t pretend to be someone you’re not or to know something you don’t. You’re also in a position of leadership, though, so you can’t let humility prevent you from leading. It’s a fine line, and something I preach today. You have to ask the questions you need to ask, admit without apology what you don’t understand, and do the work to learn what you need to learn as quickly as you can. There’s nothing less confidence

Malef, relax,” said Evil Queen. “You’re going to pop a vein and that is a look no one can rock.” Cruella cackled. “Did her face just move?” Maleficent asked Cruella, pointing at Evil Queen. Cruella used her thumb and forefinger to indicate “a little bit.” “Someone alert the media!” said Maleficent. “Hilarious,” said Evil Queen sarcastically.

Among those watching the Larry King interview was Diane Disney Miller and her husband, Ron. In response to a caller asking whether Walt Disney had really been frozen, Eisner said that no, Walt had been buried in an unmarked grave in a secret location. “His wishes were that it was unmarked, and not available to anybody to ever find out,” he said. “But I went up there and talked my way into them showing me where he’s buried.” Why would the grave be unmarked? King asked. Walt “wanted his privacy forever,” Eisner replied. “It’s a beautiful little spot and nobody could ever find it, and I’m very proud that I talked myself into it.” Diane didn’t know whether to laugh or cry. How could Eisner say this on national television? He knew perfectly well that Walt was not buried in an unmarked grave. Diane herself had told him that Walt had been cremated, after they had dinner all those years ago.

Disney liked to ask, “Why do we have to grow up?

Disney animation was sort of like a dog that had been beaten again and again Byron Howard, the director, told me when I asked him to describe the mindset back then. The crew wanted to succeed, but they were afraid of pouring their hearts into something that wasn’t going to succeed. You could FEEL that fear and in notes meetings everyone was so afraid of hurting someone’s feelings that they held back. We had to learn we weren’t attacking the person. We were attacking the project. Only then could we create a crucible that boils away everything that has not working and leaves the strongest framework. Earning trust takes time. There is no shortcut to understanding that we really do rise and fall together.

More importantly, all of the Disney experience is a result of powerful two-way conversations. Disney asks in ways that invite high response rates, it listens, and then it engages in highly relevant, highly contextual, highly personalized ways that meet needs and delights customers.

Hold up, your sister is called Elsa? Are your parents Disney adults?” I can’t count the number of times I’ve been asked something similar. “Shut up. I’m named after the northern lights. Could have gone my whole life thinking I was named after a princess, but my mum decided to traumatize me by sharing where I was conceived instead.

When I was thirteen, my parents and I drove to Disney World, fleeing a hurricane. The magic there was packaged, perfectly choreographed, frothy as the carbonated drinks that crackled on my tongue. It didn’t creep through the cracks and secret spaces of the world, like moss growing between broken slabs of concrete. That kind of magic didn’t ask for blood or tears. It simply was. So

Jacob interrupted my thoughts. “There’s clowns in there.” My gut twisted just a little. I placed my hand on the back of his neck. “Can you see someone inside there?” “No, but clowns live in red tents.” He was at the age where he constantly asked about how the world worked. “At the doctor they give you shots?” “Saws are for cutting boards, but hammers are for nails?” “When I’m five, I will be as tall as you?” His declaration about clowns living in red tents must be a law of the universe that he’d extrapolated from a picture book or Disney Plus cartoon.

The queue also answers a question for curious theme park guests. Look for it the next time you are there. In Walt Disney’s Enchanted Tiki Room, the lead parrot Jose asks a question during the show: “Whatever happened to Rosita?” The answer to this question can be found just to the left of the Autocanary Air Quality Analyzers in the Ventilation Room, where you’ll see a golden cage hanging above three burlap sacks. The name on the cage is marked with Rosita, who apparently became a canary in the mine. What

Rick looked at his watch and gave a nod. “Yup! We have enough time before our next appointment.” “Enough time for what?” asked Amelia. He grinned and began dancing around her and singing in jazz style: “Goin’ down the bayou! Goin’ down the bayou! Goin’ down the bayou! Doodle-ee doodle-ee-doo!” When Rick saw her eyes brighten, he said, I checked out a few bayous at Cross Lake. We’re goin’ down the bayou, sweetie.” Amelia asked with laughter in her voice, “Were you just singing a Disney tune? From the Princess and the Frog?” “Yup! I have many talents.

We went to the New York World’s Fair, saw what the past had been like, according to the Ford Motor Car Company and Walt Disney, saw what the future would be like, according to General Motors. And I asked myself about the present: how wide it was, how deep it was, how much was mine to keep.

passes over her face. “He was involved, wasn’t he?” she says quickly. “He got us the E. I thought he might have had the same message.” “And had he?” I say, my head spinning. Why didn’t Sam mention this when I dropped Henry off the other day? That must have been why he was weird, asking me if I was OK. And why didn’t he say anything when I spoke to him earlier tonight? “No, he hasn’t had anything. Oh God, Louise, what are we going to do? Who’s doing this?” I wasn’t expecting this panic from her. In vino veritas indeed. “I don’t know. Have you had any messages from Maria? Since she friend-requested you?” “Two.” Her eyes are huge, like a Disney princess’. “What did they say?” “I had one not long after the friend request that just said ‘Still looking good, Sophie.’ And then another one this morning.” “What did it say?” “It just said ‘See you at the reunion, Sophie Hannigan.’ I mean, it’s a message that anyone could have sent. Nothing scary about it, except that it’s from her.” Her voice is a whisper and there is real fear in it. “Oh God, Louise, what shall we do?” “Why didn’t you say all this when I came to your flat? Why did you act like it wasn’t a problem?” My cheeks are flushed; she made me feel so foolish for being upset about the Facebook request from Maria. “I’ve tried not to think about it. What we did… I know it was wrong.

You know, I was stumped one day when a little boy asked, 'Do you draw Mickey Mouse?' I had to admit I do not draw any more. 'Then you think up all the jokes and ideas?' 'No,' I said 'I don't do that.' Finally, he looked at me and said: 'Mr . Disney, just what do you do?' 'Well,' I said, 'Sometimes I think of myself as a little bee. I go from one area of the studio to another and gather pollen and sort of stimulate everybody. I guess that's the job I do.

At the dedication, Walt’s older brother Roy O. Disney was asked by reporters why a grandfather had felt the obligation to tackle this impossible project at this point in his life. He told them: I didn’t want to have to explain to Walt when I saw him again why the dream didn’t come true. Later, Roy spent time in a boat on the Seven Seas Lagoon in front of the Magic Kingdom and when asked why he wasn’t in the park to handle all the media attention, he said: Today is my brother’s day. I want them to remember my brother today.

In early 1991, although the Stern-Robertson plan was far from finalized, the decision was made to announce the new-town project to the public. Before that could happen, the new town needed a name. The development team had been kicking around dozens of names, but nothing seemed to click. Some people like to Oak Tree. Others favored Green Meadows. But nobody liked any of them much. One day Eisner and his wife, Jane dropped by the teams offices in a nondescript building off the Disney property, near International Drive in Orlando. Eisner asked whether a name had been selected and was told it had not. However, Celebration Gardens had been listed as a potential name for the shopping mall." I think it's a better name for the town, " replied Eisner, with his wife nodding her agreement... "We are so happy to find a name that he actually liked that we latched onto it, " said Killoren, although the decision was later made to chop off the final word and just call the town Celebration.

We were discovering new construction problems every day, do you for passing them onto the representatives from David Weekley homes, which had built our house. The list was approaching four pages, but most items were niggling-outlets with no electricity, a bow in the kitchen ceiling, no weatherstripping around the front door, strange lumps in the newly-sodded lawn, a shower door in the master bathroom that kept popping open and spewing water all over the floor mid shower, hot and cold water lines reversed upstairs. This last problem was intriguing. At first we thought it was only the sinks, showers, and tubs. Then one day Doug asked, why do you think the toilet steams?

Augustus Waters–style, I read him the letter in lieu of saying hello. “Wow,” he said. “I know, right?” I said. “How am I going to get to Amsterdam?” “Do you have a Wish?” he asked, referring to this organization, The Genie Foundation, which is in the business of granting sick kids one wish. “No,” I said. “I used my Wish pre-Miracle.” “What’d you do?” I sighed loudly. “I was thirteen,” I said. “Not Disney,” he said. I said nothing. “You did not go to Disney World.” I said nothing. “Hazel GRACE!” he shouted. “You did not use your one dying Wish to go to Disney World with your parents.” “Also Epcot Center,” I mumbled.

I was stumped one day when a little boy asked, ‘Do you draw Mickey Mouse?’ And I had to admit I do not draw anymore. ‘Then you think up all the jokes and ideas?’ ‘No,’ I said, ‘I don’t do that.’ Finally, he looked at me and said, ‘Mr. Disney, just what do you do?’ ‘Well,’ I said, ‘sometimes I think of myself as a little bee. I go from one area of the studio to another, and I gather pollen. I sort of stimulate everybody. I guess that’s the job I do.’” WALT DISNEY

Disney security could not make an arrest, but Reedy Creek’s city codes gave all cast members the right to detain anyone “causing a disturbance” until the sheriff arrived or to eject anyone from the property who refused to leave when asked.

That's right," Philby said, remembering. "You're a computer freak, aren't you, Maybeck?" "Freak? I'm freaking good with them, if that's what you're asking.

And then...burble...to come...blorb ten years later...glug...and ask me..." Mrs. Potts was quite literally boiling over.

Hold on. Whose side are they on?” asked Ben, baffled. The last time he’d seen Harry, the nasty pirate had him roped to a ship mast and was ordering him to walk the plank. The king was not a fan.

Ask the questions you need to ask, admit without apology what you don't understand, and do the work to learn what you need to learn as quickly as you can.

It's not every day that a hippopotamus asks for a fruitcake!

good rule of thumb is to ask yourself, “Do I have enough information to actually build this project?” If not, keep asking more questions and doing more research until you do.

Now that Zoe’s crush was out in the open, a flood of memories came rushing back that I probably should have picked up on earlier: the time when Zoe had asked me to help her study for her History of Espionage exam when she turned out to know the subject better than I did; the time when she’d asked me to kill a spider in her room even though she could clobber a man twice her size; the time on Operation Snow Bunny when I’d made an offhanded comment that I would go to Disney World with her even though I wasn’t really into her and she’d suddenly become very annoyed at me.

You have to ask the questions you need to ask, admit without apology what you don't understand, and do the work to learn what you need to learn as quickly as you can.

All I ask of myself is to live a good Christian life and toward that objective I bend every effort in shaping my personal, domestic and professional activities and growth,” .

Sense people’s needs before they ask (initiative). Help each other out (teamwork). Acknowledge people’s feelings (empathy). Respect the dignity and privacy of everyone (courtesy). Explain what’s happening (communication). In the passing years tens of thousands of patient-satisfaction surveys from a score of research companies have validated these five behaviors as having the highest correlation with overall satisfaction and loyalty.

The e-mail was a booklist I had sent to Joanna on Monday morning. Several items had been highlighted. She’d asked for books for her daughters that featured girls who accomplished more than simply catching Prince Charming. Joanna had come in late one night the previous week, cheeks flushed, eyes bright, radiating righteous indignation. She marched up to the reference desk and promptly launched into a diatribe against fairy tales, kids’ movies in general and Disney in particular, the prevalence of purple, pink, and sparkle in little girls’ clothing, and marketing aimed at children. She wound up with a brief thanks for Hermione Granger, “a smart, competent character the girls can grow up with,” and bemoaned the fact that it would be years before her kids were ready for Katniss Everdeen.

One top executive at Disney got my attention right away by telling me that he didn’t know why Disney had bought Pixar in the first place. Apparently a lover of sports analogies, he told me that Disney Animation was on the one-yard line, ready to score. He felt Disney was on the verge of fixing its own problems—and finally ending its sixteen-year fallow period without a single number one film. I liked this guy’s moxie and his willingness to push back, but I told him that if he were to continue at Disney, he needed to figure out why, in fact, Disney was not on the one-yard line, not about to score, and not about to fix its own problems. This executive was smart, but over time I realized that to ask him to help dismantle a culture he had built was too much, so I had to let him go. He was so fixated on existing processes and the notion of being “right” that he couldn’t see how flawed his thinking was.

But, Q, she seemed awesome. The girls have been asking about her, and you know they hated Mercedes." "They were toddlers when I was with her." "Intuitive toddlers. When we watched Tangled the other day, they pointed at Mother Gothel and said, 'Look, it's Tía Cedes!

Walker, the goalie with a face that could launch a thousand ships,” I drawled. He snorted and extended a hand like he was offering a VIP ticket to the "I'm Gonna Steal Your Girl" show. "Nice to have you on board," he said, all charming and Disney prince-ish. I shook it, fighting the urge to ask if he always had a wind machine following him around.

I excused myself to the woman I was with and made my way over to these men. I stopped to ask my friend Buller to watch my back. The thing is, people like this can’t be talked to, and so I wasn’t going to mess around with this crazed windmill and his sidekick, Don Quixote. I hit the mouthy crazed windmill with a thumping right, a left, right, smack on the chin; he fell apart and was out for the count before he hit the deck. I turned to Don Quixote and off he shot like the Disney cartoon character of Speedy Gonzales.

Mom was giving him a big hug, wearing her yoga leotard from work, holding the large kitchen knife she’d just been chopping dinner with. If they weren’t my family I might have been frightened. “Well, how’d you do?” she asked, pulling back to look him in the face. “I won third place in the junior division!” Josh exclaimed with wide, innocent eyes like an adorable woodland creature in a Disney cartoon. I wondered what he was up to. I wanted to slap him. But then I would be forced to explain to my mom why I’d slapped the adorable woodland creature.

Disney’s Candy Cauldron (West Side, Downtown Disney) is a lot of fun. You’ll enter the Wicked Queen’s dungeon as a “villager”. The cast members speak in Old English and might ask you to pay with “pebbles and stones” instead of dollars and cents.

Lourd playing Leia in a flashback sequence in Star Wars The Force Awakens,used to be a rumor believed half heartedly by many not too long ago. Until she confirmed that portraying Leia in a flashback sequence was not the case. Why would she play Leia (in or not in a flashback sequence) in the first place? Is she identical to her mother? You decide that for yourself. I think Lourd is a good actress but not the Leia kind of girl. She seems to think that because she is Fisher's daughter, she can be hired. And there is a high chance that she will in Rogue One or some other Star Wars spin-off, But only because she is Fisher's daughter. If she wasn't the offspring of Fisher/Lourd, then she would probably not even care about getting hired to play Princess Leia unless she was asked. It is quite obvious that Lourd only wants to follow in her Mother's footsteps. She admires her Mother, (Fisher) and that is why she desires to play Princess Leia. Because she is Fisher's daughter she probably will be hired. But probably only for Rogue One or Star Wars Rebels. She only can stay young for a while. She is now 23 years old wich is about the same age as Fisher when she was filming for Star Wars Episode VII: Return of the Jedi. Lourd does not have much time left. But Disney seems to like her so she has a slight chance. Considering her father's being a casting agent, Lourd has an even greater chance of fulfilling her dream. But Disney could put more thought into her age and her looks. Does she look and sound like Fisher? I'll leave that to you." -Anne Onamuss

I need to get to Kristoff.” “Why?” Olaf asked, unaware of the impact his words had had on Anna. She smiled and shrugged sheepishly. Olaf’s eyes lit up and he clasped his hands together. “Oh! I know why!” he cried happily. He began to hop around the room excitedly. Then he pointed out the window. “There’s your act of true love! Right there! Riding across the fjords like a valiant, pungent reindeer king!

Maria loved Disney World because I loved Disney World, the same way I was coming to love secondhand clothing stores, Indian music, and brussel sprouts. We each loved what the other loved, with an open heart and soul. Over time, I came to see, we loved almost everything we did together, because we were doing it together. This kind of selflessness, was new to me, and I was grateful to learn it and live it. What, I asked myself, is love, really? I thought about that on that ride, as we dried ourselves off and looked for popcorn. It is about the other, I decided, not the self.

That message got through to Jobs. Jobs had a role in the system—he was a brilliant deal-maker and financier. It was Jobs, for example, who insisted on timing the Pixar IPO with the Toy Story release, and Jobs who negotiated the Pixar deals with Disney. But he was asked to stay out of the early feedback loop on films. The gravity of his presence could crush the delicate candor needed to nurture early-stage, fragile projects. On those occasions he was invited to help near-finished films, Jobs would preface his remarks: “I’m not a filmmaker. You can ignore everything I say.” Jobs had learned to mind the system, not manage the project.

Don’t just ask how it’s going; check on it yourself.

it simply, all people want exactly what you want. You want to be included, listened to, respected, and involved, don’t you? You want to be asked your opinion and have it taken seriously. You want to feel valued. And you want to be known as an individual and treated as such. Well, so does everyone else. That’s why great leaders make sure that everyone in the workplace—no matter the rank or position—feels included and no one feels left out.

Impa and Genison stood back, as Link looked at himself in the mirror. Wearing a white waistcoat tuxedo with gleaming silver trim and polished black riding boots, Link looked like one of those bold, valiant knights in the Disney movies. A Sheikah crest of dark blue enamel on sterling silver had been pinned to his chest, and his hair had been trimmed and styled so as not to appear as scruffy as it normally did. "You clean up nice, man," Genison laughed, and next to him Impa chuckled. Genison himself stood in a similar white tux, but without any extra decoration. "Hey, Hans from Frozen called, he wants his suit back." Link smirked at his best man. "Is all of this really necessary?" Link asked, not truly recognizing himself in the mirror.