Inc Giving Quotes

If you give a good idea to a mediocre team, they will screw it up. If you give a mediocre idea to a brilliant team, they will either fix it or throw it away and come up with something better.

It was all about the G.I.s overseas. As the war became more of a reality and blue stars on windows were turning to gold stars indicating a soldier’s death, the tensions at home were increasing. Giving what little they could for the war effort was often an act of desperation. Some people made pacts with God to bring their men home hoping beyond hope that it made a difference.

We must remember that failure gives us chances to grow, and we ignore those chances at our own peril.

What makes Pixar special is that we acknowledge we will always have problems, many of them hidden from our view; that we work hard to uncover these problems, even if doing so means making ourselves uncomfortable; and that, when we come across a problem, we marshal all of our energies to solve it. This, more than any elaborate party or turreted workstation, is why I love coming to work in the morning. It is what motivates me and gives me a definite sense of mission.

Okay, I'm guessing you're gonna give us the bad news first because there's no good news?

Acquaintances give us moments; friends give us hours; good friends give us days.

I know God will not give me anything I can’t handle. I just wish that He didn’t trust me so much.” -Mother Teresa

Because I’ve lost a few people I’ve loved during my life,” she continued, “and this is what I know. In the end, the love we withhold, not the love we give, is what we wind up regretting.

If you give a good idea to a mediocre team, they will screw it up. If you give a mediocre idea to a brilliant team, they will either fix it or throw it away and come up with something better. The

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

That’s why you never hear politicians talking about ‘citizens,’ it’s all ‘taxpayers,’ as though the salient fact of your relationship to the state is how much you pay. Like the state was a business and citizenship was a loyalty program that rewarded you for your custom with roads and health care. Zottas cooked the process so they get all the money and own the political process, pay as much or as little tax as they want. Sure, they pay most of the tax, because they’ve built a set of rules that gives them most of the money. Talking about ‘taxpayers’ means that the state’s debt is to rich dudes, and anything it gives to kids or old people or sick people or disabled people is charity we should be grateful for, since none of those people are paying tax that justifies their rewards from Government Inc.

What happened?" Wyatt asked Crystal, and stood back so the two of them could come inside out of the oppressive heat. "Why are you asking her?" Reed thumped past him. "I'm the one on crutches." "She'll tell me the truth," Wyatt said. "You'll just give me some bullshit story that will end with 'You should see the other guy'." "You wound me, bro" [Reed] "He tore his ACL the day before yesterday trying to do a stunt on a skateboard." [Crystal] "Mendoza dared him." [Luke Colter] "No one held a gun to the fool's head" [Mendoza]

Bill glanced back and forth between them. “What is it with you two anyway? Why are you always sniping at each other?” Sticking out her bottom lip in a pout, she said the one thing guaranteed to ruffle Mac’s already wildly ruffled feathers, “Because Mac won’t give me a ride on his pony.” “For Christ’s sake, woman!” Mac glared out at her

During the youthful period of mankind's spiritual evolution human fantasy created gods in man's own image, who, by the operations of their will were supposed to determine, or at any rate to influence, the phenomenal world. Man sought to alter the disposition of these gods in his own favor by means of magic and prayer. The idea of God in the religions taught at present is a sublimation of that old concept of the gods. Its anthropomorphic character is shown, for instance, by the fact that men appeal to the Divine Being in prayers and plead for the fulfillment of their wishes. Nobody, certainly, will deny that the idea of the existence of an omnipotent, just, and omnibeneficent personal God is able to accord man solace, help, and guidance; also, by virtue of its simplicity it is accessible to the most undeveloped mind. But, on the other hand, there are decisive weaknesses attached to this idea in itself, which have been painfully felt since the beginning of history. That is, if this being is omnipotent, then every occurrence, including every human action, every human thought, and every human feeling and aspiration is also His work; how is it possible to think of holding men responsible for their deeds and thoughts before such an almighty Being? In giving out punishment and rewards He would to a certain extent be passing judgment on Himself. How can this be combined with the goodness and righteousness ascribed to Him? (Albert Einstein, Science, Philosophy, and Religion, A 1934 Symposium published by the Conference on Science, Philosophy and Religion in Their Relation to the Democratic Way of Life, Inc., New York, 1941; from Einstein's Out of My Later Years, Westport, Connecticut: Greenwood Press, 1970, pp. 26-27.)

Rule one: Make them curious, slightly jealous. Rule two: Don’t appear too interested. Always be polite. Rule three: Give them a method of contact, but keep the ball in your court. Rule four: Never answer the first text, call, e-mail, etc. For some reason, the brain picks up on the number three as being the final try before you look desperate.

If only God would give me some clear sign! Like making a large deposit in my name in a Swiss bank.” -Woody Allen

Wow, put the girl through a couple of days of high-level stress, dress her in black leather and give her a gun, and suddenly she went all Xena: Warrior Princess.

Thank You, Lord, for a new year! Give me the discipline that it takes to make necessary changes. I love You, Father. Amen.

SO WHAT GIVES? One very real possibility is that we are in an ESG asset bubble that is ripe to crash—just like the housing bubble in 2008.

I like coffee because it gives me the illusion that I might be awake.” —Lewis Black

Call me Ozzie, doll,” he called back. He hunched over the keyboard like a starving man hunches over a plate of food. “And there’s no need to conceal my weapons. I figure everyone should see what’s in store for them should they attempt to fuck with me.”“ Oh man.” Dan groaned and rolled his eyes. “Next thing you know he’ll be coming to work shirtless with bandoliers strapped across his chest and a red bandana tied around his head.” “Ah, so you have seen a movie or two.” Ozzie swiveled in his chair, his eyes sparkling with devilish glee. “Rambo, huh? I can give you Rambo.” He lowered his voice. “‘They drew first blood. Not me…’” “What a crock of bullsh—uh, crap.” Dan scoffed. “Are you sitting there dissing Stallone?” Ozzie demanded, making like he was about to stand in defense of the Italian Stallion. “No. I’m sitting here dissing you, you stu—

You're the Executive Director of the False Memory Syndrome Foundation - a foundation that says it wants to disseminate scientific information to the community regarding this syndrome but you can't, or won't, give me its signs and symptoms. That is confusing to me. I don't understand why there isn't a list." A Conversation With Pamela Freyd, Ph.D. Co-Founder And Executive Director, False Memory Syndrome Foundation, Inc., Part I, Treating Abuse Today, Vol. III, No. 3.

Give them responsibility, let the mistakes happen, and let people fix them. If there is fear, there is a reason—our job is to find the reason and to remedy it. Management’s job is not to prevent risk but to build the ability to recover.

Give a good idea to a mediocre team, and they will screw it up. Give a mediocre idea to a great team, and they will either fix it or come up with something better. If you get the team right, chances are that they’ll get the ideas right.

Entrepreneurs become entrepreneurs for one simple reason: to be free. If you give that up, then you stop being an entrepreneur, and to hell with that. -          Wilson Harrell, founder of over 100 companies and former publisher of Inc. Magazine

The poor guy had been sucked like a Mr. Freeze. Loviatar was humming and picking her teeth with a fingernail. When she saw Lara’s glance at the remains, she stroked her waist. “Epidermis is very fattening, and polyester gives the worst heartburn.

If you give a good idea to a mediocre team, they will screw it up. If you give a mediocre idea to a brilliant team, they will either fix it or throw it away and come up with something better. The takeaway here is worth repeating: Getting the team right is the necessary precursor to getting the ideas right.

If we think of ourselves as a corporation, it gives us a healthy distance on ourselves. We're less subjective. We don't take blows as personally. We're more cold-blooded; we can price our wares more realistically. Sometimes, as Joe Blow himself, I'm too mild-mannered to go out and sell. But as Joe Blow, Inc., I can pimp the hell out of myself. I'm not me anymore. I'm Me, Inc. I'm a pro.

The expectation of the Clinton campaign and the mainstream media was inconsistent with the prior trend, over fifty years, of African Americans giving 11 to 16 percent of their vote to Republican and Independent candidates in presidential elections. Among recent presidents, only Lyndon Johnson in 1964, Al Gore in 2000, and Barack Obama in 2008 and 2012 have received 90 percent or more of the black vote. Hillary Clinton received 88 percent of the African American vote. Stop the Steal, Inc. I

Candor isn’t cruel. It does not destroy. On the contrary, any successful feedback system is built on empathy, on the idea that we are all in this together, that we understand your pain because we’ve experienced it ourselves. The need to stroke one’s own ego, to get the credit we feel we deserve—we strive to check those impulses at the door. The Braintrust is fueled by the idea that every note we give is in the service of a common goal: supporting and helping each other as we try to make better movies.

The ‘60s were a very turbulent time for colored people. Being away at war was a chance for them to escape the racial bullshit for a while. It was a shame it came down to that kind of choice. Don’t get me wrong. There were plenty of guys, who tried to bring that racial crap over there with them. However, when the shit hits the fan, you don’t give a damn about who’s standing next to you, saving your ass. You certainly don’t care what color his skin is or what language he speaks. All that matters to you is that he is an American G.I. Government Issued, baby!

Trump doesn’t happen in a country where things are going well. People give in to their baser instincts when they lose faith in the future. The pessimism and anger necessary for this situation has been building for a generation, and not all on one side. A significant number of Trump voters voted for Obama eight years ago. A lot of those were in rust-belt states that proved critical to his election. What happened there? Trump also polled 2–1 among veterans, despite his own horrific record of deferments and his insulting of every vet from John McCain to Humayun Khan. Was it possible that his rhetoric about ending “our current policy of regime change” resonated with recently returned vets? The data said yes. It may not have been decisive, but it likely was one of many factors. It was also common sense, because this was one of his main themes on the campaign trail—Trump clearly smelled those veteran votes. The Trump phenomenon was also about a political and media taboo: class. When the liberal arts grads who mostly populate the media think about class, we tend to think in terms of the heroic worker, or whatever Marx-inspired cliché they taught us in college. Because of this, most pundits scoff at class, because when they look at Trump crowds, they don’t see Norma Rae or Matewan. Instead, they see Married with Children, a bunch of tacky mall-goers who gobble up crap movies and, incidentally, hate the noble political press. Our take on Trump voters was closer to Orwell than Marx: “In reality very little was known about the proles. It was not necessary to know much.” Beyond the utility that calling everything racism had for both party establishments, it was good for that other sector, the news media.

Isolationism is an instinctive and even understandable reaction to the ugliness of the modern interconnected world. For some politicians in democracies, it will continue to offer a successful path to power. The campaign for Brexit succeeded by using the metaphor "take back control," and no wonder: everyone wants more control in a world where events on the other side of the planet can affect jobs and prices in our local towns and villages. But did the removal of Britain from the European Union give the British more power to shape the world? Did it prevent foreign money from shaping U.K. politics? Did it stop refugees from moving from the war zones of the Middle East to Britain? It did not.

Rather than trying to prevent all errors, we should assume, as is almost always the case, that our people’s intentions are good and that they want to solve problems. Give them responsibility, let the mistakes happen, and let people fix them. If there is fear, there is a reason—our job is to find the reason and to remedy it. Management’s job is not to prevent risk but to build the ability to recover. CHAPTER 7 THE HUNGRY BEAST AND THE UGLY BABY During the late 1980s and early 1990s, as an ascendant Disney Animation was enjoying a remarkable string of hit films—The Little Mermaid, Beauty and the Beast, Aladdin, The Lion King—I began to hear a phrase being used again and again in the executive suites of its Burbank headquarters: “You’ve got to feed the

A process in the weather of the heart" A process in the weather of the heart Turns damp to dry; the golden shot Storms in the freezing tomb. A weather in the quarter of the veins Turns night to day; blood in their suns Lights up the living worm. A process in the eye forwarns The bones of blindness; and the womb Drives in a death as life leaks out. A darkness in the weather of the eye Is half its light; the fathomed sea Breaks on unangled land. The seed that makes a forest of the loin Forks half its fruit; and half drops down, Slow in a sleeping wind. A weather in the flesh and bone Is damp and dry; the quick and dead Move like two ghosts before the eye. A process in the weather of the world Turns ghost to ghost; each mothered child Sits in their double shade. A process blows the moon into the sun, Pulls down the shabby curtains of the skin; And the heart gives up its dead. Dylan Thomas, Collected Poems. (W W Norton & Co Inc June 1971)

Recently, an internationally renowned writer for children commented about the Council [on Interracial Books for Children, Inc.] to me: “Of course, we should all be more tender and understanding toward the aged and we should work to shrive ourselves of racism and sexism, but when you impose guidelines like theirs on writing, you’re strangling the imagination. And that means that you’re limiting the ability of children to imagine. If all books for them were ‘cleansed’ according to these criteria, it would be the equivalent of giving them nothing to eat but white bread.” “To write according to such guidelines,” this story teller continued, “is to take the life out of what you do. Also the complexity, the ambivalence. And thereby the young reader gets no real sense of the wonders and terrors and unpredictabilities of living. Paradoxically, censors like the council clamor for ‘truth’ but are actually working to flatten children’s reading experiences into the most misleading, simplistic kinds of untruth.” ("Any Writer Who Follows Anyone Else's Guidelines Ought to Be in Advertising" (1977), from Beyond Fact: Nonfiction for Children and Young People, 1982)

Pete has a few methods he uses to help manage people through the fears brought on by pre-production chaos. “Sometimes in meetings, I sense people seizing up, not wanting to even talk about changes,” he says. “So I try to trick them. I’ll say, ‘This would be a big change if we were really going to do it, but just as a thought exercise, what if …’ Or, ‘I’m not actually suggesting this, but go with me for a minute …’ If people anticipate the production pressures, they’ll close the door to new ideas—so you have to pretend you’re not actually going to do anything, we’re just talking, just playing around. Then if you hit upon some new idea that clearly works, people are excited about it and are happier to act on the change.” Another trick is to encourage people to play. “Some of the best ideas come out of joking around, which only comes when you (or the boss) give yourself permission to do it,” Pete says. “It can feel like a waste of time to watch YouTube videos or to tell stories of what happened last weekend, but it can actually be very productive in the long run. I’ve heard some people describe creativity as ‘unexpected connections between unrelated concepts or ideas.’ If that’s at all true, you have to be in a certain mindset to make those connections. So when I sense we’re getting nowhere, I just shut things down. We all go off to something else. Later, once the mood has shifted, I’ll attack the problem again.

You may not recognize the name Steven Schussler, CEO of Schussler Creative Inc., but you are probably familiar with his very popular theme restaurant Rainforest Café. Steve is one of the scrappiest people I know, with countless scrappy stories. He is open and honest about his wins and losses. This story about how he launched Rainforest Café is one of my favorites: Steve first envisioned a tropical-themed family restaurant back in the 1980s, but unfortunately, he couldn’t persuade anyone else to buy into the idea at the time. Not willing to give up easily, he decided to get scrappy and be “all in.” To sell his vision, he transformed his own split-level suburban home into a living, mist-enshrouded rain forest to convince potential investors that the concept was viable. Yes, you read that correctly—he converted his own house into a jungle dwelling complete with rock outcroppings, waterfalls, rivers, and layers of fog and mist that rose from the ground. The jungle included a life-size replica of an elephant near the front door, forty tropical birds in cages, and a live baby baboon named Charlie. Steve shared the following details: Every room, every closet, every hallway of my house was set up as a three-dimensional vignette: an attempt to present my idea of what a rain forest restaurant would look like in actual operation. . . . [I]t took me three years and almost $400,000 to get the house developed to the point where I felt comfortable showing it to potential investors. . . . [S]everal of my neighbors weren’t exactly thrilled to be living near a jungle habitat. . . . On one occasion, Steve received a visit from the Drug Enforcement Administration. They wanted to search the premises for drugs, presuming he may have had an illegal drug lab in his home because of his huge residential electric bill. I imagine they were astonished when they discovered the tropical rain forest filled with jungle creatures. Steve’s plan was beautiful, creative, fun, and scrappy, but the results weren’t coming as quickly as he would have liked. It took all of his resources, and he was running out of time and money to make something happen. (It’s important to note that your scrappy efforts may not generate results immediately.) I asked Steve if he ever thought about quitting, how tight was the money really, and if there was a time factor, and he said, “Yes to all three! Of course I thought about quitting. I was running out of money and time.” Ultimately, Steve’s plan succeeded. After many visits and more than two years later, gaming executive and venture capitalist Lyle Berman bought into the concept and raised the funds necessary to get the Rainforest Café up and running. The Rainforest Café chain became one of the most successful themed restaurants ever created, and continues that way under Landry’s Restaurants and Tilman Fertitta’s leadership. Today, Steve creates restaurant concepts in fantastic warehouses far from his residential neighborhood!

The Laundry List Characteristics of an Adult Child 1) We became isolated and afraid of people and authority figures. 2) We became approval seekers and lost our identity in the process. 3) We are frightened by angry people and any personal criticism. 4) We either become alcoholics, marry them or both, or find another compulsive personality such as a workaholic to fulfill our sick abandonment needs. 5) We live life from the viewpoint of victims, and we are attracted by that weakness in our love and friendship relationships. 6) We have an overdeveloped sense of responsibility, and it is easier for us to be concerned with others rather than ourselves; this enables us not to look too closely at our own faults, etc. 7) We get guilt feelings when we stand up for ourselves instead of giving in to others. 8) We became addicted to excitement. 9) We confuse love and pity and tend to “love” people we can “pity” and “rescue.” 10) We “stuffed” our feelings from our traumatic childhoods and have lost the ability to feel or express our feelings because it hurts so much (Denial). 11) We judge ourselves harshly and have a very low sense of self-esteem. 12) We are dependent personalities who are terrified of abandonment and will do anything to hold on to a relationship in order not to experience painful abandonment feelings, which we received from living with sick people who were never there emotionally for us. 13) Alcoholism is a family disease; we became para-alcoholics (codependents)† and took on the characteristics of that disease even though we did not pick up the drink. 14) Para-alcoholics (codependents) are reactors rather than actors.

The key to preventing this is balance. I see the give and take between different constituencies in a business as central to its success. So when I talk about taming the Beast, what I really mean is that keeping its needs balanced with the needs of other, more creative facets of your company will make you stronger. Let me give you an example of what I mean, drawn from the business I know best. In animation, we have many constituencies: story, art, budget, technology, finance, production, marketing, and consumer products. The people within each constituency have priorities that are important—and often opposing. The writer and director want to tell the most affecting story possible; the production designer wants the film to look beautiful; the technical directors want flawless effects; finance wants to keep the budgets within limits; marketing wants a hook that is easily sold to potential viewers; the consumer products people want appealing characters to turn into plush toys and to plaster on lunchboxes and T-shirts; the production managers try to keep everyone happy—and to keep the whole enterprise from spiraling out of control. And so on. Each group is focused on its own needs, which means that no one has a clear view of how their decisions impact other groups; each group is under pressure to perform well, which means achieving stated goals. Particularly in the early months of a project, these goals—which are subgoals, really, in the making of a film—are often easier to articulate and explain than the film itself. But if the director is able to get everything he or she wants, we will likely end up with a film that’s too long. If the marketing people get their way, we will only make a film that mimics those that have already been “proven” to succeed—in other words, familiar to viewers but in all likelihood a creative failure. Each group, then, is trying to do the right thing, but they’re pulling in different directions. If any one of those groups “wins,” we lose. In an unhealthy culture, each group believes that if their objectives trump the goals of the other groups, the company will be better off. In a healthy culture, all constituencies recognize the importance of balancing competing desires—they want to be heard, but they don’t have to win. Their interaction with one another—the push and pull that occurs naturally when talented people are given clear goals—yields the balance we seek. But that only happens if they understand that achieving balance is a central goal of the company.

was easy to give someone else advice, but much harder to know what to do yourself.

Another trick is to encourage people to play. “Some of the best ideas come out of joking around, which only comes when you (or the boss) give yourself permission to do it,” Pete says. “It can feel like a waste of time to watch YouTube videos or to tell stories of what happened last weekend, but it can actually be very productive in the long run. I’ve heard some people describe creativity as ‘unexpected connections between unrelated concepts or ideas.’ If that’s at all true, you have to be in a certain mindset to make those connections. So when I sense we’re getting nowhere, I just shut things down. We all go off to something else.

Talented storytellers had found a way to make viewers care, and the evolution of this storyline made it abundantly clear to me: If you give a good idea to a mediocre team, they will screw it up. If you give a mediocre idea to a brilliant team, they will either fix it or throw it away and come up with something better. The takeaway here is worth repeating: Getting the team right is the necessary precursor to getting the ideas right. It is easy to say you want talented people, and you do, but the way those people interact with one another is the real key. Even the smartest people can form an ineffective team if they are mismatched. That means it is better to focus on how a team is performing, not on the talents of the individuals within it. A good team is made up of people who complement each other. There is an important principle here that may seem obvious, yet—in my experience—is not obvious at all. Getting the right people and the right chemistry is more important than getting the right idea.

you give a good idea to a mediocre team, they will screw it up.

There’s a great Pixar video about telling stories. The video—“Pixar in a Box”—featured Pete Docter, director of the films Inside Out, Up, and Monsters, Inc. According to Docter, the power of story is that “it has an ability to connect with people on an emotional level.” He gives a bit of advice that I think is worth keeping in mind when you create a compelling story: Write what you know. Says Docter, even though you may be writing a story about explosions or monsters or car chases, “put something into it that talks about your own life—how you feel…. Something from your own life will make that story come alive.” Every good story has three elements: Characters. In a work situation, that might be you, your teammates, your customers or clients, and your boss. Who is in the story? Get your audience to feel an emotional investment in the characters. Plot. This could be, for example, the process of digitally transforming your business. A good plot keeps your audience engaged, wondering what’s coming up next. Story arc. This is the movement of the story from beginning to middle to end. You’ve got a problem and, through much trial and tribulation, you find a solution and become the hero of your team. Every story you tell—even if you’re writing about a technical problem, or starting your own business, or whatever it might be—needs to have these three elements. If you do this right, then people will care about your story. They don’t care about features, they care about the benefits of your idea—how what you’re pitching makes them better, smarter, more successful, happier, more fulfilled, more respected, and so on. They want to feel like a hero. And if you can make your audience feel like heroes, they will be engaged in your story and deeply connect with it on an emotional level.

in order to attract private actors to carry through their innovation projects and policies, various components of the NSS have to create, and periodically update, a whole system of incentives and organizational arrangements—ranging from the funding and design of technology development to intellectual property and procurement reforms. Over time, this motivating process draws the NSS further and further into promoting commercial technology from which both sectors can draw benefit. But throughout this process of give and take, the NSS continues to set the goals, make the rules (for example, by setting performance standards), and define the problem sets for industry and university researchers to tackle. The outcome is what I characterize as a system of governed interdependence—neither “statist” nor “free-market” in its approach to inducing transformative innovation.

although the security imperative and the NSS to which it gives rise provide the driving force behind transformative technology development, governed interdependence is the obverse of statism (or top-down direction of the economy); it conceptualizes the collaborative and negotiated character of public-private sector relations as NSS components seek to achieve their goals (an example being the increasing emphasis that defense programs place on developing products and services that serve both military and commercial markets). I emphasize that the governed interdependence concept applies to situations in which a government body works with or through private actors and entities to achieve its own objectives, but at the same time maintains control over the goals to be pursued and the rules of participation. This does not mean that outcomes will always yield the results desired or that there will not be spectacular failures.

Anti-Network Effects Hit the Google+ Launch A charismatic executive from one of the most powerful technology companies in the world introduces a new product at a conference. This time, it’s June 2011 at the Web 2.0 Summit, where Google vice president Vic Gundotra describes the future of social networking and launches Google+. This was Google’s ambitious strategy to counteract Facebook, which was nearing their IPO. To give their new networked product a leg up, as many companies do, it led with aggressive upsells from their core product. The Google.com homepage linked to Google+, and they also integrated it widely within YouTube, Photos, and the rest of the product ecosystem. This generated huge initial numbers—within months, the company announced it had signed up more than 90 million users. While this might superficially look like a large user base, it actually consisted of many weak networks that weren’t engaged, because most new users showed up and tried out the product as they read about it in the press, rather than hearing from their friends. The high churn in the product was covered up by the incredible fire hose of traffic that the rest of Google’s network generated. Even though it wasn’t working, the numbers kept going up. When unengaged users interact with a networked product that hasn’t yet gelled into a stable, atomic network, then they don’t end up pulling other users into the product. In a Wall Street Journal article by Amir Efrati, Google+ was described as a ghost town even while the executives touted large top-line numbers: To hear Google Inc. Chief Executive Larry Page tell it, Google+ has become a robust competitor in the social networking space, with 90 million users registering since its June launch. But those numbers mask what’s really going on at Google+. It turns out Google+ is a virtual ghost town compared with the site of rival Facebook Inc., which is preparing for a massive initial public offering. New data from research firm comScore Inc. shows that Google+ users are signing up—but then not doing much there. Visitors using personal computers spent an average of about three minutes a month on Google+ between September and January, versus six to seven hours on Facebook each month over the same period, according to comScore, which didn’t have data on mobile usage.86 The fate of Google+ was sealed in their go-to-market strategy. By launching big rather than focusing on small, atomic networks that could grow on their own, the teams fell victim to big vanity metrics. At its peak, Google+ claimed to have 300 million active users—by the top-line metrics, it was on its way to success. But network effects rely on the quality of the growth and not just its quantity

The real question isn’t why predatory lenders in the early 2000s lent money to a bunch of borrowers who had poor credit scores; it’s why bad predatory lenders had all that money to give out in the first place. Answer: bad government policy. That ought to be one of our key lessons from the 2008 financial crisis: socially driven economic policy risks creating asset bubbles.

The Earth will give birth to stars that humble the heavens, and we’ll have hospitals without sick people where today we have sick people without hospitals.

EARNINGS McDonald's Plans Marketing Push as Profit Slides By Julie Jargon | 436 words Associated Press The burger giant has been struggling to maintain relevance among younger consumers and fill orders quickly in kitchens that have grown overwhelmed with menu items. McDonald's Corp. plans a marketing push to emphasize its fresh-cooked breakfasts as it battles growing competition for the morning meal. Competition at breakfast has heated up recently as Yum Brands Inc.'s Taco Bell entered the business with its new Waffle Taco last month and other rivals have added or discounted breakfast items. McDonald's Chief Executive Don Thompson said it hasn't yet noticed an impact from Taco Bell's breakfast debut, but that the overall increased competition "forces us to focus even more on being aggressive in breakfast." Mr. Thompson's comments came after McDonald's on Tuesday reported that its profit for the first three months of 2014 dropped 5.2% from a year earlier, weaker than analysts' expectations. Comparable sales at U.S. restaurants open more than a year declined 1.7% for the quarter and 0.6% for March, the fifth straight month of declines in the company's biggest market. Global same-store sales rose 0.5% for both the quarter and month. Mr. Thompson acknowledged again that the company has lost relevance with some customers and needs to strengthen its menu offerings. He emphasized Tuesday that McDonald's is focused on stabilizing key markets, including the U.S., Germany, Australia and Japan. The CEO said McDonald's has dominated the fast-food breakfast business for 35 years, and "we don't plan on giving that up." The company plans in upcoming ads to inform customers that it cooks its breakfast, unlike some rivals. "We crack fresh eggs, grill sausage and bacon," Mr. Thompson said. "This is not a microwave deal." Beyond breakfast, McDonald's also plans to boost marketing of core menu items such as Big Macs and french fries, since those core products make up 40% of total sales. To serve customers more quickly, the chain is working to optimize staffing, and is adding new prep tables that let workers more efficiently add new toppings when guests want to customize orders. McDonald's also said it aims to sell more company-owned restaurants outside the U.S. to franchisees. Currently, 81% of its restaurants around the world are franchised. Collecting royalties from franchisees provides a stable source of income for a restaurant company and removes the cost of operating them. McDonald's reported a first-quarter profit of $1.2 billion, or $1.21 a share, down from $1.27 billion, or $1.26 a share, a year earlier. The company partly attributed the decline to the effect of income-tax benefits in the prior year. Total revenue for the quarter edged up 1.4% to $6.7 billion, though costs rose faster, at 2.3%. Analysts polled by Thomson Reuters forecast earnings of $1.24 a share on revenue of $6.72 billion.

In those first months, we also moved to bolster trust within the studio in another way: Just as we had refused to sign employment contracts, we now moved to eliminate contracts for everyone. At first, many people thought the move was an attempt to wrest power away from the employees and give them less security.

Give a good idea to a mediocre team, and they will screw it up. Give a mediocre idea to a great team, and they will either fix it or come up with something better. If you get the team right, chances are that they’ll get the ideas right. •

Candor isn’t cruel. It does not destroy. On the contrary, any successful feedback system is built on empathy, on the idea that we are all in this together, that we understand your pain because we’ve experienced it ourselves. The need to stroke one’s own ego, to get the credit we feel we deserve—we strive to check those impulses at the door. The Braintrust is fueled by the idea that every note we give is in the service of a common goal: supporting and helping each other as we try to make better movies. It

John often plays the role of inspirer-in-chief, and the people at Disney and Pixar alike rely on his energy and optimism. But this was no rah-rah call to action. Ambling to the front of the stage, John proceeded to deliver the most heartfelt and emotional speech I had ever heard him give. He started by talking about candor, and how we spend a lot of time at Pixar talking about its importance. But

Its no good Genesis. I can't give you what you seek." She explained. "We'd be living a lie. You'd have trapped a heart bound by the chains of duty, that would never truly be yours. Forgive me and forget me Genesis and as your heart heals, one day I promise you will smile again.

When it comes to women, I've found it's best to lead with confidence, follow with comedy, and close with red-hot sex. I could give you some pointers.

Now the Lord of peace himself give you peace always by all means. The Lord be with you all.

Neither give heed to fables and endless genealogies, which minister questions, rather than godly edifying which is in faith: so do.

The practical part that didn’t dare give him any more sexy ammunition to use against her already panting libido.

To my babies, Merry Christmas. I’m sorry if these letters have caught you both by surprise. There is just so much more I have to say. I know you thought I was done giving advice, but I couldn’t leave without reiterating a few things in writing. You may not relate to these things now, but someday you will. I wasn’t able to be around forever, but I hope that my words can be. —Don’t stop making basagna. Basagna is good. Wait until a day when there is no bad news, and bake a damn basagna. —Find a balance between head and heart. Hopefully you’ve found that, Lake, and you can help Kel sort it out when he gets to that point. —Push your boundaries, that’s what they’re there for. —I’m stealing this snippet from your favorite band, Lake. “Always remember there is nothing worth sharing like the love that let us share our name.” —Don’t take life too seriously. Punch it in the face when it needs a good hit. Laugh at it. —And laugh a lot. Never go a day without laughing at least once. —Never judge others. You both know good and well how unexpected events can change who a person is. Always keep that in mind. You never know what someone else is experiencing within their own life. —Question everything. Your love, your religion, your passions. If you don’t have questions, you’ll never find answers. —Be accepting. Of everything. People’s differences, their similarities, their choices, their personalities. Sometimes it takes a variety to make a good collection. The same goes for people. —Choose your battles, but don’t choose very many. —Keep an open mind; it’s the only way new things can get in. —And last but not least, not the tiniest bit least. Never regret. Thank you both for giving me the best years of my life. Especially the last one. Love, Mom acknowledgments To Abigail Ehn with Poetry Slam, Inc. for answering all of my questions with lightning speed.

Treasure Hunters Who Followed the Restalls When I started this book, I intended to tell the full Oak Island story, including those treasure hunters who came after the Restalls. But space will not allow it, so we will have to be satisfied with the briefest of highlights. • Robert Dunfield was the first treasure hunter after the accident. He had a causeway built connecting the mainland to Oak Island. It allowed mammoth equipment to be moved over to the island. Down at the Money Pit end of the island, no work was done to stop the sea water, but the huge machinery moved soil from this place to that in search of the treasure. The work gouged out part of the clearing so that the Money Pit, which had been 32 feet above sea level, was reduced to just 10 feet. His work drastically changed the terrain, giving free rein to the incoming sea water. It turned that end of the island into a huge heap of slippery mud. No treasure was found. • Dan Blankenship and David Tobias formed Triton Alliance Limited, the next treasure-hunting company. After drilling countless exploratory holes, they put down a mammoth caisson; Dan climbed down inside, but the caisson began to slowly collapse, threatening to crush the life out of him. He barely escaped. Before this near-fatal event, Triton had located and videotaped what many believe to be evidence of treasure within a huge cavern beneath the bedrock of the island. Their video also revealed what appears to be a human hand. • Oak Island Tours Inc., the final treasure-hunting company, is still at work on Oak Island. In fact, they have only just begun. This company includes a pervious Oak Island treasure hunter, Dan Blankenship, and four newcomers from Michigan--Craig Tester, Marty Lagina, Rick Lagina, and Alan J. Kostrzewa. It is reported that they possess adequate financing to see the job through to a successful end. I’ve exchanged emails with one of these men from Michigan and met face-to-face with another, and I’m convinced that they respect the island and the searchers who went before them and that they will give their search for treasure their very best effort. I wish them every success.

The story has been told and retold about how, as a young filmmaker, in the wake of American Graffiti’s success, he was advised to demand a higher salary on his next movie, Star Wars. That would be the expected move in Hollywood: Bump up your quote. Not for George, though. He skipped the raise altogether and asked instead to retain ownership of licensing and merchandising rights to Star Wars. The studio that was distributing the film, 20th Century Fox, readily agreed to his request, thinking it was not giving up much. George would prove them wrong, setting the stage for major changes in the industry he loved. He bet on himself—and won.

Braintrust meetings require giving candid notes, but they do a great deal more than that. The most productive creative sessions allow for the exploration of myriad trains of thought.

They had to offer feedback when needed but also had to be willing to stand back and give us room.

Once, I was having lunch with the president of another movie studio, who told me that his biggest problem was not finding good people; it was finding good ideas. I remember being stunned when he said that—it seemed patently false to me, in part because I’d found the exact opposite to be true on Toy Story 2. I resolved to test whether what seemed a given to me was, in fact, a common belief. So for the next couple of years I made a habit, when giving talks, of posing the question to my audience: Which is more valuable, good ideas or good people? No matter whether I was talking to retired business executives or students, to high school principals or artists, when I asked for a show of hands, the audiences would be split 50-50. (Statisticians will tell you that when you get a perfect split like this, it doesn’t mean that half know the right answer—it means that they are all guessing, picking at random, as if flipping a coin.) People think so little about this that, in all these years, only one person in an audience has ever pointed out the false dichotomy. To me, the answer should be obvious: Ideas come from people.

His answers to our prayers may be delayed. They may not be the answers we want. But we must never give up on His goodness. We can trust His heart and know that in the bigger picture, His plans for us are always, always good. Dear Father, thank You for listening and acting on my behalf. I trust You, even when I don’t understand. Amen.

Trials and Wisdom Consider it pure joy, my brothers and sisters, whenever you face trials of many kinds, because you know that the testing of your faith produces perseverance. Let perseverance finish its work so that you may be mature and complete, not lacking anything. If any of you lacks wisdom, you should ask God, who gives generously to all without finding fault, and it will be given to you. JAMES 1:2–5 NIV

Reach out to God and let your spirit soar. Give your concerns to Him and let Him work out the details. Rest in Him and He’ll carry you above it all, every step of the way.

Your employees are smart; that’s why you hired them. So treat them that way. They know when you deliver a message that has been heavily massaged. When managers explain what their plan is without giving the reasons for it, people wonder what the “real” agenda is. There may be no hidden agenda, but you’ve succeeded in implying that there is one. Discussing the thought processes behind solutions aims the focus on the solutions, not on second-guessing. When we are honest, people know it.

People who would feel obligated to be honest somehow feel freer when asked for their candor; they have a choice about whether to give it, and thus, when they do give it, it tends to be genuine.

The leaders of my department understood that to create a fertile laboratory, they had to assemble different kinds of thinkers and then encourage their autonomy. They had to offer feedback when needed but also had to be willing to stand back and give us room.

Step By Step Guide To Finding A Good Roofing Contractor The local roofing repair contractor you choose should always have a great reputation in the community and a track record of exceptional customer service. When you can't be on site, you need to know that your service provider is doing an excellent job. You also need to be sure that old-fashioned craftsmanship and quality materials are part of the roofing repair contractor's vision for his work. The following are methods to make sure that you hire the right roofing repair contractor. A reliable roofing repair contractor will make an effort to bring you the highest quality results. Well-regarded roofing repair contractors preserve their good reputations by always keeping their promises. Give your roofing repair contractor an appropriate timeline and do not interrupt his work unnecessarily. Discover how the contractual worker arrangements to handle any obligation issues. Once you start seeing bids, do not make the mistake of assuming that a low bid will lead to a similarly low work performance. Check the cost of the needed materials and compare them to the pricing of the low bid. In addition, it's important to think about all the labor costs. Construct a legal contract only when you have determined the price is within reason. Often when you are searching for a local roofing repair contractor with a great reputation and who will provide the very best work, this is usually one of the busier people in his field. If your local roofing repair contractor has a reputation for doing a great job, be prepared to wait to engage his services. There is a downside to roofing repair contractors who are in high demand as they might not be able to focus entirely on your project. The most vital thing in finding a local roofing repair contractor is to trust your instincts. Every time a roofing expert comes to you with a legal contract that requires your signature, read the legal agreement to really ensure all of your requests are present in the legal agreement and the roofing expert recognizes them. If you're taking the time to ensure the legal agreement has everything you and your service provider had agreed on and is put in clear terms, it'll save you much stress and money down the road. Ensure you have posed all questions and concerns to your service provider prior to signing an agreement. If there are any terms or conditions you do not understand, give the legal agreement to a lawyer for clarification. Roofing contractors with excellent reputations consider it good business practice to provide each client with a written quote before starting work on any job. If the info is needed, pronto, your roofing repair contractor might be willing to provide you with a quote over the phone. Inspect the schedule and qualifications of the roofing repair contractor to effectively ensure that the project will be finished exactly how and when you would like it and within your financial requirements. Make sure to ask any questions and address all concerns to your satisfaction before you employee a roofing repair contractor

The first of these technologies, flannel (yes it’s a lowercase f), was created by the people at CoreOS Inc. It is a virtual network that gives a subnet to each host for use with container runtimes

When filmmakers, industrial designers, software designers, or people in any other creative profession merely cut up and reassemble what has come before, it gives the illusion of creativity, but it is craft without art. Craft is what we are expected to know; art is the unexpected use of our craft.

Most organizations give lip service to “Fail fast.

Each of these patients counts on us to help them to the best of our abilities. We have an obligation to them. We shouldn’t turn our backs on them and give up. It’s not fair to them, nor is it fair to ourselves.

Advice and love are the only things I can give you for free.

Feel da power swallow you whole. Let go an’ lose yo’self in it.

WHILE I THINK the reasons for postmortems are compelling, I know that most people still resist them. So I want to share some techniques that can help managers get the most out of them. First of all, vary the way you conduct them. By definition, postmortems are supposed to be about lessons learned, so if you repeat the same format, you tend to uncover the same lessons, which isn’t much help to anyone. Even if you come up with a format that works well in one instance, people will know what to expect the next time, and they will game the process. I’ve noticed what might be called a “law of subverting successful approaches,” by which I mean once you’ve hit on something that works, don’t expect it to work again, because attendees will know how to manipulate it the second time around. So try “mid-mortems” or narrow the focus of your postmortem to special topics. At Pixar, we have had groups give courses to others on their approaches. We have occasionally formed task forces to address problems that span several films. Our first task force dramatically altered the way we thought about scheduling. The second one was an utter fiasco. The third one led to a profound change at Pixar, which I’ll discuss in the final chapter.

Perhaps this woman was not giving him any physical attention yet and he wanted to live out his fantasies, vicariously in an alternative holographic state.

There’s a difference between criticism and constructive criticism. With the latter, you’re constructing at the same time that you’re criticizing. You’re building as you’re breaking down, making new pieces to work with out of the stuff you’ve just ripped apart. That’s an art form in itself. I always feel like whatever notes you’re giving should inspire the recipient—like, ‘How do I get that kid to want to redo his homework?’ So, you’ve got to act like a teacher. Sometimes you talk about the problems in fifty different ways until you find that one sentence that you can see makes their eyes pop, as if they’re thinking, ‘Oh, I want to do it.

If you give a good idea to a mediocre team, they will screw it up. If you give a mediocre idea to a brilliant team, they will either fix it or throw it away and come up with something better. The takeaway here is worth repeating: Getting the team right is the necessary precursor to getting the ideas right. It is easy to say you want talented people, and you do, but the way those people interact with one another is the real key. Even the smartest people can form an ineffective team if they are mismatched. That means it is better to focus on how a team is performing, not on the talents of the individuals within it. A good team is made up of people who complement each other. There is an important principle here that may seem obvious, yet—in my experience—is not obvious at all. Getting the right people and the right chemistry is more important than getting the right idea.

A hallmark of a healthy creative culture is that its people feel free to share ideas, opinions, and criticisms. Lack of candor, if unchecked, ultimately leads to dysfunctional environments. So how can a manager ensure that his or her working group, department, or company is embracing candor? I look for ways to institutionalize it by putting mechanisms in place that explicitly say it is valuable. In this chapter, we will look into the workings of one of Pixar’s key mechanisms: the Braintrust, which we rely upon to push us toward excellence and to root out mediocrity. The Braintrust, which meets every few months or so to assess each movie we’re making, is our primary delivery system for straight talk. Its premise is simple: Put smart, passionate people in a room together, charge them with identifying and solving problems, and encourage them to be candid with one another. People who would feel obligated to be honest somehow feel freer when asked for their candor; they have a choice about whether to give it, and thus, when they do give it, it tends to be genuine.

Did you really think giving yourself up to me would save her?” Miles gave a wide, slow smile that showed the glint of his fangs, his eyes never leaving Reegan’s face even as Kelsey moved into his line of sight. “Not at all. I merely thought it would give her time to save herself, you deluded piece of shit.

When looking to hire people, give their potential to grow more weight than their current skill level. What they will be capable of tomorrow is more important than what they can do today.

Pete has a few methods he uses to help manage people through the fears brought on by pre-production chaos. “Sometimes in meetings, I sense people seizing up, not wanting to even talk about changes,” he says. “So I try to trick them. I’ll say, ‘This would be a big change if we were really going to do it, but just as a thought exercise, what if …’ Or, ‘I’m not actually suggesting this, but go with me for a minute …’ If people anticipate the production pressures, they’ll close the door to new ideas—so you have to pretend you’re not actually going to do anything, we’re just talking, just playing around. Then if you hit upon some new idea that clearly works, people are excited about it and are happier to act on the change.” Another trick is to encourage people to play. “Some of the best ideas come out of joking around, which only comes when you (or the boss) give yourself permission to do it,” Pete says. “It can feel like a waste of time to watch YouTube videos or to tell stories of what happened last weekend, but it can actually be very productive in the long run. I’ve heard some people describe creativity as ‘unexpected connections between unrelated concepts or ideas.’ If that’s at all true, you have to be in a certain mindset to make those connections. So when I sense we’re getting nowhere, I just shut things down. We all go off to something else. Later, once the mood has shifted, I’ll attack the problem again.” This idea—that change is our friend because only from struggle does clarity emerge—makes many people uncomfortable, and I understand why. Whether you’re coming up with a fashion line or an ad campaign or a car design, the creative process is an expensive undertaking, and blind alleys and unforeseen snafus inevitably drive up your costs. The stakes are so high, and the crises that pop up can be so unpredictable, that we try to exert control. The potential cost of failure appears far more damaging than that of micromanaging. But if we shun such necessary investment—tightening up controls because we fear the risk of being exposed for having made a bad bet—we become the kind of rigid thinkers and managers who impede creativity.

So what if we oversimplify in order to get through our days? So what if we hold tight to familiar ideas that give us the answers we crave? What does it matter? In my view, it matters a lot. In creative endeavors, we must face the unknown. But if we do so with blinders on—if we shut out reality in the interest of keeping things simple—we will not excel. The mechanisms that keep us safe from unknown threats have been hardwired into us since before our ancestors were fighting off saber-toothed tigers with sticks. But when it comes to creativity, the unknown is not our enemy. If we make room for it instead of shunning it, the unknown can bring inspiration and originality.

In 1995, when Steve Jobs was trying to convince us that we should go public, one of his key arguments was that we would eventually make a film that failed at the box office, and we needed to be prepared, financially, for that day. Going public would give us the capital to fund our own projects and, thus, to have more say about where we were headed, but it would also give us a buffer that could sustain us through failure. Steve’s feeling was that Pixar’s survival could not depend solely on the performance of each and every movie. The underlying logic of his reasoning shook me: We were going to screw up, it was inevitable. And we didn’t know when or how. We had to prepare, then, for an unknown problem—a hidden problem. From that day on, I resolved to bring as many hidden problems as possible to light, a process that would require what might seem like an uncommon commitment to self-assessment.

When faced with complexity, it is reassuring to tell ourselves that we can uncover and understand every facet of every problem if we just try hard enough. But that’s a fallacy. The better approach, I believe, is to accept that we can’t understand every facet of a complex environment and to focus, instead, on techniques to deal with combining different viewpoints. If we start with the attitude that different viewpoints are additive rather than competitive, we become more effective because our ideas or decisions are honed and tempered by that discourse. In a healthy, creative culture, the people in the trenches feel free to speak up and bring to light differing views that can help give us clarity.

pulling focus away from a particular problem (and, instead, looking at the environment around it) can lead to better solutions. When we give notes on Pixar movies and isolate a scene, say, that isn’t working, we have learned that fixing that scene usually requires making changes somewhere else in the film, and that is where our attention should go. Our filmmakers have become skilled at not getting caught up in a problem but instead looking elsewhere in the story for solutions.

Given that we all agree, in principle, that postmortems are good for us, I’m always struck by how much people dread them. Most feel that they’ve learned what they could during the execution of the project, so they’d just as soon move on. Problems that arose are frequently personal, so most are eager to avoid revisiting them. Who looks forward to a forum for being second-guessed? People, in general, would rather talk about what went right than what went wrong, using the occasion to give additional kudos to their most deserving team members. Left to our own devices, we avoid unpleasantness. It isn’t just postmortems, though: In general, people are resistant to self-assessment. Companies are bad at it, too. Looking inward, to them, often boils down to this: “We are successful, so what we are doing must be correct.” Or the converse: “We failed, so what we did was wrong.” This is shallow. Do not be cowed into missing this opportunity.

WHILE I THINK the reasons for postmortems are compelling, I know that most people still resist them. So I want to share some techniques that can help managers get the most out of them. First of all, vary the way you conduct them. By definition, postmortems are supposed to be about lessons learned, so if you repeat the same format, you tend to uncover the same lessons, which isn’t much help to anyone. Even if you come up with a format that works well in one instance, people will know what to expect the next time, and they will game the process. I’ve noticed what might be called a “law of subverting successful approaches,” by which I mean once you’ve hit on something that works, don’t expect it to work again, because attendees will know how to manipulate it the second time around. So try “mid-mortems” or narrow the focus of your postmortem to special topics. At Pixar, we have had groups give courses to others on their approaches. We have occasionally formed task forces to address problems that span several films. Our first task force dramatically altered the way we thought about scheduling. The second one was an utter fiasco. The third one led to a profound change at Pixar, which I’ll discuss in the final chapter. Next, remain aware that, no matter how much you urge them otherwise, your people will be afraid to be critical in such an overt manner. One technique I’ve used to soften the process is to ask everyone in the room to make two lists: the top five things that they would do again and the top five things that they wouldn’t do again. People find it easier to be candid if they balance the negative with the positive, and a good facilitator can make it easier for that balance to be struck. Finally, make use of data. Because we’re a creative organization, people tend to assume that much of what we do can’t be measured or analyzed. That’s wrong. Many of our processes involve activities and deliverables that can be quantified. We keep track of the rates at which things happen, how often something has to be reworked, how long something actually took versus how long we estimated it would take, whether a piece of work was completely finished or not when it was sent to another department, and so on. I like data because it is neutral—there are no value judgments, only facts. That allows people to discuss the issues raised by data less emotionally than they might an anecdotal experience.

We knew that the prospect of our little studio being absorbed into a much larger entity would worry many people. While we’d worked hard to put safeguards in place that would ensure our independence, we still expected our employees to be fearful that the merger would negatively impact our culture. I’ll say more about the specific steps we took to protect Pixar in a later chapter, but here I want to discuss what happened when, in my eagerness to ease my colleagues’ fears, I stood up and assured them that Pixar would not change. It was one of the dumbest things I’ve ever said. For the next year or so, whenever we wanted to try something new or rethink an established way of working, a steady stream of alarmed and upset people would show up at my office. “You promised the merger wouldn’t affect the way we work,” they’d say. “You said that Pixar would never change.” This happened enough that I called another company-wide meeting to explain myself. “What I meant,” I said, “was that we aren’t going to change because we were acquired by a larger company. We will still go through the kinds of changes that we would have gone through anyway. Furthermore, we are always changing, because change is a good thing.” I was glad I’d cleared that up. Except that I hadn’t. In the end, I had to give the “Of course we will continue to change” speech three times before it finally sunk in. What was interesting to me was that the changes that sparked so much concern had nothing to do with the merger. These were the normal adjustments that have to be made when a business expands and evolves. It’s folly to think you can avoid change, no matter how much you might want to. But also, to my mind, you shouldn’t want to. There is no growth or success without change.

The better approach, I believe, is to accept that we can’t understand every facet of a complex environment and to focus, instead, on techniques to deal with combining different viewpoints. If we start with the attitude that different viewpoints are additive rather than competitive, we become more effective because our ideas or decisions are honed and tempered by that discourse. In a healthy, creative culture, the people in the trenches feel free to speak up and bring to light differing views that can help give us clarity.

There are two parts to any failure: There is the event itself, with all its attendant disappointment, confusion, and shame, and then there is our reaction to it. It is this second part that we control. Do we become introspective, or do we bury our heads in the sand? Do we make it safe for others to acknowledge and learn from problems, or do we shut down discussion by looking for people to blame? We must remember that failure gives us chances to grow, and we ignore those chances at our own peril.

Caring for children is an extremely valuable skill that is scarce these days. It may be the most significant gift you could choose to spend your life giving.

Then the heavy lifting began. For the next six months, our employees rarely saw their families. We worked deep into the night, seven days a week. Despite two hit movies, we were conscious of the need to prove ourselves, and everyone gave everything they had. With several months still to go, the staff was exhausted and starting to fray. One morning in June, an overtired artist drove to work with his infant child strapped into the backseat, intending to deliver the baby to day care on the way. Some time later, after he’d been at work for a few hours, his wife (also a Pixar employee) happened to ask him how drop-off had gone—which is when he realized that he’d left their child in the car in the broiling Pixar parking lot. They rushed out to find the baby unconscious and poured cold water over him immediately. Thankfully, the child was okay, but the trauma of this moment—the what-could-have-been—was imprinted deeply on my brain. Asking this much of our people, even when they wanted to give it, was not acceptable. I had expected the road to be rough, but I had to admit that we were coming apart. By the time the film was complete, a full third of the staff would have some kind of repetitive stress injury. In the end, we would meet our deadline—and release our third hit film. Critics raved that Toy Story 2 was one of the only sequels ever to outshine the original, and the total box office would eventually top $500 million. Everyone was fried to the core, yet there was also a feeling that despite all the pain, we had pulled off something important, something that would define Pixar for years to come. As Lee Unkrich says, “We had done the impossible. We had done the thing that everyone told us we couldn’t do. And we had done it spectacularly well. It was the fuel that has continued to burn in all of us.” T

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Rather than trying to prevent all errors, we should assume, as is almost always the case, that our people’s intentions are good and that they want to solve problems. Give them responsibility, let the mistakes happen, and let people fix them. If