Strategic Thinking Beyond the Business Plan

“When smart people came up with ideas for well-conceived business opportunities, we said go for it. As always, organizational charts, management consultants, and business plans played virtually no role in any of this. My own strategic thinking I did mostly while showering or shaving.”

—Alan C. Greenberg, former Chairman and CEO of Bear Stearns

The full essay is at "Strategic Thinking Beyond Plans."

Disney Re-Making Stories: The End of Creativity in Film?

Politicians running for re-election may “remake themselves.” Companies “reinvent themselves.” If the company happens to make films, are the stories necessarily reinvented—essentially being retold—too? If this becomes the norm, is the implication that storytellers have exhausted the story plotlines that the human mind can conceive? Perhaps retelling old stories is simply laziness and corporate expediency at the expense of substance.

The full essay is at “Disney”

Robin Williams: Comedic Creativity and Dramatic Depth from Severe Depression?

Can creativity and emotional depth and sensitivity in writing and acting emanate out of severe depression? If so, have many of the best writers and actors been plagued by the disease? How might this silver lining be explained? The implications may be odd. Would a cure for the disease result in less creative and intense performance art? 

See "Comedic Creativity and Dramatic Depth"

Hollywood on Risk: Snubbing Lucus’s “Red Tails”

When George Lucus showed Red Tails to executives from all the Hollywood studios, every one of the execs said no. One studio’s executives did not even show up for the screening. “Isn’t this their job?” Lucas said, astonished. “Isn’t their job at least to see movies? It’s not like some Sundance kid coming in there and saying, ‘I’ve got this little movie — would you see it?’ If Steven (Spielberg) or I or Jim Cameron or Bob Zemeckis comes in there, and they say, ‘We don’t even want to bother to see it.”[1] According to one newpaper, the snub implied that “Lucas’s pop-culture collateral — six ‘Star Wars’ movies, four ‘Indiana Jones’ movies, the effects shop Industrial Light and Magic and toy licenses that were selling (at least) four different light sabers . . .  — was basically worthless.”[2] As a result, Lucas paid for everything, including the prints, to enable the film’s opening. What can explain this bizarre snub?

The full essay is at "Hollywood on Risk." 

1. Byran Curtis, “George Lucus Is Ready to Roll the Credits,” The New York Times, January 17, 2012. 
2. Ibid.

Organizational Bureaucracy at Odds with Creativity in Film

Art through corporate bureaucracy can be likened to oil and water. The rise of the studio system to produce film as an art form thus evinces a necessary evil. To be sure, organization is necessary to literally organize the various facets involved in the production of a film. However, needless managerial levels have gone beyond what is needed for coordination, particularly in television, and have stifled good narrative in the process.

The full essay is at "Organizational Bureaucracy and Film."