Leading the Rebellion: Turning Visionary Ideas into Reality

Slide 1: LEADING Lesson Two: THE REBELLION LORUMP. Anderson by Stephen IPSUM

Slide 2: How do Visionary Ideas become a reality? (especially in the context of a large organization)

Slide 3: IDEA

Slide 4: IDEA REALITY

Slide 5: What are the obstacles? IDEA ? How do you move past those obstacles? REALITY

Slide 6: What are the obstacles? IDEA Attn to Detail Budget Suppliers / Par tners ROobstacles? $$$ ? I, P&L Deadlines C you How do ustomer move past Needsthose REALITY Resources Team Quality Building Control

Slide 7: Precedence Process Legal Issues What s Procedure Politicare the F.U.D. obstacles? ? Promotion Position Technology Power IDEA REALITY Suppliers / Deadlines Par tners Attn to How do ustomer Detail C you move past Needsthose Resources I, P&L ROobstacles? Budget $$$ Team Quality Building Control

Slide 9: “... in all too many companies, the entrepreneurial spark is more likely to be doused by a flood of corporate orthodoxy than fanned by resources and the support of senior executives.”

Slide 10: People Customer experiences Creating value BEING competitive OUR WORK OUR Work environment BEING productive making things better WE CARE. the business

Slide 11: People Customer experiences Creating value BEING competitive OUR WORK OUR Work environment BEING productive making things better WE CARE. the business

Slide 12: WE CARE.

Slide 13: WE CARE. + ORTHODOXY =

Slide 14: WE CARE. + ORTHODOXY = !!#?@!!

Slide 15: “Revolutionaries are subversive, but their goal is not subversion.”

Slide 16: Leading a Rebellion.

Slide 17: Overcoming organizational inertia Managing toward a vision The secrets of innovation, and how to apply them to your work Leading a Rebellion. Building a creative team Bringing emotional resonance to the experiences you deliver Embedding design practices throughout your company

Slide 22: Thirty five years ago in a city not too far away....

Slide 24: prior to 1973 “an epic space fantasy...”

Slide 25: e ! e ! r e f z r i p t 2 movies did G eorge Lucas Wha make b efore Star Wars?

Slide 27: X

Slide 28: original short won first prize at the 1967-68 National Student Film Festival full feature film well received by critics When Warner Brothers executives saw the finished product, they demanded Coppola return the $300,000 the studio had advanced for THX 1138 and other projects... failure at the box office

Slide 29: Coppola challenged Lucas: ‘I bet you can’t do just a silly comedy’ “Graﬃti would be cheap, it was quick, and I thought it was really commercial” - George Lucas

Slide 30: !

Slide 31: 3rd highest grossing film for that year Nominated for five Academy Awards Won a Golden Globe

Slide 32: 70’s THE

Slide 33: 70’s THE IN HOLLYWOOD: Sci-Fi films were a money pit Special effects houses were being shut down

Slide 34: “ After Graffiti became a big hit, they couldn’t refuse it... They couldn’t not do it. Just in terms of politics and the political intrigue of Hollywood. That’s what it came down to in the end. George Lucas

Slide 35: Lesson I: Lesson Two: GAIN CREDIBILITY WITH A LORUM IPSUM ‘COMMERCIAL’ PROJECT

Slide 36: Lesson Two: Lesson II: FIND A PATRON LORUM IPSUM

Slide 37: ‘Patron’ could be... an outside investor an outside advisor someone high up in the organization

Slide 38: SOMEONE... ld from the business worcounsel providing financial support or business WHO is influential can defend your efforts against criticism trusts and supports you won’t interfere with the project

Slide 39: “ Alan Ladd, Jr invested in me. He did not invest in the movie. And it paid off. George Lucas

Slide 40: “ We had a meeting, and George said well I’ve been thinking about this thing called Star Wars... The technology part of the whole thing was completely over my head. But, I just believed in him, his genius. Alan Ladd, Jr., VP of Creative Affairs at Fox in 1975

Slide 41: o f Dreams’ om ‘Empire Vi deo clips fr as a ‘patron’ ) d Jr.’s role ad (focusing on Alan L

Slide 42: 1973-1975 writing the story...

Slide 43: e ! e ! r e f z r i p Name a speci fic film by Akira avily influenced K urosawa that he the plot o f Star Wars...

Slide 44: “ Originally, the film was a good concept in search of a story. And then I thought of Hidden Fortress, which I’d seen again in 1972 or ’73, and so the first plots were very much like it. George Lucas

Slide 47: Mythic Patterns?

Slide 48: Mythic Patterns? orphaned son life of drudgery and exile

Slide 49: Mythic Patterns? orphaned son life of drudgery and exile called to adventure by a herald

Slide 50: Mythic Patterns? orphaned son life of drudgery and exile called to adventure by a herald encounters a protective figure who supplies the amulets and advice

Slide 51: Mythic Patterns? orphaned son life of drudgery and exile called to adventure by a herald encounters a protective figure who supplies the amulets and advice enters the adult world

Slide 52: Different eras. Different heroes. Same mythic qualities.

Slide 53: “ Last year's action movie is last year's action movie. Most of them are forgotten. Something mythical like Star Wars endures... The stories speak to something inside us that wants to know how our world lives, that wants to make order of it and find some meaning.” Shanti Fader, editor of Parabola magazine, a publication of the Society for the Study of Myth and Tradition.

Slide 54: Lesson Two: Lesson III: TAP INTOLORUM IPSUM UNIVERSAL PATTERNS

Slide 55: What universal patterns can we tap into?

Slide 56: What universal patterns can we tap into? To create a better story, Lucas looked to anthropology.

Slide 57: What universal patterns can we tap into? To create a better story, Lucas looked to anthropology. To create a better product, We can look to ____________.

Slide 59: To become a better designer, become a better student of human interactions... Focus less on the end design, and more on the effects and results of the design. Tap into universal human patterns.

Slide 60: 1974 pitching the story...

Slide 61: “ It wasn’t until George acted it out or told you what a Wookie was, and what it was going to look like, that it started to make sense. Because it was really a universe that nobody could understand from the scripts. Willard Huyck (c. 1975)

Slide 63: “ I think they were done as a substitute for arm waving and verbal descriptions, and to start budget talks. Ralph McQuarrie

Slide 64: Lesson IV: MAKE THE INVISIBLE, VISIBLE

Slide 65: Prototypes get people excited. And they clarify.

Slide 66: http://www.ﬂickr.com/photos/quadmod/523335664/

Slide 67: “ The tools traditionally used to communicate strategy— spreadsheets and powerpoint decks— are woefully inadequate for the task...” -Tim Brown, IDEO

Slide 68: “ ...because it’s pictorial, Design describes the world in a way that is not open to many interpretations. Designers, by making a film, scenario, or prototype, can help people emotionally experience the thing that the strategy seeks to describe.” -Tim Brown, IDEO

Slide 70: 1975-1977 Is this possible?

Slide 71: “ Don’t worry about how we’re going to do it, we just want to see an impression of what these scenes are going to look like on the screen... George Lucas, speaking to Ralph McQuarrie about concept paintings for Star Wars

Slide 72: Lesson V: Lesson Two: LET THE VISION DRIVE THE LORUM IPSUM TECHNOLOGY

Slide 73: Three letters: ILM

Slide 74: “ We took the concept of motion control... and we made it production savvy, by tying it into a computer, which at that point was custom built microprocessors. There were no PCs... We built them from scratch. John Dykstra

Slide 75: Focus on people and interactions. Not interfaces.

Slide 76: Design first. Build later.

Slide 77: “How do people think? Technology should map to that. —Rashmi Sinha

Slide 78: How applications are traditionally designed: User Interface Logic Data (Visual explanation from Adaptive Path)

Slide 79: How applications are traditionally designed: User Interface Logic Data (Visual explanation from Adaptive Path)

Slide 80: How customers view an application User Interface Magic! (Visual explanation from Adaptive Path)

Slide 81: How modern applications are designed: User Interface Logic Data (Visual explanation from Adaptive Path)

Slide 82: How modern applications are designed: User Interface Logic Data (Visual explanation from Adaptive Path)

Slide 83: 1976-1977 Perseverance.

Slide 84: Lesson VI: BE PASSIONATE, BE PREPARED TO GO AT IT ALONE, AND EXPECT THINGS TO GO WRONG

Slide 86: Few people believed in the script

Slide 87: Few people believed in the script 2nd day of shooting, the Sahara had the first major rainfall in 50 years!

Slide 88: Few people believed in the script 2nd day of shooting, the Sahara had the first major rainfall in 50 years! ILM ran behind schedule

Slide 89: “ ...they [ILM] had pretty much spent half their budget and only produced 4 shots, none of which I would accept. George Lucas

Slide 90: Few people believed in the script 2nd day of shooting, the Sahara had the first major rainfall in 50 years! ILM ran behind schedule Many technical problems with robots

Slide 91: Few people believed in the script 2nd day of shooting, the Sahara had the first major rainfall in 50 years! ILM ran behind schedule Many technical problems with robots Lucas had to go to the hospital at one point

Slide 92: Few people believed in the script 2nd day of shooting, the Sahara had the first major rainfall in 50 years! ILM ran behind schedule Many technical problems with robots Lucas had to go to the hospital at one point Film came close to being shelved

Slide 93: o f Dreams’ om ‘Empire Vi deo clips fr cas was und er) George Lu (showing the pressure

Slide 94: “ It is amazing what you can do when you have a vision, when you have an ambition, and when you can bend other people’s will to your desire. And the thing that kept it focused towards the ambitions was George’s vision and his passion for the ideas. Harisson Ford

Slide 96: Thanks! SOURCES: Stephen P. Anderson www.poetpainter.com www.slideshare.net/stephenpa

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