Formation of a creative team. Creation of a creative team

Ministry of Education and Science of the Russian Federation

State Educational Institution of Higher Professional Education "Khakass State University named after V.I. N.F. Katanov"

Institute of Arts

College of Music

Socio-cultural activities and folk art

SD. 03. Methodology of working with a creative team

Electronic educational and methodical complex by discipline

Lecture notes

(as a manuscript)

Creative team. Principles of organizing a creative team.

The amateur art team can be defined as an organized form of pedagogical, artistic, technological and performing activities that implements a set of norms and values ​​in accordance with the functions and positions of the joint activity of the leader and participants, ensuring the successful fulfillment of their tasks.

Pedagogical activity includes training, education and upbringing of the participants. If the training is focused on ensuring that the participants master the theoretical knowledge and practical skills of working with works of art and their performance, then education is aimed at expanding their horizons in the field of culture and art, public life in general, and education is aimed at the formation of moral, aesthetic, artistic and the physical qualities of the participants. The concept of artistic technologies includes the goals of the task of working on works of art, artistic means and actions to transform this material into a stage work. As well as forms of organization, management and management of this activity. Performing activities are varied. It includes performances, concerts, holidays. Festivals, performances at various cultural and leisure events (holiday evenings, theme evenings, musical lounges, lecture halls, etc.)

Amateur collectives do not arise as a result of strong-willed decisions, administrative orders. The task of the organizers of folk art is to consciously, skillfully form and develop a system of amateur creative formations, taking into account objective and subjective factors.

Principles are the norms for the implementation of any process, the main starting points, in our case, the organization of a creative team.

The most important starting point for the formation of a team is to take into account current and future social needs. Before organizing a team, the organizer must carefully study the real needs of people of all social categories and ages. To evaluate and select them in terms of the goals and objectives of the leisure institution.

Equally important is the consideration of material opportunities for creating a new creative team. A weak material base or the absence of a professional leader can hinder.

The defining principle is the correct setting of the goal. A clear, justified goal is the first condition for the viability of an amateur collective. An important task is to link the interests and goals of each participant with the goals of the team. If this task is solved, then the possibility of conflicts sharply narrows in the team.

When forming a creative team, it is necessary to implement the principle of activity: the leader must be able to activate the creative potential of the participants, concentrate and develop it in the right direction. The principle of an individual approach is also important. Depending on the abilities, individual inclinations and properties of the participants, the method of working with the creative team is determined. This presupposes the leader's knowledge of the mental, physical, artistic and creative properties of each student.

Of all the ways of organizing people, it is the team that provides the highest performance, the best opportunities for personal development. In order to consciously and systematically direct the development of a creative formation, its transformation into a team, one should have a firm knowledge of the qualitative features of the team and the stages of its development. The main quality of the team is highly developed intra-group relations and diverse ties between the team and society. The integrity of the team is due to the unity of aspirations, strong teamwork skills, developed and friendly interpersonal relationships, psychological, intellectual, emotional unity.

For an accelerated and fruitful process of turning an association of amateurs into a full-fledged team, the following points must be observed.

1. Formation of a common goal. At first, pay special attention to any manifestations of cooperation, coordinate your desires and aspirations with the members of the circle.

2. Development of motives for participation in the creative process. The following factors are favorable: conscious motivation, the desire to communicate with members of the circle, the desire to promote a favorite pastime, and improve the reputation of the team.

3. Consciously created situations of "testing for leadership" accelerate mutual recognition, help the formation of the structure of informal relations.

4. Collective action is based on mutual respect and interest in the members of the team, when common achievements are considered as the highest goal.

It is wrong to believe that a creative person can create under any circumstances. And in the Forbi studio they understand this very well. Forbi Studio is known for creating a special creative atmosphere when a large close-knit team works on projects. How to create a creative community in which unique ideas and products will be born that are interesting to clients of any age, nationality and social status?

In 2006 we were known as the pioneers of Russian web design. In 2009, for our client, the SkyTour travel agency, we developed the first product that received wide publicity and recognition in professional circles. Over the next three years, all of our products became masterpieces. Unlike most studios, we have never approached the solution of the task as a template solution. We believe that each product is unique by definition, so an individual approach prevails in our work.

All products are created by our own designers and information architects. And when creating products, we continue to expand the boundaries of computer graphics and web programming.

Forbi is a whole balanced community. When selecting people, we take into account the fact that real talent is a rarity, so we are focused on long-term cooperation.

What is creativity?

People used to think that creativity is a magical act of one person, and that it is reduced to one idea: for example, this site is a travel agency, another is about hockey, and the third is about financial services. In fact, a huge number of people who work together participate in the creation of the site. The site is developed from tens of thousands of ideas. They are everywhere - in every line, symbol, background, characters, color and lighting. The art director does not build the site only on his own ideas, each member of the creative team of 5-10 people formulates proposals and contributes something to the overall process. A lot of ideas are sorted out, and those that are suitable for strengthening the story are filtered out among them. It's like archeological excavations: you don't know where and at what moment you can find something valuable.

Risks

People want to see something new every time they go online. And that is why we take risks every time. It's about new unexpected ideas and whether they will be accepted by the public. At the development stage, we are laying the foundation for a future project, so it is important to understand how people can react to a site that will combine many non-standard ideas.

As a studio manager, I must resist the natural urge to reduce or avoid risk altogether. In website building, they often choose the path of safely copying other people's success, rather than trying to create something new. That is why there are so many similar sites. If you want to create something original, you have to take risks and be prepared to bounce back from failure. What is the key to recovery? Only talented people!

And most importantly, talented people should be able to work effectively in a team. Elements such as trust and respect for the management of the studio, we are not able to simply “give out” to a talented group of employees, they appear over time. What we can do is to create an environment in which respect and trust develop along with creativity. If these conditions are met, then we get a friendly team where creative people are loyal to each other, everyone feels part of something special and amazing, and their energy becomes a magnet for other talented people.

people and ideas

My belief that good people are far more important than good ideas should come as no surprise.
The product for the SkyTour travel agency has become, to some extent, the starting point for the Forbi studio. Two teams worked on the project, and only the second one was able to cope with the task. At that moment, I realized the truth about the superiority of people over ideas: if you give a good idea to a mediocre group, they will only develop it, but if you give a mediocre idea to a great team, they will fix it or throw it out and find something new.

We also learned another important lesson: the quality bar should be the same for every product we produce. Every single person in the studio donated their time to fix the product for SkyTour. We stopped all other work, asked people to stay outside of business hours, and worked at a very busy pace. It was unacceptable for us that our company was known as mediocre and dishonest. As a result, the quality turned out to be excellent, and many companies wanted to cooperate with us.

Most leaders spend a lot of money looking for great employees, but how many of them understand the importance of creating an environment where people can work effectively as a team and support each other? A monolithic collective is much better than the sum of the individual pieces. This is exactly how we work.

The power of creativity and equality

The creative team must be in harmony with the creative leadership. This obvious truth is overlooked in many studios, and probably the same is the case in other industries. Our philosophy is: you find talented people, provide them with a good working environment so that everyone can honestly and openly express their ideas, support and trust them.

After SkyTour, we changed the development department. Now, instead of looking for new product ideas, the department had to assemble small "incubation" groups in order to help the studio generate, develop and complement their own ideas. Each such group usually consists of a project manager, a designer, an information architect, an editor, and a webmaster. The goal of this approach is to find people who will work effectively together. At this stage, it is still impossible to judge the quality, the material is rather raw, and many problems and questions remain. But you can evaluate how the group works and how effectively it solves the tasks. The role of leadership is to ensure the development and functioning of the group.

I'll say a little more about the team of studio leaders. The cooperation of these two people is especially important. The art director and the head of corporate clients must be strong partners. They not only strive to make a great product, but also keep track of deadlines, budgets and people. At the same time, in creating a product, they leave the choice of solutions to the main creative persons and do not align the product for themselves. In fact, even when there are obvious problems, we do not undermine their authority and leadership, but support them. One good example: we have a project manager who can ask the group for help at any time in the form of a “brainstorming”. The group is specially created to solve difficult problems. If that doesn't help, then we can add another person to the project leadership - an editor or a web programmer - to strengthen the creative team.

What does a project manager need to be a successful leader? Of course, the project manager must be a master at storytelling. This means that he must bring together thousands of ideas and refine them into one vision, and also have a great idea of ​​\u200b\u200bwhat his employees can and cannot do. He should have maximum information and opportunities for work, but should not indicate how to do something. Each person should be given the opportunity to contribute his own, even a small idea or solution.

A good project manager not only has excellent analytical thinking, but is also able to involve employees in the analysis, and somewhere to rely on their life experience. The project manager is a great listener and listens to all suggestions. He appreciates all ideas and the contribution of each employee, even if the idea is not used. And he always chooses the best.

An important quality of a good studio is equality among employees. Under such conditions, all people are interested in doing their job to the maximum. They really feel that there is one for all and all for one. A good example of such a strategy is the group brainstorming process.

"Brainstorming Group"

If necessary, the group is assembled and shown the current version of the product. This is followed by a two-hour discussion on how to make the product better. And at the same time, there are no quarrels, quarrels or anything like that - everything happens in an atmosphere of respect and trust. Everyone understands that it is much better to understand and fix the problem at the beginning of the journey than when it is too late.

Management receives the result of the discussion in the form of advice, there are no mandatory guidelines, and the brainstorming group does not have leadership authority. This breeds trust and helps management make decisions. When we gave the group the authority to manage the project, nothing worked, but as soon as we said: “you are all on an equal footing, only advice is needed,” all the work immediately became much more efficient.

By the way, the idea of ​​creating such a group appeared just when creating a product for SkyTour. When a crisis was brewing in production, a group of four specialists was assembled. Since they respected each other, they could have very heated discussions, always remembering that their emotions were related to the story being created and did not become personal. Over time, other people joined us, and today it is a group of people who can always rely on each other.

Technology + Art = Magic

Walt Disney was well aware of this principle. He believed that the constant change of the company, the introduction of innovations and the combination of advances in technology and art can produce amazing results. Many people look back at the company's early days and say, "Look at the artists!", but ignore the fact that there were also technological breakthroughs - a variety of colors, sound in animation, the first use of xerography, etc.

At Forbi, we believe in the power of art and technology interplay, constantly applying the best technology to our production. John Lasseter has a saying: "Technology inspires art, and art advances technology." For us, these are not just words, this is the style of our work.

Debriefing

One of our first products for SkyTour was very successful, but I noticed that the success turned a lot of people's heads too much. Later, I very often observed that people learn a lot by parsing mistakes, but they really do not like to conduct these parsing. Management wants to praise people more, employees like to talk about what was right and good. But everyone tries to avoid unpleasant topics and not talk about what could be improved.

There are some ways to solve this problem. You can arrange a search for lessons and comments on the created material. Or you can ask each group of employees to identify top five successes they will repeat in their next job and top five mistakes they will never make again. The balance between positive and negative points will keep the atmosphere friendly. If people do not want to analyze their actions, this is wrong. Analyze the work and send it to the next department only when everything is in order.

We don't want people to think that if we are successful, then everything we do is right. And so we are analyzing the errors and outcomes.

fresh blood

Successful organizations face certain challenges when hiring new people. Thanks to the atmosphere in the company, newcomers with their ideas can be accepted immediately.

For 5 years I dreamed of expanding my worldview in the field of design in Russia, and in Tyumen in particular. And, to be honest, when the work on the creation of the Garant website was completed, I was surprised at myself. I created an environment in which such a site could be made. My next goal was to create a studio where I could create magical products.

In recent years, we have added additional opportunities. And it's extremely nice to see how the principles on which we built the Forbi studio continue to operate and develop.

Our team has achieved the main goal - now Forbi develops products that occupy a worthy place in their field, combine all the best from the world of design and programming.

“The key to making popular Pixar films is to get the right problem-solving within the production.”

Ed Catmull

A few years ago, I was talking to the head of a leading film studio who was convinced that the main problem was not finding good people, but finding good ideas. After this conversation, I often asked representatives of different studios the question, what is more important - people or ideas. To my amazement, about half answered that the idea was more important. I fundamentally disagree with this. I think this opinion appeared due to a misunderstanding of creativity in general. The importance of the idea is too much exaggerated in the creation of the final product. And this leads to a misunderstanding of how to manage production in critical situations.

In terms of technology and artistry, Pixar is unique in its kind. In the 90s we were known as pioneers in the field of computer animation. Our developments culminated in 1995 with the release of the world's first full-length computer-animated film Toy Story. Over the next 13 years, we released eight other cartoons: Bug Life, Toy Story 2, Monsters, Inc., Finding Nemo, The Incredibles, Cars, Ratatouille, WALL- And”, which also became blockbusters. Unlike most studios, we never bought scripts or ideas from outside. All our stories, worlds and characters were created directly by our artists. And while making films, we continued to push the boundaries of computer animation, filing many patents in the process.

I'm not stupid enough to say that we will never make a mistake, but I don't think our success is just a big stroke of luck. Rather, it is the result of strict adherence to certain principles and rules that allow you to manage talent and cope with critical situations. Pixar is a whole balanced society. We prioritize long-term relationships and hold on to some strong beliefs such as talent is a rarity. Or again: planning does not prevent risks, but provides an opportunity for recovery if some kind of failure occurs. We have to constantly test all our assumptions, and look for cracks in the company that can cause harm.

In the last two years, we have had the opportunity to test our principles more globally. After the merger between Pixar and Walt Disney in 2006, Bob Eager, who led Disney Animation, asked me, John Lasseter, and other senior Pixar managers to help rebuild the studio. The success of our measures suggested that I should apply my principles and beliefs to build a strong and creative organization.

What is creativity?

People usually see creativity as a separate idea of ​​the final product: it's a movie about toys, dinosaurs or love. Nevertheless, a huge number of people are involved in the creation of the film, who work together, solve many problems and tasks in related fields. And the initial idea is just one step in this long and difficult journey, which usually lasts about four to five years.

The film combines tens of thousands of ideas. They are everywhere, in the execution of every line, character, background, characters, camera positions, color and lighting, individual shots. The director and other production leaders do not build the film only on their own ideas, each member of the creative team of 200-250 people makes their own suggestions and contributes something to the overall process. Creativity should be present at every stage of development. A lot of ideas are sorted out, and among them they look for those that are suitable for creating and continuing the story. It's like archeological excavations: you don't know where and at what moment you can find something valuable.

Acceptance of risks.

People want to see something new every time they go to the cinema and that's a big risk for us. It's about new unexpected ideas and whether they will be accepted by the public. Our latest film WALL-E is a story about the love of a robot in a post-apocalyptic world full of garbage. The previous film, Ratatouille, is about a rat who wants to be a chef. We didn't know at the initial stage of development if these films would be accepted or not, but we relied on someone's wild idea and decided to give it a try.

In order to do so, we as studio leaders must resist the natural urge to reduce or avoid risk altogether. In the film industry, many are guided by the principle that it is safer to copy successes rather than trying to create something new. That's why you see so many similar films. And this explains why there are very few good films. If you want to create something original, you have to take risks and be able to bounce back if the organization fails. And what is the key to the recovery of the company? Only talented people! Contrary to the belief of the head of a famous film company, finding good and talented people is not so easy.

And most importantly, talented people should be able to work effectively in a team. Such things as the trust and respect of the studio management are not able to simply “give out” to their subordinates, they appear over time. What we can do is to create an environment in which trust and respect can develop, as well as conditions for the release of creativity. If these conditions are met, then the result is a friendly team where creative people are loyal to each other, everyone feels part of something special and amazing, their fire attracts other talented people like a magnet. I know what I'm describing is against the usual conventions and practices of the film industry, but I believe building a creative team is very important.

The origins of our company.

My belief that good people are far more important than good ideas should come as no surprise. I had the amazing opportunity to work with amazing people early in the development of computer graphics.

It all started at the University of Utah with people like Jim Clark, who founded Silicon Graphics and Netscape, John Warnock, who founded Adobe, and Alan Kay, one of the developers of object-oriented programming. We were funded by the US Department of Research, and the professors provided room for study and creativity.

At the New York Institute of Technology, I headed the new computer animation lab, and one of the first employees in it was Elvy Ray Smith, who made a breakthrough in computer graphics. This led me to realize that there is nothing wrong with hiring people who are smarter than you.

Then George Lucas hired me as head of computer animation at Lucasfilm to bring computer graphics to films and, in the future, games. These explorations were exciting and went beyond the scope of a single film. George did not try to limit us and keep technology only for himself, he allowed us to publish our research and share our experience with other institutions. This is what attracted the best people in their field, such as John Lasseter, an animator from Walt Disney, who was very impressed with the new features.

And finally, Pixar began its independent life in 1986, when Steve Jobs bought the computer department of Lucasfilm. Steve gave us a base and put together a great management team. Some of us have held onto each other for decades, dreaming of making films like this, and we still enjoy working together to this day.

And only when a crisis was brewing at Pixar during the creation of Toy Story 2 did I begin to understand how to create and organize a creative team. In 1996, while we were working on our second film, Bug Life, the idea came up to make a sequel to Toy Story. We had enough technical directors to run a second movie in parallel, but all the creative people who made the first Toy Story, including John who directed, writer Andrew Stenton, editor Lee Unkrich, and screenwriter Joe Ranft, all worked on Life Zhukov". So, we had to form a new creative team that had not yet participated in the creation of such films. However, we reasoned that this was normal, since John, Lee, Andrew and Joe had never been involved in the production of animated films before Toy Story either.

Disney, which at the time was distributing and financing our films, initially intended that Toy Story 2 would only be sold as home video and would not be distributed to theaters. It was a somewhat successful model, which meant that the quality and cost of the project would be lower. However, we were unhappy that our studio would have two different quality standards, and after a while, Disney agreed to release the second part of "Toy Story" in cinemas. But creative project management was still a problem for us.

At the initial stage, we draw a storyboard, which we mount to the music and dialogues. We call it "story reel". The first versions are very crude, but they give an idea of ​​the difficulties and challenges to be solved. Then we make changes and with each new version the story gets better. In the case of Toy Story 2, we had a great movie idea. However, the first story reel wasn't what we wanted it to be, and it didn't improve over time. Despite this, the directors and producers did not attempt to radically change anything ...

But here the "Life of bugs" was completed. John, Andrew, Lee and Joe were released and spearheaded the creation of Toy Story 2. By this point, 18 months had passed since production began, and only eight remained to complete the film and meet the deadline. Knowing that the future of the company depended on them, the whole team worked in a frenzied mode. Eventually, with the support of new management, they managed to complete the film on time.

How did John and his team save the movie? The problem was not in the initial idea. The film's main character, a cowboy doll named Woody, was kidnapped by a toy collector who was going to sell it to a toy museum in Japan. At the climax of the story, Woody had to decide whether to go to Japan or try to escape and return to his master, Andy's child. Okay, but you can guess that he will return to the child, this plot is easy to predict. And if you can easily predict the outcome, then it's not interesting at all! So the problem was to add an element of drama and make the audience believe that there really was a choice. The first team working on the film was unable to solve this problem.

The second group decided to add some elements, such as fears of toys and show people's attitude towards them. The result was the story of the Jessie doll. Jessie is a cowgirl doll who was supposed to go with Woody to Japan. She really wants to leave and explains everything to Woody. The audience hears her story in the touching song “When she loved me” (When she loved me). She was a favorite toy for a girl who grew up and threw Jessie out. In fact, children grow up, their lives change and sometimes something goes away. From that moment on, the audience understands that there really is a choice, and it captures people. These elements allowed the story to come to life.

Toy Story 2 was a defining and critical moment for Pixar. At that moment, I clearly understood the truth about the superiority of people over ideas: if you give a good idea to a mediocre group, they will only develop it, but if you give a mediocre idea to a great team, they will fix it or throw it out and find something new.

We also learned another important lesson: the quality bar should be the same for every film we produce. Every single person in the studio donated their time to fix Toy Story 2. We stopped all other work, asked people to stay after work and worked very hard. It was unacceptable for us that our company was known as mediocre and dishonest. As a result, the quality turned out great, and many companies wanted to cooperate with us, produce DVDs, toys and other things with our characters.

Sure, many leaders spend a lot of money looking for good employees, but how many of them understand the importance of creating an environment where people can work effectively as a team and support each other? After all, a monolithic team is much better than the sum of individual pieces. This is exactly how we try to work.

The power of creativity.

The creative team must be in harmony with the creative leadership. This obvious truth is overlooked in many film studios, and probably the same is the case in other industries. Our philosophy is: you find talented people, provide them with a good working environment so that everyone can honestly and openly express their ideas, support and trust them.

After Toy Story 2, we changed our development department. Now, instead of looking for new ideas for films, the department had to gather small "incubation" groups in order to help the studio give birth, develop and complement their own ideas. Each such group usually consists of a director, screenwriter and several artists. The goal of this approach is to find people who will work effectively together. At this stage, it is still impossible to judge the quality, the material is rather raw, and many problems and questions remain. But you can evaluate how the group works and how effectively it solves the tasks assigned to them. Management ensures that these groups develop and function.

In leadership, the cooperation of two people is especially important. The director and producer must become strong partners. They not only strive to make a great film, but also keep track of deadlines, budgets and people. (Good artists know how to stop in time). When making a film, we leave the choices and decisions to the main creatives in the production and don't try to trim things for ourselves.

In fact, even when there are obvious problems, we do not undermine their authority and leadership, but support them. One good example is that we have a director who can ask the brainstorming group for help at any time. (This group is specially created to solve difficult problems). If that doesn't help, then we can add another person to the project leadership - a writer or co-director - to strengthen the creative team.

What does a director need to be a successful leader? Of course, the director must be a master at telling the story. This means that he must bring together thousands of ideas and refine them into one vision, and also have a great idea of ​​\u200b\u200bwhat his employees can and cannot do. He should have maximum information and opportunities for work, but should not indicate how to do something. Each person should be given the opportunity to contribute his own, even a small idea or solution.

A good director not only must have excellent analytical thinking, but also be able to involve his employees in the analysis, and somewhere rely on their life experience. The director must be an excellent listener and listen to all suggestions. He appreciates all the ideas and contributions of each employee, even if this idea is not used. And he always chooses the best.

Equality.

Another important quality of a good studio is equality among employees. Under such conditions, all people are interested in doing their job to the maximum. They really feel that there is one for all and all for one. A good example of such a strategy is the work of a brainstorming group.

Brainstorming group.

This group consists of John and eight other directors (Andrew Stenton, Brad Bird, Pete Docter, Bob Peterson, Brenda Chapman, Lee Unkrich, Gary Rydstrom and Brad Lewis). If the need arises, then this group is collected and shown to them the current version of the film. This is followed by a two-hour discussion on how to make the film better. And at the same time, there are no quarrels, quarrels or anything like that - everything happens in an atmosphere of respect and trust. Everyone understands that it is much better to understand and fix the problem at the beginning of the journey than when it is too late.

The management of the film receives the result of the discussion in the form of advice, there are no mandatory guidelines, and the brainstorming group does not have leadership authority. This builds trust and helps the film's management make decisions. When we gave this group leadership on the project, nothing worked, but as soon as we said: “everyone is equal, only advice is needed,” all the work immediately became much more effective.

This group appeared during the creation of Toy Story. When a crisis was brewing in the production of the film, a group of four people was assembled - John, Andrew, Lee and Joe. Since they respected each other, they could have very heated discussions, always remembering that their emotions were related to the story being created and did not become personal. Over time, other people joined us, and today it is a group of people who can always rely on each other.

Dailies

The habit of working together every day is not limited to management in our company. A good confirmation of this is the daily screenings, which we call dailies, during which each studio employee receives feedback on what he is doing in the project. These rules are based on principles that John has seen in other major companies such as Disney, ILM, Lucasfilm.

Obstacles

In the process of work, obstacles are bound to arise and something must always be remembered. First, when people overcome difficulties in the process of work, they begin to think creatively. Secondly, the director must guide the creative team and oversee the process. Third, people learn from each other. And, finally, people really want their work to be done well, and so that a situation does not arise when, having invested a lot of work, a person realizes that his work is not at all what the director wanted to see. Constant monitoring of the process avoids such situations.

It is also important that people of different professions communicate on an equal footing. The obstacle here is the natural occurrence of classes and divisions, since an organization is a structure after all. Some people may feel that their work is much more important than others. Differences between professions, or even just the physical distance between offices, are another obstacle. In creative companies like ours, all these barriers need to be broken down.

Technology + Art = Magic

Walt Disney was well aware of this principle. He believed that the constant change of the company, the introduction of innovations and the combination of advances in technology and art can produce amazing results. Many people look back at the company's early days and say, "Look at the artists!", but they don't pay attention to the fact that there were also technological breakthroughs - the first color, sound in animation, the first use of xerography, etc.

At Pixar, we believe in the power of art and technology interplay, and we are constantly trying to bring the best technology into production. John has a saying: "Technology inspires art, and art advances technology." For us, these are not just words, this is the style of our work.

Organization rules

There are several rules that we adhere to in our company:

1) Structures in an organization must be closely interconnected.

Hierarchy and communication in an organization are two different things. Employees of any department should easily communicate with another department to resolve issues and problems. This means for managers that there is nothing to worry about if they learn about some changes not in the first place, but perhaps only at general meetings. In the process of work, many problems arise and their solution does not require special permission from the management, sometimes you should trust your employees in this.

2) All ideas must be expressed freely.

When making a film, something is constantly changing. We try to always have a fresh look at the problems, for which we involve different people from completely different professions, and we get a lot of points of view. All current work is available for criticism of any employee of the studio, managers can always write by mail what you don't like and why.

3) We continue to monitor developments at universities.

And for this, we assist computer graphics artists, publish their works and research, and participate in research conferences. These connections are of great importance, through them we attract new talented people. All this further strengthens our position that people are more important than ideas.

We also strive to remove barriers between individual disciplines and professions. To do this, we organize internal training courses, which we call Pixar University. This helps to prepare and develop the professional skills of employees. There are also optional classes that allow people of different professions to meet and appreciate the work that each of them does. Some are directly related to our production (scripting, drawing, modeling) and some are not (eg yoga). Classes can meet both beginners and world-class masters who wish to improve their skills. Pixar University helps them with this, and in general, studying together is fun ...

The layout of our buildings serves the same purpose. Most of them are industrial, but not all. For example, in the center between the buildings we have a closed courtyard with a cafeteria, conference room, bathrooms. The result of such a situation is difficult to underestimate.

Stay Fit

Watching the rise and fall of many computer companies made a deep impression on me. Many companies had amazing abilities and conceived great products. They had the best developers, technologies, experienced management. However, at the very zenith, they made such ridiculous decisions that ruined their company completely. How could such smart people make such a big mistake and not survive? I repeatedly ask myself the question: “If we are always so successful, is there any danger of going blind?”

Many people from those companies were not able to evaluate themselves and change. When Pixar became an independent company, I decided that we would be different. Yes, it is always difficult and inconvenient for an organization to evaluate and analyze itself. It's hard to be objective about this. Complacency has to be constantly fought and uncovered, even when your company is successful. Communication, the influx of new forces, healthy criticism - all this will only contribute to the correct development. A very important part is strong leadership, it contributes to the stability and confidence of employees in the team.

Debriefing

One of our first films, Life of the Bug, was very successful, but I noticed that the success turned the heads of many employees too much. Later, I very often observed that people learn a lot from the analysis of mistakes, but they really do not like to make them. Management wants to praise people more, employees like to talk about what was right and good than about mistakes. People try to avoid unpleasant topics.

There are some ways to solve this problem. You can search for lessons and comments on the created material, but this may not be effective. Or you could ask each group of employees to identify their top five accomplishments that they would repeat in their next job, and the top five mistakes they would try to avoid making again. The balance between positive and negative points will keep the atmosphere friendly. If people do not want to analyze their actions, this is wrong. Try to analyze the work and send it to the next department only when everything is in order.

We don't want people to think that if we are successful, then everything we do is right. And so we analyze the errors and outcomes.

fresh blood

Successful organizations face certain challenges when hiring new people. But thanks to our culture, newcomers with their ideas can be accepted immediately. Such people were, for example, Brad Bird, who led the creation of the Incredibles and Ratatouille films, John Morris, who became the producer of WALL-E, etc.

For 20 years I've dreamed of making the first computer-animated film, and to be honest, when Toy Story was completed, I was a bit lost. I created an environment in which such a film could be made. My next goal with John was to create a studio where you can make magical films.

Now in the last two years after the merger with Disney Animation, we have additional opportunities. And it's extremely rewarding to see how the principles on which we built the Pixar studio continue to operate and evolve. Our team, me and John, and those who are no longer alive and who founded Pixar with us, achieved our main goal and now Pixar and Disney are producing animated films that touch the world's culture.

Introduction

At the heart of producing film and television projects, the main role is played by the ability of the project producer to build relationships with the team - scriptwriters, director, camera crew, etc. After all, in order for the team hired by him to follow the instructions as accurately as possible to translate his vision of the project into a unique intellectual product that will be in demand on the market and will not cause complaints from the sponsor or customer when it comes to creating television and Internet content. In this essay, we will consider the key nuances of building relationships with creative staff.

Ways to create a creative atmosphere in the team

The creative environment in a functioning enterprise, encouraged and directed properly, is very important, it is the greatest achievement of the team leader. In order to create it, it is necessary to support the initiative and creative aspirations of employees. The manager is faced with the difficult task of creating such a microclimate of the internal environment of the company (creative atmosphere) so that creative individuals, working in a group, do not lose their bright individuality, turning over time into a "gray" member of the group.

A creative atmosphere is first and foremost a welcoming environment that provides support and a sense of belonging to the team, acceptance and non-judgmental attitude that create a safe environment in which creativity can unfold. To create such a creative atmosphere requires special efforts of managers in team building and communication.

How to build relationships in a team so that the creativity of each individual is aimed at solving the problems of the team, and in what cases the creative approach on the part of individual employees improves the performance of the entire team as a whole - these questions are of interest to many managers.

A well-built creative environment in a company is directly related to an increase in labor productivity and an improvement in the quality of products, due to the fact that its presence allows solving a number of important problems:

Significantly improves the quality of organizational decisions,

helps to introduce profitable, promising, promising innovations,

leads to an increase in labor productivity due to the revival of production activities,

Improves the professional skills of the staff.

To create a creative team, it is not enough for a manager to simply want the specialists to be the most creative and productive. In addition to desire, it is required to understand certain rules of this game, one's own responsibility and - some actions to change one's own managerial communication. Let us formulate important criteria for the work of creative specialists.

1) Creativity is the ability of an employee to offer non-standard, creative ideas in terms of solving a style, design concept, as well as the need to be creative within the framework of job responsibilities, to offer something that no one has yet offered. However, it should be noted that if an employee is very extraordinary and creative, and monotonous work is expected from him, then after a certain time a conflict situation will ripen.

2) Productivity is the speed of work of a creative employee. Today, most of the work of specialists is performed at a computer, the speed of work directly depends on the knowledge of a package of special programs and experience in them. In addition, the character, temperament of the employee is important, because even the Saami creative employee who is fluent in both software and information in general can gather thoughts for a long time that elementary operations take him a lot of time and in order to work with him successfully, you must initially be ready for slow reactions, but there are specialists who embody their creativity at the speed of thought.

3) Corporate culture and sociability is the ability to effectively build relationships with employees, customers and other people around. A creative employee does not have to possess these qualities. In many cases, management processes are built in such a way that it is undesirable for a creative specialist to communicate with the customer, and there is a rational grain in this. The corporate culture of the company is often accepted by creative employees as some kind of rules that they can ignore, sometimes quite defiantly, but such behavior is more often forgiven if the creative person works effectively at the same time.

4) Creative growth - evolution cannot be stopped, including in creative endeavors.

5) Satisfaction with work, remuneration is a kind of recognition of the uniqueness and degree of need in this particular creative employee. The material side is very important, as a rule, creative specialists are considered highly paid employees.

6) Expansion of freedom - in the creative department, each employee is unique, as is the expected result of his activity, and an unpredictable result entails an obligatory expansion of freedom within the framework of the production rules of behavior standards. Another feature is that the expansion of freedom for creative employees should be accompanied by additional material and financial resources.

7) Effective interaction of creators - the features of interpersonal interaction within the creative group deserve special attention, since the processes of communication and interaction can have both a motivating and demotivating result on employees.

In general, we can say that the management of creative activity (to a greater extent than many economic and technological solutions) still requires a scientific approach and high professionalism. This implies:

Firstly, the search and attraction of employees with the necessary creative abilities and professional skills, since the company is forced to compete in the personnel market in attracting creative workers;

Secondly, having acquired this "driving force of the organization", the company seeks to use it with the greatest return, for which the necessary organizational conditions and psychological climate are created.

In modern conditions, for the effective operation of the company, there is an increasing need to build flexible, mobile relationships in the organizational structure, close contacts in the process of innovation, joint efforts of staff in preparing and making decisions, intensive relationships with internal and external partners. An effective feature of managing the creative potentials of employees is the close linkage between innovative strategies and human resource management policies.

A lot in the organization depends on the leader and the style of management he has chosen. It can either stimulate employee initiative or nip it in the bud. Most of all, the democratic style of management contributes to the disclosure of the creative potential of employees. It involves the delegation of responsibility and a significant degree of freedom, establishing certain frameworks that determine the coherence of the overall effort, allowing control of the process, ensuring clarity of administration. A leader who chooses a democratic management style supports creative initiative, promotes the organization of the creative process, and often serves as an inspiring example for his employees.

Thus, in order for employees to fully reveal their talents and direct them to the benefit of the cause, a special creative environment must be created in the organization, the main characteristics of which are:

openness to new

Support for innovation;

Trust and cooperation at all levels;

Democratic management style;

Organization of training and professional communication.

The interaction of creative employees with the company's management should be built in such a way that new ideas that require organizational support are not lost. To do this, you need to establish a channel for receiving them. Depending on the specifics of the business, the characteristics of the corporate culture and the size of the organization, various solutions can be used:

a separate structure responsible for innovation is being created;

a manager is appointed, to whom all proposals from the staff flock;

Offers are accepted by immediate supervisors;

· Temporary creative groups are created to solve specific creative problems;

circles of innovators and inventors are organized;

· special events are held - "creative days", conferences and festivals of ideas;

A special box for collecting ideas is installed.

An important point in the management of creative potentials is that the flow of ideas does not stop, and this can happen for the following reasons: bureaucracy associated with the procedure for putting forward ideas; lack of feedback; lack of demand.

One of the important factors for the flourishing of creativity in an organization is the constant influx of new knowledge, information, and impressions into the organization. It should be said that this is a rewarding business - creative employees are happy to study, train, attend conferences and other events. Communication with colleagues helps them push the boundaries of their own ideas, catch new trends, generate new ideas. For example, Japanese corporations deliberately immerse project teams in a fundamentally new environment - geographical, cultural or intellectual - to increase the creativity of employees by traveling to new places and presenting knowledge from areas not related to their business. There are special programs for the development of creative abilities. Creativity training helps to activate the creative potential of each person through awareness of internal barriers and a better understanding of their capabilities, increases motivation for creative work. Mastering the methods and technologies of creativity allows you to make the creative process more efficient, guarantees the receipt of ideas and solutions in any situation.

One of the most common barriers to the manifestation of creativity are offices that do not provide the basic physiological conditions necessary for the manifestation of creativity - sufficiency of space, good lighting, fresh air, comfortable furniture. The typical office gamma - white-gray-black - also does not stimulate creativity, because it is inspired by completely different colors - yellow, orange, blue and purple.

All-Russian distance pedagogical conference

"Pedagogical technologies in the construction of educational competencies"

Topic of the report: "Pedagogical approach to the creative student team - the basis of the process of its formation and development"

Kopytova Irina Nikolaevna

teacher-organizer

Creativity is a special character of any human activity (artistic, scientific, pedagogical, etc.). In addition, creativity involves the promotion of new ideas, approaches to solving problems, and the adoption of non-standard solutions.

The problems of creativity and the development of a creative personality are being actively developed in modern pedagogy. "Formation of a person's abilities for independent creative activity, creation of conditions for the disclosure, implementation and development of his creative potential is one of the most important goals of art, artistic creativity."

Creative activity is the main component of culture, its essence. Culture and creativity are closely interconnected, moreover, interdependent. It is unthinkable to talk about culture without creativity, since it is the further development of culture (spiritual and material). Creativity is possible only on the basis of continuity in the development of culture.

The creative student team (Theater of Student Miniatures) has its own specifics, since the student, in the process of doing creative work, builds his activity in accordance with the general rules of heuristic search: he analyzes the situation; designs the result in accordance with the initial data; analyzes available funds; evaluates the received data; formulates new tasks.

In the sphere of personality, creativity manifests itself as a student's self-realization based on self-awareness as a creative individuality, as the definition of individual paths and the construction of a self-improvement program. In this regard, it is extremely important to organize work with students in the system of their training, which would contribute to the emergence, creation and formation of their artistic and creative potential.

Humanity has entered an era when a world without borders becomes a reality, pushes the boundaries of people's knowledge, creativity fills life with meaning and joy, socially and personally significant content. Science has not yet determined the patterns of personality formation in the conditions of creative activity. The pedagogy of creativity, a special area of ​​pedagogical theory and practice, is called upon to do this today. Pedagogy of creativity is not a tribute to fashion. It opens the way to the realization of the idea of ​​an educative society, in which the socialization of young people is the highest priority.

The key concept of the pedagogy of creativity is the creative orientation of the individual, based on the formed need for creativity. Primary interest, turning into enthusiasm, passion, dedication, association with like-minded people, leadership in creativity, and then in life - these are the stages of personal growth in creativity. In order to achieve a real effect, creative activity must meet the following requirements:

• - must satisfy cognitive interests, captivate, include in creative teams,
• - in the process of activity, the achievement of real achievements should be ensured,
• - creative achievements should lead to personal growth, to self-realization,
• - in the process of creative activity, social experience should be enriched, a subjective, often a leadership position should be formed,
• - the tasks solved in the process of creativity should be of a socially significant, socially useful nature.

The main parameters of the humanistic educational system in the creative team have been developed: the presence of a well-thought-out program; humanistic character of interpersonal relations; personally and socially significant, eventful nature of the activity; interpenetration of the educating team and society; the presence of zones of free development.

The most appropriate pedagogical technology for educational systems in working with students is the organization of creative student groups. By creative teams, we mean teams that are passionate about solving common creative problems. In the pedagogy of creativity, they are considered both as a goal, and as a process, and as a result. Their significance for education lies in the fact that by integrating students with different levels of creative motivation, teams quickly unite, develop and socialize them through the action of motivation mechanisms, infection with knowledge and creativity.

Common interests + collective search and creativity + mutually enriching communication + joint solution of significant tasks and experience of success + interest in continuing the search and creativity - these are the mechanisms of the creative team as the structural and functional basis of the pedagogy of creativity.

The work of teachers-organizers of creative student groups goes both in the direction of ensuring the personal growth of students, and in the direction of forming a creative team. It is important to achieve students' awareness of the social significance of creativity, the need to work on themselves, and cooperate with peers. The amount of useful knowledge about creativity should be supplemented by the practice of the creative team, concerts, excursions, meetings, presentations.

Studies have shown that the formation of such communities not only fills education with a special meaning, but also transforms society, which is nothing more than a complex of human communities. The question of the relationship between the creative team and the personality of its member is one of the key ones, and in the conditions of modern pedagogical and social trends it is of particular importance.

The creativity of each leader of a creative team is nothing more than an expression of the ideological and creative aspirations of the entire team. Without a united, ideologically cohesive team, passionate about common creative tasks, there cannot be a full-fledged work of art.

In the development of the student team, a special role belongs to joint activities. This determines, firstly, the need to involve all students in a diverse and meaningful social and moral collective activity, and secondly, the need for such an organization and stimulation so that it unites and unites pupils in a workable self-governing team. Hence two significant conclusions: 1) as the most important means of forming a team are educational and other types of diverse activities of students; 2) the activities of students should be built in compliance with a number of conditions, such as the skillful presentation of requirements, the formation of a healthy public opinion, the organization of exciting prospects, the creation and multiplication of positive traditions of collective life.

The organization of promising aspirations of students is of great importance for the development of the team. If the development and strengthening of the team largely depends on the content and dynamics of its activities, then it must constantly move forward, achieve more and more success. A stop in the development of the team leads to its weakening and disintegration. Therefore, a necessary condition for the development of the team is the formulation and gradual complication of perspectives: close, medium and distant.

The development of the team is closely related to such a condition as the accumulation and strengthening of the traditions of collective life. The creative team of the college is a single developing organism in which certain psychological and pedagogical patterns operate. In the process of joint creativity, an aesthetic environment is created that serves as a catalyst for creative processes, transforms interpersonal communication, transferring it to a higher level.

As a means of rallying students into a creative team, the teacher's sole requirement for them is used. It should be noted that most students almost immediately and unconditionally accept these requirements.

The process of formation of a culture of creative activity of a student of the Theater of Student Miniatures contains three stages-steps.

The first stage is diagnostic, when optimal conditions are created for diagnosing and self-diagnosing the levels of a student's preparedness for the process of forming cultural creativity.

The second stage is motivational, during which the mechanism of motivation of the student's cognitive system is turned on.

The third stage is developing, during which the principles and functions of the culture of the student's creative activity, ideas about the types and forms of creative activity are formed; the system of knowledge of the student expands; accumulate and develop creative techniques.

In the formation of a creative team, several vital skills stand out:

• - ability to solve problems;
• - the ability to think creatively;
• - ability to think critically;
• - ability to communicate;
• - the ability to establish interpersonal relationships;
• - self-knowledge;
• - the ability to empathize;
• - the ability to control emotions;
• - Stress management.

The indicators by which one can judge that the group has grown into a team are the style and tone, the quality level of all types of substantive activities and the allocation of a really active asset. The presence of the latter, in turn, can be judged by the manifestations of initiative on the part of students and the general stability of the group, as well as by the manifestation of collectivism.

The upbringing of collectivism in the theater team is achieved in various ways and means: the organization of cooperation and mutual assistance in study, work, and practical work; joint participation of students in cultural and leisure activities; setting prospects for students (goals of activity) and joint participation in their implementation. pedagogical student team creativity

Each leader has his own ways of forming a creative team, his own approaches, his own innovations. It is necessary to share your experience with each other, to put ideas into practice.

Thank you for your attention!

Bibliography

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