Creative Management Quotes

Ultimately, I want to direct a movie, so that's another thing, too, where I wonder what that will look like and how will I be able to manage.

Good management is the art of making problems so interesting and their solutions so constructive that everyone wants to get to work and deal with them.

After Pixar's 2006 merger with the Walt Disney Company, its CEO, Bob Iger, asked me, chief creative officer John Lasseter, and other Pixar senior managers to help him revive Disney Animation Studios. The success of our efforts prompted me to share my thinking on how to build a sustainable creative organization.

The same time I'm designing my collection, I'm also designing my store. It has to have brand awareness, an identity. I'm also designing the racks and the hangers, and juggling a lot of things.

Eventually, you've got to go from being a talent to being a guy that makes talent.

If you're running an engineering or finance company, all companies depend on ideas and ingenuity. I think the principles of creative leadership apply everywhere, whether it's an advertising company or whether you're running a hospital.

Every business, like a painting, operates according to its own rules. There are many ways to run a successful company. What works once may never work again. What everyone tells you never to do may just work, once.

I've often heard people say that managing creative people is the hardest thing in the world. 'They're never happy, they drive up the cost of things, blah blah blah.' I just manage people the way I always wanted to be managed. That is, to be creatively challenged, but never to be told what to do.

I made nepotism an art form, so I get to work with a lot of relatives and they're part of it.

Being a director, just to begin with, is just, I think, one of the hardest jobs just because you have to work in every way. You have to work with actors, you have to be involved with the producers and the writing and the action. Every department comes to you; you have to deal with everything.

I admire directors so much, I find them incredible: they manage such a huge number of people of different characters, think of the money involved.

Interscope is run more like a rock band than a record company. It's run in a very spontaneous, heartfelt way.

I think the best directors rarely lose their temper.

I actually wanted to be a producer because I like to run things.

The company should be run from a creative point of view rather than a financial point of view.

It took me some time to realize television, for someone like me, was the perfect medium. I like to produce, I like to be detail-orientated, I like to be in charge of a lot of things, and I like to be a storyteller. It's kind of the perfect gig for someone like me.

Creative leaders inherently know when rules need to be challenged, and they can see when a more flexible approach should be taken.

Directing taught me how to run a team and turn up on time - things you don't really learn when you're in a band.

I think I'm most proud of the fact that I have figured out how to exist as both a creative person and artist, and a businesswoman and manager. Because those two things do not go together.

With music there's so many limbs and facets. Video and touring and merchandise and all those little things require attention. They're artist things but I tend to joke around too much with those things.

I learned that when you're lucky enough to be surrounded by such talented people that you really become more of an orchestrator of this talent - you're just trying to harmonise everyone's contributions.

I think that I learned a studio system prefers a sort of professionalism from the director.

Any good director, and I've worked with a few that I would call very good, they know how to disarm any anxieties very quickly.

All the skills of housewifery are the ones I'm using as a producer.

Navigating the studio system has its own challenges, and, as a producer, you want to be astute and clever.