I’d spent two decades building a train and laying its track. Now, the thought of merely driving it struck me as a far less interesting task. Was making one film after another enough to engage me? I wondered. What would be my organizing principle now?

The benefit of this transparency was not immediately felt (and, notably, when we decided upon it, we weren’t even counting on a payoff; it just seemed like the right thing to do). But the relationships and connections we formed, over time, proved far more valuable than we could have imagined, fueling our technical innovation and our understanding of creativity in general.

As John and his creative team went to work, I considered the stark reality we faced. We were asking our people to pull off the cinematic equivalent of a heart transplant. We had less than a year before Toy Story 2 was due in theaters. Getting it there in time would drive our workforce to the breaking point, and there would surely be a price to pay for that. But I also believed that the alternative - acceptance of mediocrity - would have consequences that were far more destructive.

1. SHORT EXPERIMENTS

In most companies, you have to justify so much of what you do - to prepare for quarterly
earnings statements if the company is publicly traded or, if it is not, to build support for your decisions. I believe, however, that you should not be required to justify everything. We must always leave the door open for the unexpected. Scientific research operates in this way - when you embark on an experiment, you don’t know if you will achieve a breakthrough. Chances are, you won’t. But nevertheless, you may stumble on a piece of the puzzle along the way - a glimpse, if you will, into the unknown.
Our short films are Pixar’s way of experimenting, and we produce them in the hopes of
getting exactly these kinds of glimpses. Over the years, Pixar has become known for including short films at the beginning of our feature films. These three- to six-minute films, each of which might cost as much as two million dollars to make, certainly don’t yield any profits for the company; in the immediate term, then, they’re hard to justify. What sustains them is a kind of gut feeling that making shorts is a good thing to do.

But it was Stewart Resnick who helped me see another even more important fact about the silver machine—that its advantage, though real, wasn’t interesting.

The silver machine’s advantage gives it value, but the advantage isn’t interesting because there is no way for an owner to engineer an increase in its value. The machine cannot be made more efficient.