The first principle was “Story Is King,” by which we meant that we would let nothing - not
the technology, not the merchandising possibilities - get in the way of our story. We took
pride in the fact that reviewers talked mainly about the way Toy Story made them feel and not about the computer wizardry that enabled us to get it up on the screen. We believed that this was the direct result of our always keeping story as our guiding light.

The other principle we depended on was “Trust the Process.” We liked this one because it was so reassuring: While there are inevitably difficulties and missteps in any complex creative endeavor, you can trust that “the process” will carry you through. In some ways, this was no different than any optimistic aphorism (“Hang in there, baby!”), except that because our process was so different from other movie studios, we felt that it had real power. Pixar was a place that gave artists running room, that gave directors control, that trusted its people to solve problems. I have always been wary of maxims or rules because, all too often, they turn out to be empty platitudes that impede thoughtfulness, but these two principles actually seemed to help our people.

This book is not a memoir, but it’s impossible to talk about the traits that have served me well over the course of my professional life and not look back at my childhood. There are certain ways I’ve always been, things I’ve always done, that are the result of some inscrutable mix of nature and nurture.

Managing creative processes starts with the understanding that it’s not a science—everything is subjective; there is often no right or wrong. The passion it takes to create something is powerful, and most creators are understandably sensitive when their vision or execution is questioned. I try to keep this in mind whenever I engage with someone on the creative side of our business. When I am asked to provide insights and offer critiques, I’m exceedingly mindful of how much the creators have poured themselves into the project and how much is at stake for them.

There is still tremendous passion for the brand,” I said. “But my goal is for Disney to be the most admired company in the world, by our consumers and our shareholders and by our employees. That last part is key. We’ll never get the admiration or the public unless we get it from our own people first. And the way to get the people working for us to admire the company and believe in its future is to make products they’re proud of. It’s that simple.

He’s been successful in the job beyond all of my hopes. (Of the nearly two dozen Disney films that have earned more than $1 billion at the box office, almost three-quarters of them were released under Alan.) And he’s a decent, kind, forthright, collaborative partner to everyone he works with. Which is another lesson to be taken from his hiring: Surround yourself with people who are good in addition to being good at what they do. You can’t always predict who will have ethical lapses or reveal a side of themselves you never suspected was there. In the worst cases, you will have to deal with acts that reflect badly on the company and demand censure. That’s an unavoidable part of the job, but you have to demand honesty and integrity from everyone, and when there’s a lapse you have to deal with it immediately.