Focus Features’ Post

Did you know that Walt Disney's first company went bankrupt? And that Universal Pictures claimed the rights to Oswald the Lucky Rabbit, Walt's first comeback character after bankruptcy? That might be enough to make a person quit. I recently toured the Walt Disney Family Museum in San Francisco. It focuses on the life of Walt himself, as opposed to the Disney company. Aside from perseverance, the museum also showed me a lesson in scaling. Eventually, Disney got on his feet with Mickey Mouse. In the 1920s and 1930s, Disney ran a profitable business producing animated short films for a cost of about $30,000 each. That was a lot of money during The Great Depression. But Walt had bigger ambitions for animation. He wanted to create full-length animated movies, which presented several new technical challenges. He used his short movies, like "Steamboat Willie" and the Silly Symphonies series, to figure out how to synchronize sound and action, something that hadn't been done in animation. Sound was still new even in live action: "Steamboat Willie" came out just a year after "The Jazz Singer," considered the first full-length movie with synchronized sound. Technical challenges aside, producing a full-length animated movie would also cost a whole lot more. Initially, Disney estimated that "Snow White and the Seven Dwarves" would cost 10x a short film, or approximately $300,000. The final budget was close to $1.5 million or 50x the cost of a short. What would a 50x project look like for your organization? What intermediate steps could you take from where you are now toward 50x? In the 1950s, Walt would go all-in again, this time on creating Disney Land. At the time, he displayed his big-bet mentality when he said, "Why should we let a few little dollars jeopardize our chances. I think this is Old Man Opportunity rapping at our door. Let's don't let the jingle of a few pennies drown out his knock. So slap as big mortgage on everything we got and let's go after this thing in the right manner." #Disney #Scaling

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There is a fine line between leisure, creativity, immersive experiences/exhibitions, shows, theatre, ... I continue to insist on the importance of processes, of the use of tools adapted to the language of the different profiles and types of public. Art as experience. I fix my gaze on several artists whose work differs in process and result, but inspires and expresses equally. And it is as important to enjoy the contributions of these artists as it is to listen to them and watch them work.  Art seems to continue in its maxim of being a voice, taking sides and reflecting the social pulse. Within immersive cultural leisure, where both the pedagogical facet of the content (on a greater or lesser scale) and the theatrical effect accompanied by objects that bear witness to the virtual are attended to. The coexistence between the digital and the material is an encounter for the evolution towards learning and recognition in the traces that are always part of the past. Because, are there traces of the future? #artdigital #natureandarts #womenartists #inmersiveexhibitions #CourtneyMattison: https://lnkd.in/dHtA8CQF #ClareCelesteBörsch: https://lnkd.in/dJkPViSx #ClaudiaBueno: https://lnkd.in/dupUEVrA #EstefaniaSantiago: https://lnkd.in/duBFQGQS https://lnkd.in/d88kYmGW https://lnkd.in/d2mVuV2y

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🏆 Cannes Lions Challenger Spotlight – “Museum Worthy” from AICP (Association of Independent Commercial Producers) and O Positive Films    Our Challenger shoutout today goes to AICP and O Positive’s delightful B2B advert “Museum Worthy” which was awarded a Silver Lion at the Cannes Lions yesterday for its script. The advert, which was created to announce an extension for entries to the Association of Independent Commercial Producers (AICP) Awards earlier this year, highlights the difficulties facing creatives when there are too many cooks (i.e. clients) in the kitchen by imagining the response to feedback Vincent van Gogh or Frida Kahlo would have had were they to be creatives today. In case you didn’t guess – their reactions were not good. Funny, but not good.    The spot drives home the point that if you don’t want watered down work, you need to have a strong brand identity and strategy (something Challengers know all too well!) and that “It’s hard to make museum-worthy art. It’s harder to make museum-worthy ads.”     https://lnkd.in/eCVuzjyq     #CannesLions2024 #ChallengerMindset 

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