Entrepreneurship – Page 151 – artdiamondblog.com

The Project Entrepreneur Does Not Sell Out Soon

“Dropbox founders, Arash Ferdowsi, left, and Drew Houston, won Best Overall Startup at the Crunchies in San Francisco earlier this year.” Source of caption and photo: online version of the WSJ article quoted and cited below.

(p. B6) Arash Ferdowsi was a Massachusetts Institute of Technology student when he met fellow MIT student Drew Houston through a mutual friend.

The pair collaborated, working from a Cambridge, Mass., apartment, to solve a modern-day problem.
They created a virtual file cabinet that would make it possible for users to access piles of documents, spreadsheets, photos, music and videos from their laptops, tablets or personal devices.
After launching Dropbox Inc. in June 2007, they relocated to San Francisco. Mr. Ferdowsi dropped out of MIT.
. . .
WSJ: Before Steve Jobs of Apple Inc. died, he approached you with a buyout offer. Why did you turn it away?
Mr. Ferdowsi: The problem that we’re trying to solve is a problem that only an independent company can solve. We want to let you use a Mac, or Windows PC, or iPad, or Android, without having to think about any of the technical details. It isn’t a problem any of those larger companies is going to be as inclined to solve in the same way we are.

For the full interview, see:

ANGUS LOTEN, interviewer. “HOW I BUILT IT; Dropbox Seeks Big Solutions.” The Wall Street Journal (Thurs., March 15, 2012): B6.
(Note: ellipsis added; bold in original.)
(Note: the online version of the interview is dated March 14, 2012.)

Diamond to Teach Economics of Entrepreneurship in Fall 2012

Some Questions to Be Discussed:

• How can policies encouraging innovative entrepreneurship help us recover from the current economic stagnation?

• Are innovative entrepreneurs smarter, or less risk-averse, or more intuitive, or more determined, or more frugal, or nobler, or greedier, than the rest of us?

• Can economic historian John Nye defend his claim that successful entrepreneurs are “lucky fools?”

• What is the role of entrepreneurship in the process of creative destruction, and what is the role of creative destruction in making our lives longer and better?

• Would labor be better off in an economy in which innovative entrepreneurship is encouraged?

• Why does economist Will Baumol believe that too much higher education can discourage successful innovative entrepreneurship?

• What are the most promising sources of financing for successful innovative entrepreneurship?

Lasseter’s Success Came from Seeing How the Details Affected the Storytelling

(p. 138) “I had no reason to think it would be any good,” recalled Barzel, who was then a recently minted California Institute of Technology Ph.D. on the lighting team. “I knew John was absolutely brilliant as a animator of shorts. But I’ve read authors who write good short stories and crummy novels; I figured it’s a different skill. I had no reason to think John would have the skill to pull off a full-length movie.”
He expected something that animators and animation buffs might find interesting, but that probably would not have a particularly wide audience.
“I joined because I wanted the practical experience,” he said, “I thought, Well, it’s going to be the first full-length [computer-animated] movie, so it’ll be a fun thing to have been associated with, however it turns out.”
What finally made Barzel a believer was watching Lasseter at work. He found that Lasseter had an uncanny ability to shift between the macro level of the entire film and the micro level of whatever detail he was dealing with at the moment. “Looking at an individual frame — it’s meticulous work– he would always be aware of its role in the larger context of storytelling,” Barzel recalled. “He’d say something like, ‘This is the first time this character responds to that situation; it’s really important that he get the right glint in his eye.’ ” Barzel started to think, John knows what he’s doing. This movie could be really good.

Source:
Price, David A. The Pixar Touch: The Making of a Company. New York: Alfred A. Knopf, 2008.
(Note: italics and brackets in original.)
(Note: my strong impression is that the pagination is the same for the 2008 hardback and the 2009 paperback editions, except for part of the epilogue, which is revised and expanded in the paperback. I believe the passage above has the same page number in both editions.)

Lean Start-Ups “Ruthlessly Cull Failures”

Eric Ries and his book. Source of photo: http://nemonics.files.wordpress.com/2011/11/eric-ries-lean-startup.jpg?w=584&h=262

(p. D3) “What’s different in the Valley is that we’ve found a quasi-scientific method for reinventing businesses and industries, not just products,” said Randy Komisar, a partner in a leading venture capital firm, Kleiner Perkins Caufield & Byers, and a lecturer on entrepreneurship at Stanford University. “The approach is much more systematic than it was several years ago.”

The newer model for starting businesses relies on hypothesis, experiment and testing in the marketplace, from the day a company is founded. That is a sharp break with the traditional approach of drawing up a business plan, setting financial targets, building a finished product and then rolling out the business and hoping to succeed. It was time-consuming and costly.
The preferred formula today is often called the “lean start-up.” Its foremost proponents include Eric Ries, an engineer, entrepreneur and author who coined the term and is now an entrepreneur in residence at the Harvard Business School, and Steven Blank, a serial entrepreneur, author and lecturer at Stanford.
The approach emphasizes quickly developing “minimum viable products,” low-cost versions that are shown to customers for reaction, and then improved. Flexibility is the other hallmark. Test business models and ideas, and ruthlessly cull failures and move on to Plan B, Plan C, Plan D and so on — “pivoting,” as the process is known.

For the full story, see:
STEVE LOHR. “Looking Backward to Put New Technologies in Focus.” The New York Times (Tues., December 6, 2011): D3 & D4.
(Note: the online version of the story is dated December 5, 2011.)

Ries’ recent book is:
Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous Innovation to Create Radically Successful Businesses. New York: Crown Business, 2011.

Blank’s books are:
Blank, Steve. Not All Those Who Wander Are Lost. CafePress.com, 2010.
Blank, Steven Gary. The Four Steps to the Epiphany: Successful Strategies for Products That Win. 2nd ed: CafePress.com, 2005.
Blank, Steve, and Bob Dorf. The Startup Owner’s Manual: The Step-by-Step Guide for Building a Great Company. K & S Ranch, 2012.

Another relevant book is:
Maurya, Ash. Running Lean: Iterate from Plan A to a Plan That Works. 2nd ed. Sebastopol, CA: O’Reilly Media, 2012.

“Being Able to Work on a Great Project”

(p. 133) Recruiting was brisk; the magnet for talent was not the pay, generally mediocre, but rather the allure of taking part in the first fully computer-animated feature film. “Disney gave us a very modest budget [$17.5 million] for Toy Story,” Guggenheim said. “Although that budget went up progressively over time, it didn’t afford for very high salaries, unfortunately. We tried to make the other working conditions better. Just the enthusiasm of being able to work on a great project is as often as not what attracts artists and animators.”

Innovative Entrepreneurs Need to Be Able to Fire People

(p. 116) Jobs met with the remaining employees soon after the layoffs and brought his reality distortion field with him. “You’re seeing your friends packing their stuff up and pushing it out to their cars,” Phillips remembered, “and yet somehow he had convinced you that that was the greatest possible thing that could happen.”
Within the Silicon Valley community, the talk was not of the way Jobs had handled his former employees at Pixar, but of his having kept Pixar going at all. It seemed to make little sense from a business point of view. For all his bravado about RenderMan, his motivation was likely a matter of status as much as economics. After his rise and fall at Apple, the onus was on him either to create another success story or to leave his peers to conclude that the first one had been a quirk of fate.
“It wasn’t really working,” Smith said of Pixar’s early years. “In fact, that’s being kind of gentle. We should have failed. But it seemed to me that Steve just would not suffer a defeat. He couldn’t sustain it.”

Source:
Price, David A. The Pixar Touch: The Making of a Company. New York: Alfred A. Knopf, 2008.
(Note: italics in original.)
(Note: my strong impression is that the pagination is the same for the 2008 hardback and the 2009 paperback editions, except for part of the epilogue, which is revised and expanded in the paperback. I believe the passage above has the same page number in both editions.)

The Intensity of Entrepreneur Jobs

(p. 114) As Jobs was criticizing the Pixar managers for failing to hit a delivery date on a project, Smith interrupted and said, “Steve, but you haven’t delivered your board on time”–meaning, a board for the NeXT computer.
It was the sort of remark Jobs normally might have put up with, but it seemed Smith had crossed a line by joking about Jobs’s [sic] computer. “He went completely nonlinear,” Smith recalled. “He went crazy on me and started insulting my accent.”
Jobs had homed in on a sensitive spot. Smith’s native southwestern accent, which he had mostly suppressed since his days as an academic in New York City, sometimes reemerged in moments of stress. Jobs mocked it.
“So I went nonlinear, too, which I had never done before or since,” Smith remembered. “We’re screaming at each other, and our faces are about three inches apart.”
There was an unspoken understanding around Jobs that the whiteboard in his office was part of his personal space–no one else was to write on it. As the confrontation went on, Smith defiantly marched past him and started writing on the whiteboard. “You can’t do that,” Jobs interjected. When Smith continued writing, Jobs stormed out of the room.
To outward appearances, the conflict blew over, but the men’s relationship would never be the same.

Tool Makers Cannot Predict Creative Ways Tools Will Be Used

(p. 89) Jobs had no use for small-minded naysayers. His experience had taught him that if you offered a better computer, well priced and accessible, there was no limit to what human ingenuity could achieve with it. No one, after all, had thought of electronic spread-sheets when he and Wozniak rolled out the Apple II, in 1977, but within two years, a spreadsheet program called VisiCalc–created in an attic by a first-year Harvard MBA student and a programmer friend–was one of the strongest drivers of Apple Il sales. The PIC was not a consumer product like the Apple II, but the principle was the same. “People are inherently creative,” Jobs remarked to an interviewer a few years later. “They will use tools in ways the tool makers never thought possible.”

Source:
Price, David A. The Pixar Touch: The Making of a Company. New York: Alfred A. Knopf, 2008.
(Note: my strong impression is that the pagination is the same for the 2008 hardback and the 2009 paperback editions, except for part of the epilogue, which is revised and expanded in the paperback. I believe the passage above has the same page number in both editions.)

“No Street Protester Has Yet Endowed a University Department”

Source of book image: online version of the WSJ review quoted and cited below.

(p. A13) Over the next three decades, Breasted would excavate a series of sites in Egypt, the Sudan and the Near East. He would also develop an important ability to identify rich and influential benefactors and to gain their confidence without resorting to sycophancy. . . . Notable among the Maecenas figures he cultivated was John D. Rockefeller.

Rockefeller had been an early patron of the University of Chicago; he might have done something for Near Eastern studies in any case, but it is clear that without Breasted’s energy and enthusiasm, Rockefeller’s scholarly philanthropy would never have taken the course it did. Eventually, he provided the funding for an entire Oriental Institute in 1931. (The OI, as it is affectionately known, had existed from 1919 but essentially as a concept between academic committees.) Together with its Egyptian offshoot, Chicago House, the OI is perhaps the leading center of Egyptology and Assyriology in the world. At the moment, on both sides of the Atlantic, we are hearing a lot about the evils of bankers and capitalism, but as far as I know no street protester has yet endowed a university department.

For the full review, see:
JOHN RAY. “BOOKSHELF; From Illinois To Mesopotamia; Excavating sites in Egypt and the Near East, writing groundbreaking books and developing a talent for courting wealthy donors.” The Wall Street Journal (Thurs., February 23, 2012): A13.
(Note: ellipsis added.)

Book under review:
Abt, Jeffrey. American Egyptologist: The Life of James Henry Breasted and the Creation of His Oriental Institute. Chicago: University of Chicago Press, 2012.

Lasseter’s Epiphany: “This Is What Walt Was Waiting For”

(p. 52) In a trailer on the Disney lot, Lasseter huddled with Rees and Kroyer to look at the first computer-generated scene to come in–a race among drivers in virtual motorcycles known as light cycles. The scene had no character animation and its graphics were rudimentary, but it brought Lasseter an epiphany. The dimensionality of the scene was something he had never witnessed before. If this technology could be melded with Disney animation, he thought, he would have the makings of a revolution. Until then, three-dimensional effects in animation had required difficult, costly sessions with the multistory “multiplane” camera, practical for only a few key sequences in a film, if that. The computers could even move the audience’s point of view around a scene like a Steadicam. The possibilities seemed infinite.
“I couldn’t believe what I was seeing,” he said later. “Walt Disney, all his career, all his life, was striving to get more dimension in his (p. 53) animation . . . and I was standing there, looking at it, going, ‘This is what Walt was waiting for.'”
He was not able to interest the animation executives in it; they did not care to hear about new technology unless it made animation faster or cheaper.

Source:
Price, David A. The Pixar Touch: The Making of a Company. New York: Alfred A. Knopf, 2008.
(Note: ellipsis in original.)
(Note: my strong impression is that the pagination is the same for the 2008 hardback and the 2009 paperback editions, except for part of the epilogue, which is revised and expanded in the paperback. I believe the passage above has the same page number in both editions.)

Funding Was Scarce to Develop Computer Graphics

(p. 29) As in Catmull’s graduate school days, however, the Walt Disney Co. was not interested in computer graphics. Walt had died of cancer in 1966, and the company was now run by a caretaker chief executive, Esmond Cardon “Card” Walker. Some of Disney’s technology experts saw great promise in the NYIT group’s work, but that was as far as it ever went.
Who else had pockets deep enough to support a major research effort into computer animation for filmmaking? It might take a decade, or even longer, before computer costs came down enough for (p. 30) a feature film to be anywhere near the realm of possibility. The only option, it seemed, was to keep making progress on the technical issues–on NYIT’s dime–while waiting for Disney to call.