Summer 2002, Palo Alto, California. Roy Disney picks up the winepidle and refills his glass. He's the 72-year-old nephew of Walt Disney, and the last family member still involved with the corporation.
Roy's sitting in the dining room of Steve Jobs' English-style country home because he and Jobs share a mutual problem. Disney's CEO, Michael Eisner. Roy sips his wine as the Apple CEO and picks our chairman, Vince.
Michael attacked me. He attacked Apple. He told Congress that I run a business built on copyright theft. A total lie. How can I work with someone like that? I can't trust him.
Roy nods. He shouldn't trust him. He put a spy in Disney animation to keep tabs on me. It's because I stand up to him. You see, my role, and actually my duty is to protect Walt s legacy to ensure Disney doesn't lose its magic. Michael only cares about short-term profits. He's nickel in dining the amusement parks. I'm not sure that even animation is safe anymore.
Jobs smiles. His hunch that Roy could be a potential ally was right. Agreed. Disney used to be the master of animation now it makes embarrassing duds. Roy peers into his wine glass. There's a look of sorrow on his face.
Michael wasn't always like this. When I staged the boardroom coup at 84 and made him CEO it was wonderful. It was like the scene in the Wizard of Ice where the munchkins dance and sing ding dong the witch's dead. Well, now Michael's the witch.
Jobs senses it's time to show his hand. Next year Pixar will start talks with Disney about renewing their partnership. Jobs wants to reduce Disney's role to being nothing more than Pixar's distributor. He's had enough of Pixar being bossed around by Disney. He wants Pixar to be a truly independent studio, free to decide its own destiny, just like Dreamworks. But he knows Eisner will never accept that. So he wants Roy's help.
Jobs stares into Roy's eyes. Roy, Pixar and Disney working together was probably the most successful partnership in movie history and it was great while it lasted. But when the current deal ends, Pixar will leave Disney. I will never make a deal with Disney while Michael's there.
Roy's eyes widen. He knows that losing Pixar would devastate Disney. Disney ruled animation in the 20th century but Pixar is the only thing saving it from irrelevance in the 21st. And for Roy, animation isn't just another business division. It's the soul of Disney. He can't let this happen.
So, after his dinner with Jobs, Roy starts using his influence as a Disney board member to pressure Eisner to make a deal with Pixar at any cost. Just as Jobs hoped he would. Jobs has just used Roy to put Eisner in check. But it's not checked made yet. And Eisner still believes he can win this game.
Hi, I'm Sarah Hagi, co-host of Wondery's podcast, Scample Insers. In our recent two-part series, Three Weddings and a Funeral, we dive into the story of a German con man who built an entire life on fake names, lies and schemes, and the unlikely true-kind twist that brought this decades-long charade crashing down. Listen to Scample Insers on Amazon music or wherever you get your podcasts.
From Wondery, I'm David Brown and this is Business Wars. On the last episode, Toy Story kicked start of the age of computer animated movies. Dreamworks and Pixar had a bug brawl at the box office, and Shrek made Dreamworks, Champagne wishes, and caviar dreams come true. Now, after four blockbusters in a row, the Disney Pixar alliance is fraying. Not the Disney's worried. It still believes traditional animation has a bright future, but it's about to get a reality check.
This is Episode 3, Regime Change. November 2002, Mammoth Mountain Skewers or California. Ron Clements crouches on his knees and carbs through the snow. The 48-year-old director feels he's earned this vacation. He spent the last four to half years taking Disney's movie Treasure Planet from Concept to Box Office.
He first pitched his hand-drawn sci-fi reimagining of Treasure Island in 1985. Now, it's finally playing on thousands of screens nationwide. He slides to a halt at the brow of the next slope and admires the mountain view.
But his cell phone interrupts the moment. He yanks off a glove with his teeth and scrambles to find his phone. Hello?
但是他的手机打断了这一刻。他用牙齿拉下手套,疾快地去找手机。喂?
Ron, it's Thomas Schumacher. Schumacher is the president of Disney Animation, and Clements has been expecting this call. You get the box office numbers?
罗恩,我是托马斯·舒马赫。舒马赫是迪士尼动画的总裁,克莱门茨一直在等待这个电话。你有票房数字吗?
Yeah, but first I want to say that Treasure Planet is a fantastic movie.
是的,但首先我想说《宝藏星球》是一部非常棒的电影。
Ah, how bad is it? Are we talking at Lannis Bad here?
哎呀,糟糕极了吗?我们会谈到Lannis Bad吗?
Last year's Atlantis, the lost empire marked a new low for Disney animation. Its lukewarm reception underlined just how far the studios fallen since the Lion King.
12.5 million in five days. Clements feels winded. Disney spent $170 million on Treasure Planet. His movie is going to lose the company tens of millions.
After Treasure Planet's failure, Disney's CEO, Michael Eisner calls time on traditional animation at Disney and overhauls the studio. Half of its 2,000 animators lose their jobs. The rest are sent to computer graphics boot camps to be prepped for the leap from pen and ink to monitor and mouse. The production pipeline gets reconfigured too. From 2005 onwards, Disney animation will only make computer-animated features.
But these changes are about more than just the waning interest in hand-drawn animation. They're also about Pixar. Eisner wants Disney to be ready to compete with Pixar, should the talks to renew their partnership fail. But he hopes it'll never come to that. He's sure that Pixar's run of hits can't last and when the studio finally trips up, Disney will gain the upper hand. And based on what he's seen, Eisner believes Pixar's next picture will be that miss.
On May 30th, we're looking for Nemo. The search is on. It's May 2003 and after two years away, Pixar's fifth movie is inbound. One fish will go where no fish has gone before. Up inside my mouth if you want to live. Walt Disney Pictures presents up Pixar Animation Studios Film. Finding Nemo, Riddie G.
For Eisner and Pixar Chairman Steve Jobs, a lot hangs on Finding Nemo. Its box office performance will set the tone for the fraught negotiations that lay ahead. And it opens with a splash. Finding Nemo shifts 71 million dollars of movie tickets in its first weekend. It's the best ever debut of an animated movie in the US and Canada. And the interest doesn't weigh. Week after week, Finding Nemo packs the theaters. Eisner watches as his negotiation strategy. Watches away like a castle-late of sand.
But he's not the only one hurt by Pixar's latest smash. July 7th, 2003 DreamWorks Animation, Glendale, California. In the conference room, the studio's executives are gathered for their usual Monday morning meeting and feeling low. DreamWorks latest, hand-animated movie was released last week. It's called Sinbad, the legend of the Seven Seas.
DreamWorks hoped it would prove their still life in traditional animation. Instead, it grossed less than 7 million dollars in its opening weekend. That same weekend, Finding Nemo made another 11 million. Pixar's fishy tale is about to replace the Lion King as the highest grossing animated movie of all time. Sinbad is about to become DreamWorks' fourth hand-drawn misfire in a row.
DreamWorks co-founder Jeffrey Katzenberg enters the conference room. Usually, he buzzes with energy. Today, he moves like his batteries are running low. He stands before his team with a solemn look on his face. Sinbad is a failure, and each of us must own up to our own role in that failure. We made a weak movie, and marketing failed to sell it. Everyone here has a cross-tabair. The exact stare at the floor. This isn't the uplifting pep talk they hoped for.
We've got to listen to what the audience is telling us. Sinbad will be our last 2D animation. It's been 8 years since Toy Story. The generation now entering their teens grew up with computer animation. They don't want traditional animation. This isn't news to the team. It's Katzenberg's love of hand-drawn animation that's held DreamWorks back from going all in on digital. But now, faced with a public's brutal rejection of Sinbad, he's a convert.
RR and D years are over. We found our identity in Shrek. DreamWorks is irreverent subversive PG, not G, and yeah, computer-animated. Those are the movies we're making from here on out. It's taken 9 years. The DreamWorks now knows what sets it apart. While Disney trades in fairy tales and Pixar tells warm-hearted stories for the whole family, DreamWorks is the sarcastic uncle of the animation pack. It doesn't take itself too seriously, and it's happy to revel in crude jokes if it gets a laugh.
But that journey of discovery has been pricey. Sinbad's failure inflicts a $125 million blow to DreamWorks finances and sparks a cash flow crisis that threatens to tank the whole studio. DreamWorks again turns to its billionaire benefactor, Microsoft co-founder Paul Allen. But Allen's out of patience. He's invested $700 million in DreamWorks. And now, he wants returns. But with a rest of DreamWorks floundering, the only way to unlock the huge sums Allen is owed is to spin off the animation arm.
And as DreamWorks prepares to cleave in two, there's unrest in the magic kingdom.
当梦工厂准备分裂成两个公司时,神奇王国里出现了动荡。
November 2003 The Fierre Hotel Manhattan
2003 年 11 月,费尔尔酒店曼哈顿店。
Disney President Bob Iger enters Michael Eisner's apartment. Eisner's at the window looking out of a central park. Michael, what's happening? Your assistant said it's an emergency.
Eisner hands Iger a letter. Someone slipped this under my door. It's from Roy Disney. Iger unfolds the letter and starts reading. Roy's resigning from Disney's board and he's not going quietly. His resignation letter accuses Eisner of multiple failures, including destroying relations with Pixar.
Iger reaches the final page and reads aloud Roy's parting shot.. This my sincere belief that you should be leaving not me. Accordingly, I once again call for your resignation and retirement.
Wow, man. He's starting a campaign to get you fired. Eisner nods. Yes, he's angry.
哇,兄弟。他正在发起一场运动,想让你被解雇。艾斯纳点点头。没错,他很生气。
I invoke the mandatory retirement rule to remove him from the board. So what are you going to do? I'm not resigning if that's what you're asking.
我会启动强制退休规则,将他从董事会中除名。那么你打算怎么做?如果你是在问我是否辞职,那我不会辞职。
He's clueless. We only kept him around for publicity. He tried to stop us from creating the Disney Princess line. That's a billion-dollar business seat of thrown away. We're better off without him. He ousted your predecessor in this saved Disney campaign he's threatening could be trouble. Disney was smaller in 84. He had more sway then. He might cause some PR headaches at the annual shareholders meeting in March, you know, but I can't see investors rallying behind him.
But Roy's campaign is about to get a helping hand. January 2004, Pixar headquarters, Emoryville, California. In Pixar's conference room, Disney Studios chairman Dick Cook takes his seat. He's here for another round of talks with Steve Jobs. Jobs won't even meet with Eisner now, so it's fallen to cook to negotiate a deal.
But the talks are going nowhere. Time after time, Jobs makes demands and Eisner rejects them. Jobs hands cooks some papers. Cook looks up at jobs. What's this? I revised terms.
Cook's job drops as he reads Jobs latest demands. You want us to give you the rights to all your previous movies, just for the privilege of distributing your movies in the future? Correct.
Steve, Michael will never do that and he be right not to. Come on, you need to give a little. Michael's formed a new animation studio to make sequels to Pixar's movies should these talks fail. If we don't find a way forward, that studio will be making Toy Story 3. You get that, don't you?
Jobs scales. Pixar's creatives have invested years of their lives bringing these characters to life. Jobs has seen Pixar creative chief John Lasseter cry at the thought of leaving Woody Buzz and the rest of the gang at the hands of Eisner. But Jobs is willing to pay that price.
If Michael doesn't like our offer fine, we'll work with Warner, Sony or Fox instead. Cook returns to Disney HQ and relays Jobs' new demands. Eisner shoots them down. So, Jobs announces that the talks are over.
The news rattles Disney shareholders. Together, Pixar's first five movies earned $3 billion and accounted for a huge chunk of Disney's profit since 1995. Disney's stock price dives. Support for Roy Disney's Save Disney campaign swells.
And with Disney's stock now cheap, cable TV giant Comcast pounces with a $64 billion hostile takeover bid. Eisner's now a CEO under siege. After 20 years in charge of Disney, Eisner's about to face a reckoning. And if he falls, Disney will get one last chance to lure Pixar back into the magic kingdom.
It's the fall of 2017 in Rancho Tejama, California. A man and his wife are driving to a doctor's appointment when another car crashes into them, sending them flying off the road. Disoriented, they stumble out of the car only to hear dozens of gunshots whizzing past them.
This is just one chapter of a much larger nightmare unraveling in their small town. This is actually happening, presents a special limited series called Point Blank, shedding a light on the forgotten spree killings of Rancho Tejama, where a lone gunman devastated a small town, attacking eight different locations in the span of only 25 minutes.
The series follows five stories of people connected to the incident, from a father that drew the gunman away from a local school to the sister of the shooter. These are riveting stories that will stick with you long after you listen. Follow this is actually happening wherever you listen to podcasts. You can listen ad-free on the Amazon Music or Wondery app.
这个系列讲述了与事件有关的五个人的故事,包括一个从当地学校引开枪手的父亲和枪手的姐姐。这些故事引人入胜,听后会让你久久难以忘怀。在你听播客的任何地方都可以关注This is actually happening。你可以在亚马逊音乐或Wondery应用中无广告地收听。
March 2004, the Pennsylvania Convention Center, Philadelphia. At the side of the stage, Disney's CEO and chairman Michael Eisner grits his teeth. Roy Disney's onstage, trashing his leadership and the 3,000 stockholders gathered through the corporation's annual meeting are cheering.
Roy jabs at the air with a finger as he lays into Eisner. The current leadership seems to think the creativity and originality are things you can't afford. To them, it's all about branding. I say branding is for cows. Branding's what you do when there's nothing original about your products.
As the crowd cheers, Eisner turns to Disney president Bob Eiger. We said he could have 15 minutes while he's still on stage. You want to cut him off? Of course not. He'd love that. An assistant approaches. Mr. Eisner, I have the stockholder vote results for you. The assistant hands over the figures and backs away. Eisner stares at the results in silence. Eiger moves closer. What's the result? 43% withheld support from my re-election. Eiger says nothing. It's a devastating verdict. Eisner hoped his success at repelling Comcast's advances would quell dissent. But nearly half of Disney stockholders still lack confidence in him.
Onstage, Roy Disney wraps up. After today, the board will no longer be able to pretend they have a great management team. After today, things will be different. That evening, Disney's board strips Eisner of his role as chairman. He remains CEO, but he's the walking dead. Once the board chooses his successor, he's out.
The news prompt Steve Jobs to halt Pixar's talks with rival studios. He wants to see how things play out at Disney before partnering with another studio. But it's a risky move. There's no guarantee that the next Disney leader will be more amiable to Pixar's demands. And that's dangerous for Pixar's first self-financed movie, Radatouille. It's coming out in 2007 and many doubt the commercial potential of a movie about a rat in a restaurant kitchen. And the longer Pixar waits for change at Disney, the less time it'll have to assemble a marketing and merchandising push to boost Radatouille's chances at the box office.
But while Pixar pauses, Dreamworks ups the pace. October 2004 Manhattan. Jeffrey Katzenberg stands before a room full of representatives from major investment funds. He's here to hawk the chance to buy into Dreamworks animations IPO. The studio's stock market debut is only a week away. Once it happens, Dreamworks animation will split off from the rest of Dreamworks with Katzenberg at the helm.
Katzenberg briefs the fund managers. Our strategy is very clear, very focused. We make computer animated features and TV shows for the whole family. I like to say that we make movies for adults and the inner adult and every child. A fund manager interrupts. So you make movies, parents can tolerate so they're more likely to take their kids to see it. Our movies offered shared experiences for families. Now let's say you take your child to see our new movie, Sharktail. You're sitting next to your child and your both laughing. Your child's laughing because of the physical comedy, but you're laughing at the subtext or the innuendo. It's a shared moment. We very deliberately seek to create these moments. Another fund manager raises a hand. Pixar makes similar movies. Why should I put my clients money in Dreamworks instead of Pixar?
Katzenberg smiles. He's been on the road selling this IPO to investors for days and he's already heard every question. You could invest in both. But to your point, Dreamworks releases two movies a year. Pixar just won. That reduces our risk and increases our upside potential. So this year we've had two big hits, Sharktail and Shrek 2, which has replaced finding Nemo's the highest grossing animated movie of all time. Hey, didn't Sharktail get terrible reviews? Let me tell you, Sharktail has been America's number one movie for the past three weekends. So both I and the movie going public disagree with the critics on that one.
Well, what about after the IPO? What's the outlook? This fall we release Shrek 2 on DVD. We expect to sell 55 million copies. The fund managers smile. On October 28, 2004, Dreamworks Animation joins the New York Stock Exchange. It stock opens at $28 and soars 40% that day. By the closing bell, Dreamworks Animation is worth $3 billion dollars and Katzenberg's a billionaire.
But his big promises about Shrek 2 on DVD soon come back to haunt him. A head of Christmas 2004, Dreamworks swamp stores with Shrek 2 DVDs. Since retailers stock DVDs with the option to send back any copies that don't sell, few object. Shrek 2 sells fast by the new year more than 30 million copies are sold. But that's not enough to empty the shelves. So in January 2005, retailers gather all the unsold Shrek 2 DVDs and ship them back to Dreamworks. In May, Dreamworks downgrades its financial forecasts to account for the millions of unsold DVDs.
Wall Street is appalled. It can't stomach how far off Dreamworks sales projections were and why it took five months to fess up to the miscalculations. Dreamworks stock price, tumbles and investor confidence is dented. But Katzenberg is in phase. He reckons Dreamworks next movie will re-energize the company's fortunes. In the zoo, there are dreamers. I wish I could go to the wild. And there are schemers. They were going to blow this dump this summer. I feel good. They had kitty. Lady. Ben Stiller and Chris Rock are setting a course for uncharted territory.
We're going to face extreme peril. From the creators of Shrek. What are you guys doing? You didn't see anything. Metagascar. It's going to be ice cold sushi for breakfast. Lady PG. On May 27th, 2005, Dreamworks new movie, Metagascar, hits cinemas. It's tale of pampered zoo animals returning to the wild draws big crowds. In nine days, it grosses $100 million.
Ahead of release, Katzenberg hyped the movie hard. He told investors it would be the moment that Dreamworks became as reliable a hit machine as Pixar. And that big talk convinced analysts that Metagascar would gross more than $200 million in the US. But when it becomes clear that Metagascar won't meet that sky high expectation. Investors freak. Shrek stock crashes to $28. The same price as its IPO. Investors file lawsuits accusing the company of misleading statements.
Where the studio's financial credibility shredded, Katzenberg brings in a former Bank of America executive as president to handle business operations. The move for stores trust, but Dreamworks Wall Street honeymoon is over. And while Katzenberg adjusts to the reality of leading a public company, Disney's under new management.
October 2005, the Disney boardroom, Burbank, California. Its Bob Iger's first day is Disney CEO. After a six month handover, Michael Eisner's left the building and given Iger the keys to the kingdom. And Iger's starting bold. He brings up a PowerPoint slide detailing Disney animation's performance. The board members sitting around the table lean in for a closer look. It's not pretty. In the past decade, Disney spent a billion dollars making animated movies and lost $400 million.
Iger begins his pitch. Disney animations amass. It really hit me last month at the opening of Hong Kong Disneyland. I was at the parade watching the floats go by and I noticed that nearly all the characters from the previous 10 years were created by Pixar, not Disney. Truth is, Disney animation doesn't make good movies or memorable characters. The board looked shocked at Iger's take down of the animation studio.
Eisner painted the morosear picture of a studio having a rough patch. Iger continues. Meanwhile, Pixar made hit after hit using technology unfamiliar to our animators. Our own surveys show that people now love Pixar more than Disney. It's not even a close call. The board members shocked. Turns to fury. Bob, you were the president the past five years. Isn't this your fault too? Buying ABC in 1995 made Disney a much more complicated business to manage. The animation studio didn't get the attention it should have. We can't fix yesterday, but we can change the future.
The way I see it, as animation goes, so goes the whole corporation. What animation creates fuels our other businesses. TV, consumer products, theme parks. Yes, we have to fix this. But how? We have three options. One, we trust the current management to fix it, and I doubt it can. Two, we find new talent to run the studio. But I spent six months looking for that talent, and I found no one. All right, what's the last option? We buy Pixar.
The meeting descends into chaos. Iger tries to restore order. Listen, listen, I don't know if they're for sale. That's up to Steve Jobs and I doubt he'd sell. And even if he would, it'd be expensive. Six billion dollars minimum. But look, if we can, we should buy them and have Pixar fix Disney animation. You with me? The board members can't believe their ears. Iger's been CEO less than 24 hours, and he wants to make a multi-billion dollar acquisition. But they don't want to slap down the new CEO on his first day. So they give Iger permission to contact Jobs and see if there's a deal to be done.
A deal that could get Pixar back and save Disney animation.
一项协议可能让皮克斯回归并挽救迪士尼的动画。
October 2005 Apple headquarters, Cupertino, California. In the boardroom, Apple CEO and Pixar chairman Steve Jobs draws a vertical line down the middle of the long whiteboard that covers one wall. He writes the word pros on one side of the line and cons on the other. Then turns to face the only other person in the room. Disney's CEO, Bob Iger.
Okay, you start Bob and he pros? Iger doesn't want to go first. He's still surprised Jobs is entertaining the idea of Disney buying Pixar.
“好的,你开始吧,鲍勃。他行吗?”艾格不想先开口。他还很惊讶乔布斯正在考虑迪士尼收购皮克斯的想法。
No, after you.
不,你先。
Okay, well I have some cons. Jobs rolls up the sleeves of his black turtleneck sweater and starts riding. Disney's culture will destroy Pixar. There's too much ill will between our companies. Wall Street will hate it. Let's see, fixing Disney animation will take too long. Pixar will reject being owned by Disney like a body rejects a transplanted organ. Okay, did I miss anything, Bob?
That's quite a list, Steve. I don't think I need to add to it. But for a pro, how about Pixar will save Disney and will all live happily ever after? What do you think?
What do you mean Pixar will save Disney, Bob? Turning animation around will totally change Disney's fortunes. Jobs turns and scrolls the first pro onto the board.
Two hours later, Jobs and Iger sit back and stare at the pros and cons list. The pros side looks empty. The cons side is nearly full. Iger looks defeated.
Well, he was a nice idea, but it won't work. Jobs turns to Iger.
嗯,这是个不错的想法,但行不通。乔布斯转向艾格尔。
A few solid pros are more powerful than a dozen cons. What's our next step?
“几点充实的优点比十几点缺点更有力量。我们的下一步是什么?”
In the weeks it follow, Jobs persuades Pixar CEO Ed Cattmall and creative chief John Lasseter to back the sale. He convinces them that Pixar will be more secure within a large corporation than as an independent studio that sell finances its movies. He also underlines how Disney doesn't want to change Pixar, but rather have Pixar change its animation studio.
接下来几周,乔布斯劝说Pixar CEO Ed Cattmall和创意主管John Lasseter支持出售。他说服他们,在大公司内,Pixar将比作为独立制片厂出售影片更加安全。他还强调迪士尼不想改变Pixar,而是想让Pixar改变自己的动画制片厂。
But while Pixar is now on board, Iger still needs to get Disney's board to back the $7.4 billion buy-up and as decision-day looms, Michael Eisner resurfaces.
He's heard about Iger's plan and he's made it his mission to persuade Disney's board to reject it.
他听说了艾格的计划,现在他的使命是说服迪士尼董事会拒绝它。
January 2006, Disney boardroom, Burbank, California. Eisner smiles at the board members. It's been only four months since he left Disney, but it feels good to be back.
He knows the board has only given him an audience to ensure he doesn't go public with his objections to the Pixar acquisition, but he's certain he can win them over to his point of view.
他知道董事会只是要听取他的意见,以确保他不公开反对皮克斯收购,但他相信他可以说服他们支持他的观点。
Today I want to save Disney from making a terrible mistake. Buying Pixar would be a disaster. We already own their IP, so what exactly are we paying $7.4 billion for? Two board members nod in agreement.
Eisner continues his attack. Pixar's overvalued. It's never released a movie without Disney's marketing support. The markets have failed to factor our contribution into Pixar's success as part of its stock price. Pixar's one failure away from being just another animation studio.
Eisner looks at Iger who's sitting at the far end of the boardroom table. We don't need Pixar to fix Disney animation. Bob can fix it.
艾斯纳看着伊格尔,他坐在会议室桌子的远端。我们不需要皮克斯来修复迪士尼动画。鲍勃可以修复它。
Iger's Scalz. Michael, you couldn't fix it. Why do you think I can?
迈克尔,艾格尔的计划你没能解决,你为什么认为我会行呢?
Because you've made it a priority. This acquisition will also make Steve Jobs Disney's largest individual stockholder. Steve is difficult. He's domineering. He'll cause trouble. He'll demand control. To eject this deal.
Iger fumes his Eisner's stocks out of the boardroom. He's no longer in charge, but he's still trying to control Disney's destiny. Disney Chairman George Mitchell looks at Iger.
Bob, you want to respond before we vote? Iger rises to his feet. His heart's racing. This vote is no longer just about Disney and Pixar's future. It's also about his own. He staked his credibility on this buyout. If the board says no, his position as CEO will be untenable.
What Michael told you is wrong, wrong, wrong. Michael can't work with Steve, but I can. Steve is one of the greatest business minds of our time. Why wouldn't we want his input? The price is fair. We're not just buying Pixar. We're buying the means to fix Disney animation. Iger looks at the board members. Today, you will decide Disney's future.
I've said it before as Disney animation goes, so goes this company. That was true in 1937 with Snow White. It was true in 1994 with the Lion King. And it's true now when animation soars, Disney soars, we must do this. Iger sits. He can't tell if he's done enough. Mitchell breaks the silence. Thank you, Bob. Alright, it's time to vote.
January 24, 2006. Pixar headquarters, Emoryville, California, 106 PM. Tom Porter checks the email that just landed in his inbox. It's from Pixar's CEO, Ed Catmull. All employees to assemble in the atrium at 1.15 PM. Porter and those next to him, Exchange looks. This must be it.
For weeks, there's been widespread speculation about Pixar's future. Wild rumors of a Disney buyout, claims of a distribution deal with a rival studio and more..
Porter leaves his desk and joins the hundreds of employees streaming towards the huge central atrium of Pixar's headquarters. Porter's been with Pixar since it was founded. He was part of the original Lucasfilm team that began building the tech that went on to transform animation. He grabs a spot on the stairwell balcony overlooking the atrium.
Below, he sees employees gathering around a small stage draped in black cloth. A hush falls over the crowd. Steve Jobs emerges from a side room dressed in his usual black turtleneck and jeans ensemble. Pixar's CEO, Catmull, follows along with Pixar's creative chief John Lasseter, who's wearing a Hawaiian shirt. They step onto the stage.
Jobs speaks into his handheld microphone. At this moment, a press release is going out announcing that Disney will acquire Pixar. The 800 employees in the atrium gas. Porter hears someone burst into tears. They heard the rumors that they never believed them. They were all fired up about Pixar becoming an independent studio. Now, Disney's swallowing them.
Catmull takes the mic. We reached a point where we couldn't continue as we were. We had to go left or right. Join Disney or be independent. Our instinct was independence. On the surface, it's more appealing. But below the surface, it's not so clear cut. To be independent, we would need to create marketing and consumer products divisions fast. And that would endanger our creative culture.
Lasseter speaks next. Also, our stock price is based on the expectation that we'll keep performing at our current level. At some point, investors will demand growth. And that will mean doing things like making more than one movie a year, expanding into TV. We'd have to make creative compromises. So we concluded that the heart of Pixar is more likely to survive inside Disney than outside it. As an independent studio, a single flop could take us down.
The employees look shell shocked. Still, some seem to be warming to the idea, but others look devastated. Jobs speaks again. This deal protects Pixar's culture and creativity. I would never have done it otherwise. With this deal, Pixar will stay a great company and help Disney remain one, too.
Now, I have someone I'd like to introduce to you. Bob Eiger, the CEO of Disney. Eiger emerges from the sidelines and heads on to the stage. The employees applaud, but they're all wondering what the future really holds for them and for Pixar.
On the next episode, DreamWorks enters the third dimension. Pixar carries out brain surgery on Disney animation and a new studio challenges the animation duopoly with help from a super villain. From wondering, this is episode three of DreamWorks vs Disney Pixar for business wars.
A quick note about recreations you've been hearing. In most cases, we can't know exactly what was said, though scenes are dramatizations. But they're based on historical research. If you'd like to read more about Disney's buy-out of Pixar, we recommend the ride of a lifetime by Robert Eiger and Steve Jobs by Walter Reisickson.
I'm your host, David Brown, Tristan Donovan of Yellow Ant Media wrote this story. Karen Lo is our senior producer and editor, edited and produced by Emily Frost, sound designed by Kyle Randall. Our producer is Dave Shelling, our executive producers are Jenny Lauer Beckman and Marshall Lui, created by Ernan Lopez for wondering.