Traditional Hollywood studios have long embraced a rigid, hierarchical structure, with studio executives issuing mandatory “notes” to directors, dictating what creative changes need to be made to films in progress. Critics of this system contend that the pattern of delivering commands from on high ultimately stifles the creative process and results in a poorer final product. Unlike the traditional top-down studio “notes” system, which often disregards directors’ creative oversight, Pixar has created a more egalitarian peer review process that encourages people to provide directors with collaborative critiques. Importantly, however, the director retains full control over whether to implement the suggestions that are provided. In Creativity, Inc., Ed Catmull details the evolution of Pixar’s celebrated “Braintrust” from an informal group to a deliberate feedback mechanism that thrives on candid peer review. As TIME magazine describes its premise, Pixar puts “smart, passionate people in a room together, charge[s] them with identifying and solving problems and encourage[s] them to be candid” (“This Is the Secret to Pixar’s Monster Success.” Time, 16 Apr. 2014). This structure allows for rigorous analysis while protecting creative ownership.

As the book reveals, the Braintrust model was initially forged during the crisis-driven reboot of Toy Story 2, when it became clear that trust and mutual respect are essential components of constructive criticism. Pixar executives therefore strove to create an open, safe space where everyone worked collaboratively to improve the developing film, taking ego out of the equation and focusing entirely upon the work itself. Key to this approach is the recognition that missteps are simply part of the creative process and often lead to better things. At Pixar, early versions of films, or “reels,” are expected to have flaws, and the Braintrust’s purpose is to highlight weak points through open debate. However, as Catmull emphasizes, “The Braintrust has no authority” (93) to require that their suggestions are implemented. In its ideal form, this rule liberates directors to hear the Braintrust’s criticism without growing defensive, as they alone own the responsibility for finding solutions. 

Early on, this tactic became a cornerstone of Pixar culture, helping directors to hone and polish their films-in-progress. In 2006, the Pixar team gained the opportunity to apply their hard-earned approach to a much broader organization when the Walt Disney Company acquired Pixar Animation Studios in a $7.4 billion all-stock deal that aimed to revitalize Disney’s creative culture. Incoming CEO Bob Iger signaled a shift in priorities, stating, “‘The goal here, above all else, is to make great animated films—the rest kind of takes care of itself’” (Levingston, Steven, and Mike Musgrove. “Disney to Buy Pixar Studios In Its Move to a Digital Era.” The Washington Post, 25 Jan. 2006). The merger’s terms placed Pixar’s leadership, Edwin Catmull and John Lasseter, in charge of both studios and explicitly protected Pixar’s operational autonomy. The two immediately made bold changes to the old hierarchical system at Disney, shutting down the creatively stifled Circle 7, a division created to make Pixar sequels without its creators. More importantly, Catmull and Lasseter ended the studio’s heavy-handed feedback methods, which had been based on the traditional Hollywood system. 

By creating a peer-driven “Story Trust” that echoed Pixar’s vaunted Braintrust, the leadership began the long, slow process of improving morale and providing Disney animators with the latitude to follow their creative instincts. Further reforms included dissolving the micromanaging “oversight group” and keeping the Disney and Pixar studios operationally separate. This empowerment, combined with renewed creative trust, transformed the culture at Disney Animation and jump-started the faltering studio’s success. Throughout Pixar’s history, the overriding goal has been to create spaces where individuals’ creativity leads to earnest collaboration and high-quality storytelling, overcoming the limitations of more traditional structures.