How Pixar Solved an Impossible Crisis by Not Making a Decision

At Pixar, a perfect storm occurred just before the release of their new movie Up.

Coincidentally, a short movie, Cars Toons, had been planned for release at the same time. Their computing capacity couldn’t handle both projects simultaneously.

Greg Brandeau, the senior VP of system technology, had two choices: spend $2 million on new computers or delay Cars Toons. With time running out and pressure mounting, he turned to Ed Catmull, Pixar’s co-founder and CEO.

“I don’t see how we’re going to get out of this mess,” he said. “Ed will have to make a decision.”

Catmull listened without a word, then asked a few questions and shared his view: “We don’t have $2 million for new computers.”

Brandeau expected this answer. “Then, do we delay Up or Cars Toons?”

“Neither,” said Catmull. “We need both done on schedule. See if you can figure something out.”

Brandeau returned to his team, desperate.

After seemingly endless discussions, someone suggested, “Can we borrow Disney’s computers and use them here?”

Disney had acquired Pixar a few years before, but the two companies did not share their resources. Disney had its HQ in Burbank, and Pixar was still in Emeryville, almost a full day’s drive away.

“Insane!”

But they did it anyway.

The team trucked 250 of Disney’s RenderFarm computers and rendered both movies in time for the release date.

There are two kinds of decisions: either-or and both-and. Either-or means compromise. Both-and means combining the best of all options. Catmull refused either-or. Spending an extra $2 million or delaying the release date were two bad options. He pushed for the best solution.

Quick decisions may speed up the process, but they lead to mediocrity. The real challenge and excitement in creative work lie in holding conflicting ideas and combining them in a novel way.

Decisiveness is overrated.