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  • There's this constant stress on organizations and on creators

  • to continue to think about--

  • what is it I'm doing, and what is it that my audience is going

  • to want from me in the future?

  • How are you able to balance this need for some continuity,

  • but also this ability to renew and try something different?

  • It's not about how much we lost.

  • It's about how much we have left.

  • Studying movie franchises was a fun way

  • of understanding when you've already

  • got movie one, movie two--

  • when you're working on movie three,

  • you have a backlog of things.

  • So you have some constraints, but you still

  • want to be creative on movie number three.

  • Marvel's making really fun movies.

  • And what they're doing is they're bringing in new voices

  • into their process, and then allowing

  • those voices to let them violate some of the assumptions of what

  • made the previous movie great.

  • Over time, that makes an audience that

  • is more willing to show up to a movie ready to be surprised

  • and to be wowed, rather than an audience that shows up

  • and they say, I hope that I'm going

  • to get these three things from the product

  • that I already expect because the last three products have

  • given me those three things as well.

  • You look at the character Thor.

  • So Thor starts out with kind of a classic, first treatment

  • in movie number one where we establish his back story.

  • Movie number two-- a lot of fans of the Marvel cinematic

  • universe would say--

  • that's the worst movie in the entire 22 movie run.

  • It feels very Shakespearean, very heavy.

  • Now, you come to visit me, brother.

  • Why?

  • And then in movie number three, they

  • hire Taika Waititi who's known for these kind

  • of off beat sort of comedies and these really unique, kind

  • of quirky characters.

  • And he really does that to Thor, and you

  • have this third movie that feels more like a Buddy cop comedy.

  • I lost my hammer, like, yesterday.

  • So that's still pretty fresh.

  • The audience could say, this is way

  • too different than what I expect Thor to do.

  • He's supposed to be this Norse god and wielding his hammer.

  • But instead, the reaction was, wow, like, this is so much fun.

  • The other movies that are building up to it

  • are continuing to violate expectations in these fun ways

  • so that when you get to Thor, which

  • could be seen as a major violation, instead

  • it's just another part of them being really creative

  • and generating new products and delighting the audience.

  • You create this zone of acceptable violations.

  • These films are quantitatively different.

  • Yeah, we can measure it.

  • So we did a script analysis where

  • we analyzed the emotional tone of each one of the movies,

  • and then we plotted them over time.

  • And we saw, basically, there's this kind

  • of zig zag pattern where one movie might

  • feel kind of dark and deep, and the next movie

  • is going to feel more light and fun,

  • and then you go down again.

  • You begin to have people that are challenging

  • what the formula is.

  • The movies actually do look different.

  • Visually, they're different signatures.

  • Over time, if we begin to plot how a product is

  • different from the previous product,

  • we can understand what is the zone that they're

  • creating of a violation that's going to be

  • acceptable for the audience?

  • Marvel was doing something that we

  • thought was really bizarre and cool in hiring new talent,

  • especially their directors.

  • We call this selecting for experienced inexperience.

  • They were hiring people that were inexperienced at making

  • a blockbuster, but had really deep experience

  • with some sort of a genre.

  • One of the coolest examples of hiring

  • for an inexperienced experience is

  • Ryan Coogler and Black Panther.

  • I mean, that movie was a huge risk.

  • You bring in Ryan Coogler-- he has

  • kind of a very strong set of ideas,

  • and he has a really strong aesthetic.

  • And he brings that to it, but it still

  • feels like a Marvel movie.

  • So what they didn't do is kind of force

  • him to conform to some sort of a Marvel template.

  • If anything, the forcing went the other way

  • where he kind of forced Marvel out of its comfort zone.

  • Very often when we think about onboarding an employee,

  • we think, how quickly can we get you to become exactly like us?

  • Here, what Marvel was saying is, you

  • have something that we don't have.

  • Bring that so we can learn from you.

  • And the parts where you are inexperienced--

  • making a blockbuster--

  • we're going to help you make up for that.

  • We can handle that part.

  • But you keep what's unique to you.

  • We often think about onboarding new employees,

  • and this gets us to begin to think

  • about inboarding new employees.

  • What are we allowing them to bring into the organization

  • before we try to put things onto them?

  • Organizations that are able to kind of evoke this sense of,

  • we're going to continually create,

  • and we have an audience that's going

  • to follow us on that journey--

  • they're able to reap the benefits from that.

There's this constant stress on organizations and on creators

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22部電影之後,漫威影業如何保持驚喜和成功? (After 22 Films, How Has Marvel Studios Stayed Surprising and Successful?)

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    jbsatvtac1 發佈於 2021 年 01 月 14 日
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