About the Speaker:
Over a career spanning 16 years, I have a demonstrated history of working in leadership positions covering different facets of the Broadcast & Digital industry. This has included content acquisition, partnerships with content creators, leading cross functional teams, Gaming and 2nd Screen Interactivity Initiatives, Digital Content Creation, Revenue maximisation for Digital Products, Consumer insight generation.
Recently I have been entrusted to lead all Content, Partnerships, Analytics, Gaming, 2nd Screen & Big Data Initiatives for Sony LIV (Digital Business for Sony Pictures Network India).
Prior to this role, I was leading a business unit (Digital Products – SET) which was mandated to drive 2nd screen interactivity between TV and Smartphones, to find innovative ways to unlock new revenue streams & enhance consumer engagement in the digital ecosystem for Sony viewers.
Earlier, I led the insights and programming strategy for SET, the flagship channel of for Sony Pictures Network India. In this role, I was responsible for the overall business strategy for the channel, consumer insights and collaborations on creative development to drive viewership and P&L management.
Between 2011 to 2015, I was heading programming and acquisitions for Sony PIX and AXN that included content acquisition and spearheading partnerships with all leading global movie studios.
Very early in my career, I opted to be part of the core launch team for NDTV Imagine, an enterprising start up in the competitive Hindi general entertainment space, which shaped my understanding of business development, content planning and entrepreneurship.
I have had the unique privilege of being selected as the youngest presenter at the World Audience Measurement Conference (An ESOMAR initiative) in Canada.
I am passionate about bridging the gap between Media Industry and Academia and regularly visit several management institutes including MICA as guest faculty.
About the Book:
Creativity, Inc. is a manual for anyone who strives for originality and the first-ever, all-access trip into the nerve center of Pixar Animation—into the meetings, postmortems, and “Braintrust” sessions where some of the most successful films in history are made. It is, at heart, a book about creativity—but it is also, as Pixar co-founder and president Ed Catmull writes, “an expression of the ideas that I believe make the best in us possible.”
For nearly twenty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Monsters, Inc., Finding Nemo, The Incredibles, Up, WALL-E, and Inside Out, which have gone on to set box-office records and garner thirty Academy Awards. The joyousness of the storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, in this book, Catmull reveals the ideals and techniques that have made Pixar so widely admired—and so profitable.
As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student at the University of Utah, where many computer science pioneers got their start, and then forged a partnership with George Lucas that led, indirectly, to his co-founding Pixar in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the thirteen movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on leadership and management philosophies that protect the creative process and defy convention, such as:
• Give a good idea to a mediocre team, and they will screw it up. But give a mediocre idea to a great team, and they will either fix it or come up with something better.
• If you don’t strive to uncover what is unseen and understand its nature, you will be ill prepared to lead.
• It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them.
• The cost of preventing errors is often far greater than the cost of fixing them.
• A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody.
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