Are you a horrible boss like Henry VIII?

Last week, I went for my first visit to Hampton Court and realized what a poor leader Henry VIII was.

He was self-serving and at times uncommunicative and out of touch with his people. In his later life, he became increasingly paranoid.I was thinking about him as I’m preparing for one of my Leadership Labs in Toronto. I certainly could have coached him to be a better leader.

Granted Henry was the king and everyone had to do his bidding. However, he is remembered more for his wives and their deaths or divorces than being a great leader. We can all learn from Henry’s mistakes.

One of the biggest challenges for any leader is developing the trust of their employees.

Unlike Henry’s court, we don’t literally have the prospect of the guillotine hanging over our heads. But most of us (nearly half according to one survey) do have the experience of working for an unreasonable manager. Among those, most (59%) stayed in their jobs and resolved to live with the situation, much like the people in Henry’s court.

 So here are four ways I would have coached Henry.

 Speak and act with consistency 

Employees look for management inconsistencies. So do what you tell employees you will do. Inconsistent words and actions create an impression of unpredictability. Henry was a devout Catholic until it no longer served his purposes to the great distress of all the religious people in the wake of his decision.

Share your vision 

It’s not enough to just be optimistic. It’s better to give your team something to be optimistic about. Share with employees your big-picture goals for them and the department. And constantly reiterate what it will take for both to be successful. Henry shared his vision of wanting an heir, no matter what the costs.

Involve employees in decision-making

Employees tend to trust managers who value input from subordinates. Create an environment in which employees feel free to voice their opinions. Listen patiently to employees and implement suggestions that increase efficiency and productivity. Henry had trusted advisors, Wolsey and Cromwell. Again they were part of Henry’s inner circle until they disagreed with him and met their demise.

Criticize privately

Allow employees to make mistakes without being humiliated. Offer constructive criticism in one-on-one meetings, not in front of others. Otherwise, employees may feel vulnerable to receiving criticism any time in any setting. And we all know the endings of many of Henry’s criticisms!

 

Scintillating Sizzle Reels

 

With only a couple of weeks left to prepare for MIP and a bit more for Hot Docs, I thought it would be a good idea to review putting together a fantastic trailer for your products. The days of paper pitches are over.

With the advent of cheap technology, reality or lifestyle buyers, fans and investors are now demanding a strong visual tease of your idea.

Call it a trailer, promo or sizzle reel – whatever you want – you need one on your website, mobile and iPad. You need it to entice people to commission your piece, become an ardent fan and invest their money and time in your project.

Of course, it depends who you’re pitching to and what your objective is in telling the story.

Lifestyle buyers are asking for a two-minute mini version of the show – the structure, shooting style and most certainly host and characters.

Attention spans are limited. Buyers quickly make the decision whether to take your idea any further. So you have a limited amount of time to show off your storytelling skills visually.

Here are some tips for creating scintillating sizzle reels.

Know your audience
For buyers, be clear on what exactly they want to see in your promo. For investors, product need and market are paramount. For your fan base, know they want inside information on your show like behind the scenes or bloopers. Your fans are also likely to have a longer attention span than buyers and investors.

The rules of storytelling still prevail
There needs to be a beginning: an introduction to the reel to set up the premise; a middle:  an introduction to the characters or situations in mounting intensity; and an end: some resolution for the viewer that leaves us wanting more.

Great characters are crucial to the success of the teaser
Engaging, eccentric and, most of all, great talkers who speak in images are a must.

A strong title
Your title needs to act as a punctuation point in the piece after the opening when you’ve established your premise. The first 30 seconds have to be engaging, gripping and attention getting. Otherwise the viewer clicks away or pushes the eject button on the DVD.

 

What we can learn from Picasso

This weekend I went to an exhibit at the Courtauld Gallery in London on Becoming Picasso: Paris 1901. The paintings in the current show were ones from his very first show and it demonstrates how the young painter took on and transformed the styles and subjects of modern artists of the age such as Van Gogh, Degas and Toulouse-Lautrec. This exhibit demonstrates his incredible budding creativity – brimming with vitality and energy. You would just see it in his paintings with his dynamic brush strokes and choice of unlikely subjects such as prostitutes, dwarfs and drunks.

 

That exhibit of 1901 would set him on his path of being one of the most influential and successful painters of the 20th Century. Years ago, I had seen another Picasso exhibit which displayed his ceramic works when he was elderly. In both shows, his determination to create inspired me to think about what makes us creative. I went searching for some research on what we can learn from the works and quotes from Picasso.

 

Here are a couple of ideas.

“The chief enemy of creativity is good sense.” Daydreaming, alcohol and laughing are all good for creativity, studies show. People who daydream score much higher on various tests of creativity. The same is true for laughing. When people are exposed to videos of stand-up comedy, they solve about 20% more insight puzzles. Then there’s being a little intoxicated. Students who were given a battery of word problems where people have to find one additional word that goes with a three words, like pine, crab and sauce. Drunk students solve nearly 30% more of these word problems than their sober friends. It seems there’s a creative advantage of not paying attention in having a couple of glasses of wine or beer.

Good artists copy. Great artists steal. Paris at the turn of the century was a magnet for artists and Picasso hung out with other creative types in the cafes of Montmartre. Picasso counted writers, poets and other painters such as Matisse among his close friends and I’m sure those late night discussions over a bottle of wine helped them all come up with new creative approaches to their art.

Inspiration exists but it has to find you working. Picasso himself painted 3 pictures a day. He was constantly adapting and changing his style, creating and adapting to events. When one of his best friends committed suicide, his painting became more melancholy and changed

All children are artists. The problem is how to remain an artist when he grows up.

Research into creativity shows when people are told to imagine themselves as seven year olds, they score significantly higher on tests that ask them to think of different ways of solving a problem such as trying to invent alternative uses for an old car tire

Maybe it’s the snow and cold weather in London that put me in the mood to read about the race for the South Pole back at the turn of the 20th century.  I recently stumbled across an article on the two explorers, the tragic Brit, Captain Scott and Roald Amundsen, the Norwegian who won the race.

http://www.youtube.com/watch?v=kW5p7ANwAU4

The difference in their two stories resonates with being in London and it is instructive in any kind of change. Certainly in the process of making a transition, you are thrown in to unpredictable or new situations, not necessarily on the scale of the wilderness of the South Pole but it is just as easy to get lost.

With Scott, he was ch

What to look for in a co-pro partner….

I just came from an information meeting about the new television tax credit for animation, games and budgets over one million pounds which the UK will be introducing this April.

The consultations are still ongoing until February 6 but the major elements are in place and so producers are expecting there will only be very minor changes.
The tax credit will provide producers with 25% of qualifying expenditure up to 80% of the costs. In effect the tax credit will be about 20% of the UK spend – or the ‘used and consumed in the UK’ portion of the budget.
Producers at the meeting today were very excited about the possible investment and co-productions this new tax credit represents. Surprisingly, the UK has only nine co-production treaties with Australia, Canada, France, India, Israel, Jamaica, New Zealand, Occupied Palestinian Territories and South Africa.
In light of this exciting news, it’s interesting to note what to look for in a co-production partner.
The ideal co-production is just that – an ideal.
With more people involved, there’s bound to be challenges. However, with a bit of thought beforehand, there can at least be clarity and an understanding about what each partner brings to the table.
Sure the lawyers can draw up the paper later but you can make everyone’s job easier by taking some time in the front end.
Relationship is key
As in all parts of the production business, goodwill goes a long way. That might mean making a list of what you want in an ideal partner and conducting interviews with who is your best match – a little like dating.
As in any relationship, a clear understanding of how you are going to resolve conflicts, outside of the legal mechanisms you put in place, is a good idea to understand from the outset.
Research potential partners
With Google, Twitter, LinkedIn and any social media tool, it’s incredibly easy to get a good handle on people.
Do you like the products featured on their site or the tone of their website or has it not been updated for a couple of years? That can give you valuable information about your partner.
As always in our business, word of mouth is crucial. Who in your circle has worked with the people you’re considering? What was their experience? Of course, we always have to take this kind information with a grain of salt.
Clarify what each partner brings to the table
Make sure you’re clear about the assets you’re providing in the relationship. If it’s financing, state the investment expectations. If it’s the idea and the concept, ensure you are protected if the partnership sours. Or perhaps you’re bringing your fan base to the production. Be clear about the value of those thousands of dedicated followers. Or maybe you want distribution transparency if you’re dealing with a company that is international.
I’m currently in London, looking for opportunities. If you have a production that needs additional finance, get in touch