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原始对话

Disney: The Renaissance and the Empire

Acquired · · 4:32:56

Ben Gilbert describes a period when nearly all Disney profit came from parks and licensed consumer products, rather than its creative businesses. David Rosenthal describes Disney recruiting Michael Eisner and Frank Wells after Ron Miller’s departure in 1984. David Rosenthal describes keeping production costs low, generally avoiding A-list stars and directors, and letting script and story quality guide decisions.

Ben GilbertDavid Rosenthal
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Disney: The Renaissance and the Empire
Acquired

一目了然

关键时刻3

简短、标注来源的段落，并附有可验证上下文。完整对话保留在其发布者处。

8:02 （在新标签页中打开）
创办公司

Disney’s creative business had weakened

原始摘录

And David, things have gotten so bad in the creative core engine that nearly every dollar of profit is coming from the parks and licensing consumer products at this point.
Ben Gilbert·
上下文

Yes, and that is, by far, the best option to fend off these corporate raiders. Dark times. Films and TV, you know, the Disney that you know of, the content business, is basically break-even. In 1984, Disney generated a quarter billion dollars of profit from its parks and consumer products and a mere $2 million from film and TV. The core of the famous Disney flywheel is completely broken.

12:13 （在新标签页中打开）
创办公司

Disney replaced its leadership during a crisis

原始摘录

They go out and they identify, recruit, sell, and hire arguably the greatest two-person management team in media company history: Michael Eisner and Frank Wells.
David Rosenthal·
上下文

Yep. So in the wake of all that, in 1984, Roy E. Disney decides enough is enough. Together with the Bass brothers, the new 25% shareholders, Roy and his business partner Stanley Gold, who's also on the Disney board with him, they gang up and they finally force out Ron Miller as CEO, who again is Roy's cousin by marriage, married to Walt's daughter. And they do this via dramatic boardroom coup that happens on September 7th, 1984. And then over a period of just 14 days, because Disney now, like, is without a leader, is in double crisis here. And then Michael quickly brings in his number two from Paramount, Jeffrey Katzenberg, to run the film studios.

13:58 （在新标签页中打开）
创办公司

Prioritize scripts and stories over star attachments

原始摘录

They would generally not work with A-list stars and directors, and instead they would focus on the quality of the scripts and the stories and let that be their guiding judgment, as opposed to the typical Hollywood thing of who's attached to the project.
David Rosenthal·
上下文

Yep. And the way they did it was this famous strategy that they called the singles and doubles strategy. The idea was they would keep their production costs low. Like, do we have the stars?

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