評論
打印
A Bug's Life
《蟲蟲危機》
When Apple developed the iMac, Jobs drove with Jony Ive to show it to the folks at Pixar.
在蘋果開發(fā)出了iMac之后，喬布斯和喬尼·艾弗開車去了皮克斯，把iMac展示給那兒的伙伴們。
He felt that the machine had the spunky personality that would appeal to the creators of Buzz Lightyear and Woody,
喬布斯認為這款活力十足的機器能夠吸引“巴斯光年”和“伍迪”的創(chuàng)造者，
and he loved the fact that Ive and John Lasseter shared the talent to connect art with technology in a playful way.
而且他很髙興看到艾弗和約翰·拉塞特都具備這種把藝術和科技有趣結合的天賦。
Pixar was a haven where Jobs could escape the intensity in Cupertino.
皮克斯就像一座避風港，得以讓喬布斯排解在庫比蒂諾的壓力。
At Apple, the managers were often excitable and exhausted,
在蘋果，管理人時而興奮時而疲累，
Jobs tended to be volatile, and people felt nervous about where they stood with him.
喬布斯情緒多變，經常把大家弄得不知所措。
At Pixar, the storytellers and illustrators seemed more serene and behaved more gently, both with each other and even with Jobs.
在皮克斯，編劇和插畫師無論彼此合作還是和喬布斯在一起，都更加平和，舉止行為也更加和善。
In other words, the tone at each place was set at the top, by Jobs at Apple, but by Lasseter at Pixar.
換句話說，領導者的性格奠定了整個公司的風格，就如同蘋果帶著喬布斯的影子，而皮克斯也深受拉塞特的影響。
Jobs reveled in the earnest playfulness of moviemaking and got passionate about the algorithms
喬布斯陶醉于電影制作過程的趣味性，并深深著迷于魔法般的計算機特技，
that enabled such magic as allowing computer-generated raindrops to refract sunbeams or blades of grass to wave in the wind.
比如計算機模擬制作雨滴折射出陽光，或青草葉在微風吹拂下晃動。
But he was able to restrain himself from trying to control the creative process.
同時他也克制自己不要去控制創(chuàng)意過程。
It was at Pixar that he learned to let other creative people flourish and take the lead.
在皮克斯，他懂得了要給創(chuàng)意人員天馬行空的自由空間。
Largely it was because he loved Lasseter, a gentle artist who, like Ive, brought out the best in Jobs.
這在很大程度上是因為，他很欣賞拉塞特這樣一位彬彬有禮的藝術家，像艾弗一樣，能激發(fā)出自己最好的一面。
