Apple Watch is NOT Replacing the Mechanical Watch

Time goes byMy little voice is nothing in the breathless rush of chatter about the Apple Watch. But I keep hearing the same set of sentiments from my friends and I think they have it all wrong.

In various ways, friends are lamenting the loss of the mechanical watch. Others are asking “Why do I need this accessory? What’s the killer app”?

Back in the day people had pocket watches. You’d dig in your pocket, and pull out your pocket watch to tell the time.

Then the wristwatch came along. It was smaller – but so much more convenient. The time was right there at a glance.

The thing people have wrong is that Apple Watch is not replacing the watch. It’s replacing your phone. Or it will rather. Apple is just hoping it can provide sufficient value through the form-factor in the meantime.

“But they call it a watch.”
Yes, it’s called “watch”, but calling the Apple Watch a “watch” is akin to calling the iPhone a phone, and not, say, a pocket computer. The Apple Watch is a wrist computer and will eventually replace your pocket computer. All based on pure convenience.

The Apple Watch is a wrist computer and will eventually replace your pocket computer.

“But I need a bigger screen!”, friends have then said. Of course you do for some things, and bigger screens will become accessories. And that’s another paradigm shift here – the watch is not the accessory, the screen is.

There is no way this first Apple Watch is the fully expressed big idea. This is just the first step.  Surely the plans for Apple Watch are long.

It’s long been acknowledged that anyone under 30 who wears a mechanical watch today is essentially wearing jewelry. And that they use their phones to tell the time now.  For these users wrist watches are merely quaint objects on par with vinyl LPs and 50s geek glasses.  So for a generation of users who have abandoned mechanical watches for “pocket computers”, a wrist computer is so much more convenient, and it does not replace anything already there. For them, sheer convenience is the killer app.

For hipsters and us old farts who still think mechanical watches are beautiful and functional jewelry, yes, we need to “replace”. And if one is contemplating that switch there is no killer app. But there are 3 dozen small, functional features – in addition to telling time – that make the switch quite worthwhile.

Over time, I believe that switch will happen – even for them – as the Apple Watch replaces the iPhone.



Die Hard and the Meaning of Life: The Undeniable Attraction of Loyalty

I was watching a movie with my wife when I had an epiphany. I don’t want to tell you which movie because it doesn’t matter, and I would really rather not reveal the ham-fisted taste I have in movies anyway. But I was watching this movie and there came a point in the story that you will recognize because it’s part of every movie ever made – where the hero, who was obviously so committed… alright, I’m not going to be able to explain this without telling you which movie, it was Die Hard.

Die Hard

Die Hard, 1988

…Ok see? Now you’re going “oh, one of those guys”. Fine. Yes, I am. I am totally one of those guys. And so is my wife. Anyway there came a point where I found myself delighting in the fact that John McClane was not going to stop trying to save the hostages, one of whom is his estranged wife, no matter what happens to him. No matter what challenges and risks are placed in his way – he is going to try to save them despite impossible odds. And I realized that it’s really his unshakable, defiant loyalty to the innocent people he cares about that makes you cheer for this guy; his belligerent loyalty – in the face of possible death – to protect and honor the people he loves, that is so positive and attractive. I realized that in one way or another some display of loyalty is at the root of every moment I’ve ever cheered during a film – or conversely a lack thereof when I’ve been angry at a character.  And as the thought rolled over me, quickly becoming more complex and patterned, I had this epiphany: that loyalty, in all its positive flavors, is maybe the most impressive, attractive, beautiful and powerful behavior humans can display to one another.

When someone says “No! There is one more guarantee you have. You can depend on me. I will be here.” is there anything more powerful and uplifting?

Like I said – it doesn’t matter that the movie was Die Hard, because it became clear that this was true of every movie I’d ever seen, of every character relationship I’d ever read. And, I realized, it must be true of nearly every kind of interpersonal relationship we have as humans.

The world can seem unfair. The only practical guarantee you have is the end. We live life under a looming cloud of uncertain timing; in so many ways the universe is not aligned to favor us. But when another person rises and defies the dearth of life’s promises and through action says “No! There is one more guarantee you have. You can depend on me. I will be here” – is there anything more powerful and uplifting? One person’s will against universal entropy.


Lord of the Rings: the Return of the King, 2003


Step Brothers, 2008


Aliens, 1986

Good characters become bad guys when they are disloyal to the hero. And bad guys redeem themselves when they demonstrate a turn of loyalty to the hero. Back in my screenwriting days one of the mantras we carried with us was “Characters are what they do, not what they say.”

All sorts of interesting character dynamics emerge when we mix up what is said and done by a character. And when, despite claiming loyalty, a character sheds that and instead acts in his own self-interest, he transforms into a villain. That’s how important we naturally feel loyalty is. It seems there is nothing tragically, unjustly worse than losing the loyalty of another. The emotion is innate.  And gaining loyalty is similarly immediately endearing.

Raiders of the Lost Ark, 1981        Indy: “Give me the whip!”      Satipo: “Adiós, señor.”


The Lion King, 1994


Harry Potter and the Prisoner of Azkaban, 2004

So I came to realize, maybe too late in life, that loyalty is perhaps the most profound, meaningful, beautiful and useful behavior humans can give to one another. Indeed, loyalty is perhaps the only meaningful measure of humanity. Loyalty to your fellow man.

Some would say that love, sits on that throne. And I suppose it does sit above in principle. “Love conquers all” as they say. But loyalty is the action; the visible, tangible expression of that love. The “what characters do”. One must act, sacrifice and possibly face critical risks to remain loyal. And let’s face it, it’s loyalty that makes love so wonderful in the first place.


The Notebook, 2004


Titanic, 1997

I don’t mean to knock love, but I guess it’s just that love is so abstract and effortless – love just happens. Why do you think we say “fall in love”? Love’s happenstance is captured in the iconic moment where two characters bump into one another at a corner. Or when they unexpectedly glimpse each other across a room – boom – “love at first sight”. It’s easy. No effort. No will. Indeed love has no real meaning until action is required. Love cannot be measured – except through displays of loyalty.

Marriage vows, although of course well-intentioned, are mere promises of eventual loyalty (remember, characters are what they do, not what they say). So long as life is easy, so long as there is no temptation or risk, love is easy to profess. And lets face it, it’s never easier than when the future seems bright, a roomful of loved ones are smiling, and champagne and cake are in hand. Rather, it’s when life becomes hard, perhaps many years and tragic events later, when the darkest of life’s unfortunate challenges are faced, that’s when love – through displays of loyalty – has meaning.

Billy Elliot

Billy Elliot, 2000


Avatar, 2009


Drive, 2011

Even in unexpected places, loyalty plays an important role. I look around myself at work and I realize how grateful I am for those people who have stuck by me and the company’s mission, despite work’s up and downs. You know, those people who stick with you and seem almost immune to the business world’s constant seduction of self-interest. These are the people you want to reward. Because they have displayed such loyalty.


Skyfall, 2012


Schindler’s List, 1993


Star Trek II: The Wrath of Khan, 1982

Forgive me, I’m on a journey; this may seem simplistic and naive to you. And observations like this don’t always have a practical application, but I suppose this one made me mindful of the importance of choosing my loyalties. Remembering that the measure of my loyalty is my action.  And it redefined what I look for and value in others.


Office Space, 1999

Léon: The Professional, 1994


Cinema Paradiso, 1988

The ebb and flow of loyalties can make us feel joyful and loved, or drop us into profound sorrow. But a life filled with mutual, positive loyalties is filled with meaning, and I’m not sure there is anything more important in the world.


The Art of Conquering Problems at Work

All workplaces are rife with challenge and friction. Competitiveness and politics abound. Simply existing in a company that does what companies tend to do to their employees can weigh one down and demoralize. Although there are aspects of our jobs that we enjoy it’s more likely that what we take home and talk about is the worry and obsession about the things that we wish were different.

There are all sorts of conditions in a company that at various times and in many ways make most of us feel demoralized, under appreciated, and generally poorly managed. And these can bring us so much stress, disappointment and pressure.

But I can say with certainty that there is something you can do that will meaningfully solve those problems. I don’t mean mask them or bypass them, I mean actually, genuinely solve them to your great benefit.

It’s a two-part process, neither part works without the other. But executed together you cannot fail.

  1. do good work, and
  2. be patient

I hope you’re not annoyed by this answer. People often prefer some quick trick to gaming a system. Like reading secret body language, or using special influential words. But meaningful change is never the result of easy gimmicks.

Rather, this plan is based on raw truths and results in fundamental, healthy change. The kind that will advance your career and eliminate all those pesky corporate politics and demoralizing conditions. This degree of change requires that you have your hands on the real levers of control.

Of course there are other steps to succeeding at work, being able to recognize opportunities mainly. Opportunities to:

a) offer solutions and improvements
b) share critical opinions
c) take challenges outside your job description

But these opportunities only meaningfully come after you have mastered the big 2 – doing good work, and being patient. If you try to force these lower opportunities too early, it will be mistimed – the machine won’t be ready for you. You won’t be taken seriously, and/or your suggestions and comments will fall into the din of daily business. The machine has to be ready, primed. When it is, when the time is right, you will find your opportunities. Indeed, they will come to you. And your comments will then carry weight and meaning. Suddenly you will have control and impact.

Do Good Work

This should be your mantra. It should blow above every negative feeling work is delivering to you.

  • Are machinations in the company making you feel victimized?
  • Are you getting lame projects?
  • Do you feel your supervisor is an undeserving idiot?
  • Are the company processes (or lack thereof) causing chaos and confusion?
  • Is there some person you feel is bypassing you only by hiding weaknesses and playing politics?
  • Is the whole company such a mess that you don’t even know where to start?

Whatever has you wound up, you must allow yourself to ignore the feelings these conditions engender for now. Because you can’t do good work if you think that way. No, really, you can’t. You may think you have your mind under control, but trust me here, if you approach your day with these thoughts in mind, you won’t be doing the best work you can do.  You will be distracted and some percentage of your attention and energy will be misdirected.

Doing good work requires joyful immersion, passion, and focus. Most importantly a belief that you will succeed. Your mind must be on your project and the unique greatness that only you can bring to what you do.

Doing good work requires joyful immersion, passion, and focus. Most importantly a belief that you will succeed.

You aren’t capable of greatness if you feel beaten down by these conditions. If you see annoying work obstacles as barriers, as opposed to mere hurdles that you are capable of leaping over with creativity and persistence.

So you need to accept them for what they are and let go. Embrace the ambiguity. The good news is it’s all going to change anyway. You are eventually going to help usher in that change. So why worry about it? Just take note and let it go, in time it will work itself out and blow away in the best possible way.

But only if you do good work. Your best. And not just once. That’s never enough. You need to do good work many times. And that’s why you need to:

Be Patient

See, your emotion and thought processes have a given metabolism. It’s actually a pretty fast metabolism, relatively speaking. But companies, and the systemic problems they experience, have a much slower metabolism. Much slower. So where you see a problem, and perhaps its solution, and where that maybe took you a few hours, a day or a week – for a company that week was a split second to which it is incapable of responding in kind. Companies are big, slow, dumb animals. They lumber. Information has to travel from person to person. Meaning and urgency has to build. Even the smallest, nimblest, most aggressive of companies lumber compared to your individual gnat-like emotions and decisions.

Companies are not individuals that can reason. They are systems- composed of budget plans, contracts, and relationships that must run their course and expire before any given change can occur. So of course real change is a slow process.

So don’t fight that, be patient. It just takes time for good work to have an impact. But rest assured – it does.

Young workers often regard one year in a company to be a reasonably long time. A duration within which his or her working conditions should improve, promotions granted, the ability to affect corporate change, etc. But here, our young worker is being grossly impatient. In truth, as most of your seasoned mentors will tell you, one year spent in a company is merely the cost of learning enough about a company not to say dumb things. Offering truly good ideas requires a deep, intimate understanding of the company, its business, and its inner workings. And this typically takes at least a year. Any employer who expects more from an employee must be himself, inexperienced.

In the meantime, listen, watch, and do good work.

When you do good work a number of things happen around you:

  • good work sits in contrast to mediocre work (which itself usually abounds),
  • good work helps the company, your department, your boss, and the world,
  • good work gets noticed
  • most importantly, good work causes people (your supervisor and management) to ask questions, “can I have some of that?”, “why didn’t the last project turn out that well?”, “what was different on this project?” “What can we do to make sure we always get this result?”, “why has that department been doing such good work all year, and the others not so much?” Etc.

And this is how companies change. This methodical awakening is how they improve.

Sometimes they don’t know why the work was better. Maybe that self-promoting worker convinced them the reason the project worked out was because he was involved. Even though it was your good work that made it so. Don’t worry about this. It all gets resolved in time. This is the power of patience and consistently delivering good work. Good work and patience is a relentless force within the context of corporate nature. And over time there are simply too many opportunities for your good work to slip through the cracks into plain view. And conversely for any subverter’s weaknesses or negativity to become exposed.

Good work and patience is a relentless force within the context of corporate nature.

You’re long on to your next project or two before any of these conversations happen. Again because the corporate metabolism is so much slower than yours. But be patent.

Maybe it will take 3 or 8 really good projects before these questions are asked and your trail is sniffed out. But eventually it will. It’s inevitable.

In the meantime you must continue doing good work- that’s your trail. Don’t worry, you may think you have a boss who takes credit for everything you do, but keep doing good work and be patient, and the trail will stay warm. No such boss has ever been able to maintain such an illusion for long.

See, when those questions are asked, you can go back up to that list of corporate crazy-making conditions and every one of them will change under the force of good work and patience.

Doing good work and being patient is how you ensure poor performers get fired or reassigned, it’s how necessary systems and incentives get put in place or change, it’s how you earn better more important projects, it’s how great people get promoted and recruited, it’s how other staff members learn to respect your process and your work, and it’s how the company succeeds. It’s how you will eventually be consulted to see what can be done to make the company better – and not in some empty, feel-good, “team-building retreat” way either, but the real kind, in a quiet executive office, where decisions get made, and where they will really care, because you do such good work.

Do good work and be patient.

It all works out. You just need to embrace the ambiguity of the current condition for a while. Embrace the fact that the company is not right-configured at the moment. It will change. It will.

I’m sorry if this sounds horribly tedious and tiresome. But this is the real way, no tricks, sure and steady.

Patiently and consistently doing good work will present you with the opportunities to solve every problem you see today.

It’s a fact of corporate reality- your good work will make it so. You just can’t give up.

The Social Network 2: Social Guesswork

The Interactivist has obtained the following pages from the upcoming sequel to The Social Network.


Title: The Social Network 2: Social Guesswork

Scene 27b



We see a pair of bloodshot eyes. We ZOOM OUT to reveal Mark Zuckerberg staring into space.  ZUCK sits at huge black conference table surrounded by middle-aged people who probably used to be cool.

On the table in front of him sits an Oculus Rift developer’s kit. …Right behind 37 lines of cocaine.

ZUCK chews his lip nervously.  Finally he speaks in short quick clip…

ZUCK: That’s cool.

The room nods.


ZUCK does a quick line of coke – grimaces – and pounds the table. Everyone jumps.

ZUCK: Whooo! Yeah – THIS… (he points at Rift) THIS – is totally awesome.

His eyes dart across the room in spastic jerks.

ZUCK: It’s awesome, right?

People nod.

ZUCK: I mean, and I’m just doing my magic here, could you imagine… just imagine… if THIS… was Facebook’s “iPhone”.

Inhales heard around the room.


ZUCK: Right?

CTO, MIKE SCHROEPFER, sitting across table, squints disconcertedly.

ZUCK: What!? Shit, seriously? What, Mike? Fuck you’re such a downer!

CTO MIKE: I didn’t even say anything…

ZUCK: I see your eyes! You don’t think I see your eyes getting all squinty and judgmental??

CFO DAVID EBERSMAN: That’s not fair.

ZUCK: Oh, you too?!? You’re an even bigger downer David!

CFO DAVID: Mark, we’re just looking out for the company.

ZUCK: Oh, I’m sorry, so you’re not a downer!? Oh ok, lets see, uh, Instagram wasn’t the future, and it was too expensive. Paper was a lame app, and it was too expensive. These are your words! QUOTE! WhatsApp is “JUST” another app – it will get replaced by some other app in a year or two and was galactically, monumentally too expensive… and… and – what am I missing?

SHERYL SANDBERG: (snorts line of coke) Facebook has no vision and is randomly grasping to find relevance?

ZUCK: Right Sheryl, thank you! – Facebook has no vision and is randomly grasping to find relevance. Your words, David.

CFO DAVID: Look I’m… I’m being honest. And Mike agrees with me.

MIKE SCHROEPFER looks down at his hands.

ZUCK: What are you even doing here David?

CFO DAVID: I just want to help Facebook Mark.

ZUCK: (stares) …well you’re a fucking downer, David. A complete fucking Debbie Downer.

The room is silent.

ZUCK does 8 lines of coke.

ZUCK: Fuck – even the coke doesn’t UN-DOWN you guys! OK WHAT!? What’s wrong with it?!

CTO MIKE: um… well – I mean it’s cool, yes. But It’s not a platform, Mark.

All eyes back on ZUCK.

ZUCK: What do you mean it’s not a platform!? Have you ever experienced that before??

CTO MIKE: No, but Oculus Rift owns no content, you use this device to interact with someone else’s content. The content exists on a computer and probably over the internet. Manufacturing devices like this has nothing to do with creating and owning the experiences people will have in the future any more than manufacturing headphones has to do with creating and owning the music people listen to. If you want to own the social experience as VR emerges, you needed to create the killer software experiences that people will use. Lots of companies will make headsets like these. It’s like a DVD player, it’s dumb hardware! This headset in no way buys you into the world of VR enhanced social networking. Oculus Rift is… well, it’s just a peripheral. Like headphones and monitors. The content is the experience.

Long silence. ZUCK’S eye dart around the room. He looks at some 17-YEAR-OLD-LAWYER-LOOKING-KID who shrugs.

ZUCK: FUCK!! …Why the fuck didn’t you tell me that before I bought it?!

Gasps around the room.

CFO DAVID: WHAT!? You already bought it? Oh God.

ZUCK: Well fuck David, you’re always such a downer – I didn’t want you in the room. … I did it this morning.

CFO DAVID: But you only saw the device for the first time yesterday…! Did you talk to anyone??? Oh Christ – how much did you spend this time??!

ZUCK: Less than last time.

CFO DAVID: Mark. Look at me. Last time you bought an iPhone app for the price of a small country. What – did – you- spend?

CFO DAVID looks around the room.


17-YEAR-OLD-LAWYER-LOOKING-KID: …um 2 BMil (unintelligible)

CFO DAVID: What?! 2 what? Million?

17-YEAR-OLD-LAWYER-LOOKING-KID: eh, um no… 2 um… B… billion. 2 Billion.

Several people in the room visibly deflate.

CFO DAVID: (frozen) Good jesus christ.

CTO MIKE slumps in his chair and closes his eyes, visibly shaken.

We hear a loud snort and ZUCK sucks up another line of coke.


CFO DAVID: …right where the user won’t see it because it’s covering his FUCKING EYES, MARK!

ZUCK: You don’t think I know that?! I KNOW THAT! And that’s why…. (sly smile) we also put advertising… in the fuckin’ content, baby!

CTO MIKE: …in the content. (sighs) Right, um, Mark, the content doesn’t… it’s not running in this device – it’s just showing up there! The content is running on a computer.

ZUCK: (stares, beat) Well why not? We can just make a smaller computer and cram it in there! CRAM – IT – RIGHT – IN! WHOO!

He snorts more coke.

CTO MIKE: (under breath) Jesus christ. (to ZUCK like talking to a child) Mark, the kind of experiences that people will want to see on a VR device – and there will be many other VR devices on the market to choose from – will, for the foreseeable future require a lot more processing power than you can cram into this thing. Like in gaming, where resolution and responsiveness of VR is a moving target. A bigger box will always yield a superior experience. Which is why people will prefer having a cable – connected to a bigger game box that gives them a way more kick ass experience, than having a self-contained device that runs 10-year-old looking graphics and laggy response times. Again – this device is not VR. This device is only a peripheral that serves it up. Advertising can exist in the software – and if you, Mark, really have a vision for how Facebook can be enhanced by VR, you should have started making that software – WITHOUT ever having to buy this device.

Long pause.

ZUCK: But it’s FUCKING COOL MIKE! NOW WE’LL BE COOL AGAIN, MAN! DON’T YOU GUYS GET IT?  See YOU’RE OLD, and I’M YOUNG!  I HAVE a vision man! I’m gonna hang them all over the place! Sheryl!!!

SHERYL: (finishes a huge line of coke) uhf! Yeah? (closes eyes) Oh Shit.

ZUCK: Everywhere I like to chill with my board homies – I want to see these badasses hung all over the walls – decorate the fuck out of HQ Sharon. Shit this is going to be the coolest batch-eh-lor pad in da world holmes! OCULUS RIFT WALLPAPER BABY!


ZUCK: And YOU! You don’t even get one David. You either, Mike! ‘Cause you’re totally blowing my high, bitches. (Snorts another line of coke) FUCK! I LOVE BUYING SHIT FOR BILLIONS! DON’T YOU JUST FUCKING LOVE BUYING SHIT FOR BILLIONS?? FUCK!   C’mon Sheryl, I’m hungry, Let’s go buy In-N-Out Burger and Coke.

-Scene end.

WhatsApp: One More Turn of Facebook’s Very Expensive Treadmill

19 Billion is a big number. Dr.Evil big. And like Instagram before it, the WhatsApp acquisition belies Facebook’s utter desperation for relevance, and in contrast to pundits’ breathless projections, signals a likely end to Facebook’s mobile survival.

If you don’t work for Facebook, and you’re not invested in it, you are probably comfortable considering the obvious signs that the Facebook social network has been revealing a lack of relevance.

As Facebook’s users age, and become associatively uncool, the network has become less a place where young, influential, upwardly-mobile users go to “hang out”, and more a place where they “reconnect”, get updates on high school reunions, and share the occasional cute cat picture with grandparents.

Facebook made sense in a web-browser universe, back when digital social connections were still new, few, and cumbersome. But users don’t live in that world anymore, and have increasingly numerous and convenient options for connecting. This has forced Facebook scrambling to find relevance. Literally breaking itself into digestible mobile parts only to find themselves competing with a million other apps with similar attributes.

And it’s exactly this desperate scramble that has Facebook blowing 20 billion dollars on 2 mobile apps.

Mobile is… a perfect storm – one specifically designed to remove dominant players from power.

Yes, I’ve seen the amazing numbers and projections. Every investor has a slightly wide-eyed, positive spin on the Whatsapp deal, lining trajectories of popular mobile apps next to the web’s old guard. But I’m still shaking my head, certain the cards are not stacked in Facebook’s favor. Not because the current numbers aren’t impressive, but because those numbers exist in the eye of a hurricane. Those numbers only make sense so long as the landscape remains recognizable, the natural laws consistent. So long as we don’t acknowledge the inevitability of exponentially disruptive players.

The mobile world is fundamentally different than the one Facebook was born into. The metabolism of business is rapidly increasing before our eyes. There are dominant and unpredictable forces swirling around every business today – let alone those that exist solely on objects of convenience, like mobile apps.

The democratization of development and distribution makes the mobile app ecosystem a whole new world. Never before in history have there been so many competing software developers with so much power to utterly disrupt. The distance between market dominance and failure is now one person, and a day.

Add to this that the very existence of an app store as the portal of distribution, concentrates attention on the value of new discoveries. On trying new apps that might be better than, say, whatever you use today. Face it, app stores are like news outlets; old news isn’t good for business.

Face it, app stores are like news outlets; old news isn’t good for business.

And here you have a perfect storm – one specifically designed to remove dominant players from power. Once you’ve enjoyed a run, the entire ecosystem is optimized to make room for the next thing.

Take the case of Dong Nguyen, a developer in Vietnam who created FlappyBird. In a few days. Single-handedly. One guy. Unpredictably it quickly became the most downloaded game in the iOS app store, and the Android version, released later, was catching up. Was that predictable? Did Rovio or King see that upset coming? How many people stopped playing Angry Birds to addictively play Flappy Bird? Lucky for them Nguyen inconceivably pulled the app from both platforms. A virtual get out of jail free card for every other contender. But see, it was predictable. Because this is the very nature of the mobile app landscape.

Facebook’s 19 Billion dollar deal does not appear to take into account the high likelihood – the inevitability rather – that some deceivingly simple upstart app, like WhatsApp and Instagram before it, will come along and do something different, better, cooler. Just enough that it gets attention, gets downloaded, spreads, and eclipses or replaces the old ones.

Mobile apps are not platforms, they are disposable instances, they are trends. The sturdy limitations that held Microsoft Office in place for so long do not exist here. Nor are the ones that have continued to keep Facebook warm on the web. Every popular 3rd party mobile app is destined to face an unprecedented, massive and relentless onslaught of unpredictable new ideas from divergent competition.

I’m not sure how many multi-Billion dollar app acquisitions Facebook is prepared to close over the next 5-7 years, but I can tell you with absolute certainty that WhatsApp is far from the last app acquisition Facebook will have to make to retain a position of relevance in mobile users’ lives. Far from it. If indeed sheer acquisition of disruptive apps is to remain the sole successful basis of Facebook’s mobile strategy – they’re on a very expensive treadmill.


Becoming a Director: The Undisclosed Challenge of Creation in a Straightjacket

As professional creatives, as designers, and artists in any medium, staff or freelance, we tend to share a common career goal. After entering the workforce and working in our chosen field for a number of years, we imagine naturally progressing to directing, where we will be inspiring teams of people in doing what we have done. We may further imagine rather loftier goals than that, but surely directing is part of our journey.

Although often eager for this promotion, few creatives understand the implications of directing, and therefor fail to prepare themselves adequately for the role.

Let me state emphatically – the hardest thing any talented creative person will ever have to do in his/her career – and truly nothing is fraught with more hidden challenge – is face the moment of transitioning from being a person who makes things, to a person who directs people who make things.

I have watched and mentored countless creatives through this transition, and at 50 I still continue to face the challenges of this transition myself. As such I can report that upon finding yourself in a directing role, many of you will not be happy, won’t be any good at it, or both. At least not for many more years than you expect.

And that’s because directing is a completely new medium, one that has almost nothing to do with the creative medium you are an expert in. You will (likely) painfully find yourself virtually starting over in your career, you will have to let go of reliance on so many of the expert skills you have acquired, and as when confronting any new medium, you will have to confront the lack of knowing the basics.

Despite expectation and intuition, directing is in no way a natural progression from wherever you are as a creative today.

Despite expectation and intuition, directing is in no way a natural progression from wherever you are as a creative today.


Your Inner Personal Director

As a maker of things, as a designer or artist, your work-flow is often intuitive and non-verbal, you feel your way. It’s how virtually all of us started – by making things ourselves, satisfying our inner voices. You form ideas, you sculpt – internally debating, making decisions and solving problems as you feel best, all in the flow, without uttering a word or articulating a thought. If the work doesn’t look, feel or sound right, you simply know it at a glance. You don’t have to articulate why – you only need to respond to that powerful creative intuition you have developed – trusting your hands, your increasing skills, and feelings to take you to the answer.

There is nothing lost in translation at each step because for you it happened organically.

When your work is completed – often you have to step back and analyze why it works. But anyway – in the end it does.

So says your intuitive personal director.


Directing: The Art of People

Most assume that because they know how to design or make things that they are suited to direct, succumbing to the illusion that directing is merely a progressive step.

However, what you soon discover is that when you direct people in making things you don’t get to use most of the skills that brought you here. The tools that you spent 10 or more years cultivating. You soon discover that you’re standing there holding a new palette, new tools. The new tools of your trade are interpersonal relationships, the ability to sense feelings, to encourage artists to do what they do, to analyze and diagnose creative, strategic and emotional conditions and articulate them back – all with words. Words. Words.

Words. Words. Words.

Remember that inner, personal, intuitive director? That one who worked so confidently, who felt its way, who, without ever a single utterance, instructed your mind and hands to create stunning works of art?  That director must now step out, stand on stage and articulate every thing it thinks and does – with words alone – in such an attenuated way that it encourages this trusting ego, or that passive-aggressive, defensive ego, or the gentle, sensitive ego over there.

Every creative I have ever known grossly underestimated the difficulty of this, they mistakenly believed directing was a natural evolution, the next step of being the artist that they are.  Which is ironic because, truth be known, a large number of us became artists specifically because we were not good at interacting with people.   But despite this, I think most creatives naturally believe they would excel at directing.

We’re all quite used to being directed ourselves, and as the receiver of someone else’s direction, it just doesn’t seem all that hard to do. Maybe in part because good directors and clients appear to do it effortlessly and bad ones (of which we encounter many more) suck such that you can plainly see it, you feel naturally emboldened that you can do better. The problem is, this game isn’t doing better than the bad ones. The game is doing it great. And doing it great means , among other things, that you must be terrific at motivating, challenging, inspiring and analyzing people.


Directing Someone Else’s Good Idea To The Target

Aside from turning interpersonal relationships into creative solutions, there is another aspect of directing that is often a very new experience: Encouraging someone else’s creative voice to occupy the space.

For someone who has come to define his/her aesthetic sensibility through hands-on action, the act of letting go of execution – while still being responsible for the outcome – of motivating someone else to create great work in their own creative voice – not yours, is a daunting challenge.

I now know that when the team’s work is poor, 9 times out of 10 it’s my fault. And when their work is good, 9 times out of 10 it’s not because of me. That’s directing.

…when the team’s work is poor, 9 times out of 10 it’s my fault. And when the work is good, 9 times out of 10 it’s not because of me. That’s directing.

And it’s not because we, as directors, don’t occasionally have good creative ideas, but because the director’s tactical creative solutions are not those that finally manifest. Sure you inspire, and guide and you might even get the team to design down a path that you originally conceived, and you are ultimately responsible if the work sucks. But the work, the image, the site, the art is not yours. It can’t be. The artwork simply is somebody else’s – and it must be allowed to be. It has to come from their heads. They hold the brush, and their heart needs to move it.

There is a close corollary when directing film and theater actors.

A bad theater or film director will give his actor a “line-reading”. This is when the director acts out dialogue from the script by speaking with specific emphasis, and then directing his actor to repeat the line with that emphasis. This is micromanaging, forced, and does not result in a realistic, believable performance.

A great film or theater director will never have to tell an actor how to say a line. That does not mean that he won’t manage to get the actor to say the line differently however. Our hypothetical great director will sit down with the actor and discuss the character – he may revisit the character’s back story, the impact some event must have had on the character’s current emotions. A dramatic event, the context of the scene. The director may further sense a personal conflict in the actor himself, one the director must emotionally counsel the actor through. Armed with that context, feeling, and emotional therapy the actor is then able to do his job – to lose himself in the real emotion – to use his own instrument to become the character. When the actor is truly in character – when he believes what he says – with the emotion of his back story in his heart – the performance will feel real- and it will be consistent. And any emphasis on that line of dialogue, and all the others, will come from the actor alone.

The same is true for all great directors, no matter the medium. Designers need to understand the goal, the intent, the strategy, the feelings that the piece needs to convey. The artist will likely need emotional counsel from time to time- sensitivity to the challenges she faces. And the director must trust the voice of that good designer. If he does not, if he says “do it like I do, do this, do that”, if in exasperation he sits down and creates a piece of art to show his designer what he means, he is essentially giving his designer a “line reading”, he is cheating. And he is undermining his designer’s ability to be great, to do the best work she can do.

…if in exasperation he sits down and creates a piece of art to show his designer what he means, he is essentially giving his designer a “line reading”, he is cheating.

Often new directors gravitate back to their creation tools. Simply because sometimes it is how they think. It’s how they have grown up communicating. The art-making tools are a young director’s comfort zone. Even if you don’t think that’s why you’re doing it – it is usually the reason. It feels safe. You know where you stand when you wield photoshop or whatever your tool is. You have power there.

But when you let go, when you donn the director’s straight-jacket and try to merely talk… well, what does one do? How does one “create”? If the work isn’t right, how does one get the team from point A to point B? How does one get the artist to change the art without telling her what to do? Does one repeat the original direction- again? Does one simply reject bad ideas? Does one compromise? Does one make forms, or charts, or plans? Does one come up with ideas for off-sites to motivate the team? Does one make sure everyone has the best equipment? What’s the job?

The idea that the director’s contribution has little or no physical deliverable is often an alien sensation to someone who has been promoted from making things.


Skills and Credibility

With all this talk about “hands off” I hope I haven’t misled you to believe that a director does not need a solid foundation in the hands-on skills in his background. Having watched so many directors from different fields and backgrounds, I’ve come to realize that those who have done the work before, who have solved problems like these many times before, who might otherwise be able to sit down, take up the tools and do this job now, these directors are almost always better. (Again – assuming they apply the knowledge – but withhold from doing it!) They know what their team is going through. A director who lacks such direct hands on skills neither understands the nuanced challenges his team faces, nor does he tend to command respect and belief from his team. The extent to which the director or client has not done this type of work is the extent to which the creative team will likely doubt the integrity of any direction he has provided.

It’s why clients and directors who lack creative or hands-on backgrounds but who provide creative comments are notoriously lampooned and ridiculed by creatives in all fields.

Authority without experience. Creatives are a cynical lot. And few things trigger their cynical response more than an inexperienced client or director giving feedback.

Creatives are a cynical lot. And few things trigger their cynical response more than an inexperienced client or director giving feedback.

And this brings me to the last main challenge for most directors.


Navigating the Corporation

Even the title triggers measured sighs and eyes to roll. But this is another arena that often comes as a shock, and where great directors can excel.

Almost all creative jobs exist within a company. Very few of those – even among ad and design agencies – are truly designed to nurture creatives’ needs, disciplines and sensibilities. And it’s here, in the organizational world of profit and loss, of business plans and strategy, of budgets and Excel spreadsheets that the last few creative directors sink or swim.

Nothing elicits such a strong show of cynicism as when corporate machinations impact the creative team. If you run a company you are all to familiar with the fear, uncertainty and doubt that seems to plague your design teams. You feel they often make unrealistic demands, disconnected from what it takes to run a business. They complain when things change – they always seem to look on the dark side when the company grows or changes – never seeing the positive.

But you need to know, your creative teams are not just irrationally “whiny”. They behave this way because creatives, by in large, really are victims of the corporate world.

creatives, by in large, really are victims of the corporate world

See, the reason creatives enter the fields they do is because they were designed for that. It’s how their brain works. And being designed for that often (though perhaps not always) means not being designed for other types of roles: strategy, management, accounting, and sales for example.

Unfortunately for creatives, creating great artwork does not automatically explain or justify its benefits to the business. The disciplines and skills involved in being a great creative does not make one great at conceiving and arguing for organizational change that will both improve the work they produce and also make the company more money.

Not the way, say, salesmen can. Or strategists can. These guys can assemble a compelling argument, compare the numbers – they can argue and show how the bottom line will improve by funneling more money and resource to their departments in ways that make their lives easier and allows them to do better work. They are verbal creatures. They think in quite literal, logical terms. And they can sell in their ideas. Their job skills actually align with organizational operation.

But creatives generally don’t have those skills. They are intuitive thinkers. They have feelings that manifest through their hands into objects and artwork that none of the rest of us can fully explain but that we love and appreciate.

So it goes that when things happen in a company – when teams move, get reorganized or budgets and schedules are allocated, the creative team is carried along for the ride – in whatever way some executive, armed with reasoned arguments from other articulate teams, decided was best. Often this results in non-optimized conditions for the creative teams. When they are lucky the creatives have a team of executives that look out for them. But this is most often not the case.

So creatives the world over are literal victims of the corporate system. And they act like it.

This is where a solid director has an opportunity to make a difference. Navigating the corporate world – selling into the business – justifying the need for greater budgets, schedules, resources. And defending the creative product itself in the face of dissension.

If you can do all this, your creative team will do better work – and to me there need be no more reason to do this part well.

But what exactly does any of this have to do with that wonderful creative skills that brought you to this role?

Very little indeed.

It’s just another unexpected challenge that most directors discover after the fact, and struggle against for years.


Love What You Do

Like all things the transition to directing often eventually works itself out if you enter with your eyes open – aware of these otherwise hidden factors, and remain committed, always willing to learn a new lesson.

Mainly though, and I’m sorry if I sound like a broken record, it’s important to be aware that directing is not a natural step in the progression of your role as an artist.

If you love your art, if you love designing – if your heart thoroughly enjoys the skills you have developed, my emphatic recommendation is: don’t be too eager to leave that behind you. Because in many ways – that is what directing results in.



To recap, there are four main qualifications you’ll end up confronting, if indeed directing is your calling. You’ll have to:

  1. Know the art and have mastered the hands-on skills. If you can’t make things yourself, if you haven’t done it before – you don’t really know what your team is going through – you’re guessing – and therefor can’t direct well. Having these skills behind you is how you will relate to your teams, how your feedback will carry credibility, and more importantly how you will gauge what they are and aren’t capable of.
  2. Become an expert in interpersonal relationships. People are now your medium – where the art form itself no longer is. You must be able to read people’s concealed emotions, you must intuitively know what they need from you and from others to do great work. Your own ego has little place here. You must have nothing to prove, you cannot be defensive. You must be a therapist and a leader. If this one qualification doesn’t come naturally to you – directing may not be up your alley.
  3. Direct with context and words, not “line-readings” and hands. You must be a strong speaker – you must be able to form and articulate thoughts that are valid and make sense. You must wear the director’s straight jacket, able motivate and redirect your teams without doing their jobs – they must be allowed to own and invent the solution. They must be allowed to create the art. If you do it for them, and it does not manifest from their consciousness, they’re ongoing performance will will be weaker.
  4. Navigate the corporate organization. You will have to defend your team’s creative ideas in such a way that clients, and executives can buy in to the creative executions. This is about much more than the “pitch”. You need to be able to explain to them how it improves their business. You need to defend your team when corporate changes are likely to impact them. You need to be able to wrangle the corporate machinery to your team’s best interest.

This is directing.

It’s all about the art – but the art is not your medium.  Now your medium is people.

And that is why, creatives who’ve advanced to directorship often find themselves longing for the days that they were making things again.