My book Ask for the Moon looks at creativity and innovation in organisations, and the conditions that nurture or constrain these. As a central case study for the book, I chose to look at Shaw Brothers Studios and their production of martial arts movies in the 60s, 70s, and early 80s.
Shaw Brothers had a business and production model that was unique for the time and place in which they operated. Their artistic workforce – directors, cinematographers, editors, martial arts choreographers, performers, writers, production designers, etc. – were extraordinarily creative and some of them even managed innovations in their art form.
The good thing about working for big studios was that you got classy, quality support. Even if you asked for the moon, they could get the moon for you, which was amazing. ~ Shaw Brothers Studios director Chor Yuen
One of the components of the Shaw Brothers production model was their organisation of resources. Whether it was a gobsmacking array of lavish costumes and set dressings, state of the art equipment, or a large and dedicated corps of human talent, Shaw Brothers could, as shown in the Chor Yuen quote above, support the vision of their directors with terrific resources.
They did this by pooling these resources centrally, and then mandating their re-use across a number of films. This kept costs down but, because the resources themselves were of high calibre to begin with, also ensured a decent quality. As a former creative worker and arts manager, I can completely empathise with Chor Yuen’s appreciation of being able to ask for his moon (and I know he got it because I’ve seen it in many of his glamorous looking movies). In my personal history I saw many arts projects get produced on shoe string budgets, and artists frequently worked miracles to produce material despite this, but this isn’t ideal for nurturing sustained creativity or producing good quality and well realised work. Shaw Brothers were able to churn out hundreds of handsome looking films in two and a half decades, of consistently good quality, and their strategy for managing resourcing played an important part in this.
(Producer) Run Run (Shaw) calibrated the resourcing of his production model… and then aligned it with producing a certain quality of product geared towards satisfying a certain audience need. ~ Ask for the Moon
Good, and certainly great, creative work needs to be adequately resourced. If it’s not, then potential is constrained, and your creatives will be distracted by stretching resources rather than doing the very best work they can do.
Shaw Brothers’ production model, and its particular approach to the management of resourcing, did have a down side: Shaw directors were constrained to using the same resources again and again. While they did good work, and this is commendable, this could also limit their ability to experiment and innovate (and this is one of the core things I look at in my book). This led to a certain sameness in aesthetic in the films – the same costumes, sets, actors, and even plots were recycled – and induced a feeling of staleness in some of the filmmakers.
Many Shaw Brothers’ films are eye-catching and fun, but only a few of them managed to be actually innovative, rather than just imaginative, under this regimen of controlling resources.
So, the lesson is plain: if you want ground breaking work, resource it properly.
Ask for the Moon is on sale now and you can buy it here.