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    The Best Story Wins: How to Leverage Hollywood Storytelling in Business & Beyond
    The Best Story Wins: How to Leverage Hollywood Storytelling in Business & Beyond
    The Best Story Wins: How to Leverage Hollywood Storytelling in Business & Beyond
    Ebook175 pages2 hours

    The Best Story Wins: How to Leverage Hollywood Storytelling in Business & Beyond

    By Matthew Luhn

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    About this ebook

    How to use the principles of Pixar-style storytelling to meet the needs of entrepreneurs, marketers, and business-minded storytellers of all stripes.

    Pixar movies have transfixed viewers around the world and stirred a hunger in creative and corporate realms to adopt new and more impactful ways of telling stories. Former Pixar and The Simpsons animator and story artist Matthew Luhn translates his two and half decades of storytelling techniques and concepts to the CEOs, advertisers, marketers, and creatives in the business world and beyond. A combination of Luhn’s personal stories and storytelling insights, The Best Story Wins retells the “Hero’s Journey” story building methods through the lens of the Pixar films to help business minds embrace the power of storytelling for themselves!

    “Award-winning Pixar storyteller, artist, and writer Matthew Luhn has a message for CEOs, marketers, and business professionals: to capture your audience’s attention, you need to hook them with a great story.” —Seattlepi.com
    LanguageEnglish
    PublisherOpen Road Integrated Media
    Release dateAug 7, 2018
    ISBN9781642790214

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    Book preview

    The Best Story Wins - Matthew Luhn

    – INTRODUCTION –

    The most powerful person in the world is the storyteller. The storyteller sets the vision, values, and agenda of an entire generation that is to come.

    —STEVE JOBS

    For over twenty-five years my job title has been Guy Who Makes People Cry. Yes, I’m in the business of making kids and grown adults cry in theaters, living rooms, airplanes, and anywhere else they can view a movie. But along with making people cry, I’m also in the business of making people laugh, cheer, think, and most importantly, experience something that transforms their life.

    What is my job? I’m a storyteller. From developing stories and characters at Pixar Animation Studios for over twenty years, to writing on films and TV shows in Hollywood, to training business leaders and marketing professionals how to craft stories that strengthen their brand, I love to create stories and to teach others how to become better storytellers. How did this become my job? Well, it all started in a toy store, because when I was born my mom and dad owned and operated more independent toy stores in the San Francisco Bay Area than anyone in the toy business.

    Our family-run operation was called Jeffrey’s Toys. Not a bad way to grow up, right? Imagine waking up on your birthday and your parents saying, Pick out a toy, any toy. The only downside was figuring out who my real friends were, as opposed to the ones coming over just to play with my complete collection of Star Wars toys.

    But my mom and dad didn’t start the family toy stores. My grandparents owned and operated the toy stores before them, and my great-grandparents owned and operated the toy stores before my grandparents, and my great-great-grandfather Charlie had nothing to do with the toy stores. He actually hated toys and kids, and ran illegal gambling out of his cigar shop in San Francisco.

    Other than Charlie, everyone else in my family has had something to do with the toy stores in one way or another. Why? Because my family has always believed in creating a place where children and adults feel inspired to play, imagine, and have fun, one toy at a time. This is what my family has been doing for as long as I can remember—they love creating an experience for people when they enter a Jeffrey’s Toys store. And what is the best way to inspire people to feel something, in entertainment or business?—through great storytelling that will lead them to action and change. The person, company, or fictional character that tells the best story will always make the strongest connection with the audience. Wouldn’t you like to be that person?

    All people crave stories. We love to hear them, see them, tell them, and retell them. We express our desires and our fears through storytelling. This telling is what gives us life and gives our lives meaning. When you and I post a Tweet, we’re telling a story. When we share an image on Instagram or Snapchat, we’re telling a story. Even the most mundane things we do are full of movement and emotion that make people feel something: a handshake, a wave, a home-cooked meal, a furrowed brow, or a middle finger. They all tell a story. Everything you or I do is wrapped up in story, from a novel, to a film, to a sales pitch, to an image affiliated with your brand, to a family-run toy store.

    The funny thing is, my dad never really wanted to own or operate the family-run toy store. Although he loved toys, he had a different dream, one he had had since he was a kid. He wanted to become an animator and work for Walt Disney. All through elementary, junior, and high school my dad spent more time drawing cartoon characters in the corners of his schoolbooks than he did reading them. He even carried his dream of becoming an animator with him through the Vietnam War, filling dozens of sketchbooks while serving overseas in the army. When he returned home, he announced to his dad—my grandfather, a World War II Marine veteran—that he didn’t want to work in the toy stores. He wanted to be a Disney animator instead.

    Son, there ain’t no way you’re going to become an animator, my grandfather replied. You can’t make a living as an artist. Plus, I need you to help me run the toy stores. So, the Marine logic won the battle of wills, and my dad’s dream of becoming a Disney animator was set aside. He later got married, had a son (me), and, sure enough, worked day in and day out at the toy stores.

    Then one day when I was about four years old, my dad stayed home from the toy store with a terrible stomachache. Wanting to cheer him up, I did the only thing I could do as a four-year-old; I drew him a picture. The picture was a sketch of my dad with a stomachache. I thought it was a pretty good likeness, right down to his stomach filled with all kinds of swirls and squiggly lines to represent the kind of pain I imagined he felt. When my dad saw the drawing, he pointed at me and said, You. You are the chosen one. You will live my dream. You will be that Disney animator. These may not have been his exact words, but that was the takeaway from my childhood.

    From that point on I became my dad’s young apprentice. He sat and drew with me all the time. We drew on placemats at restaurants, on the wooden fences that surrounded our backyard, even on the beams of the Eiffel Tower (I sincerely apologize, Paris. I was only ten years old and my dad said it was OK). He bought me how-to-draw books and art supplies, and even transformed a cardboard refrigerator box into a small movie booth—complete with a working black-and-white TV, tiny chair, and bedsheet curtain—so I could watch cartoons. While most parents were reading their kids bedtime stories like The Very Hungry Caterpillar and Winnie-the-Pooh, my dad was reading me Tales of the Crypt comic books and issues of Mad magazine before I would gently fall asleep. But it didn’t stop there. Once a week, after being dropped off by my mom in the morning at elementary school, I would then be picked up about thirty minutes later by my dad. He would tell the school secretary that I had a doctor or dentist appointment that day, but the real reason he was pulling me out of school was because we were going to the movies. This is no joke. He figured that we could avoid the long lines that accompany a new release by seeing that movie in the middle of the day, while most kids were still at school. I had the best dad any kid could wish for.

    At first all of the movies we went to see were animated, like The Jungle Book, Robin Hood, and The Secret of NIMH. Then after we saw all the animated films, he started taking me to live-action movies like Star Wars, Young Frankenstein, and Kingdom of the Spiders. He had a particular fascination for sci-fi and horror. Of course, taking your kid to go see Poltergeist at the wide-eyed age of nine is not a great idea. I had nightmares for months! Even so, my father’s passion for art, animation, and movies rubbed off on me, and by the time I was in high school, I began making films and animating with an old Super 8 camera. It seemed natural to learn the animation process and strive to make, in a very primitive way, the magic my dad had shared with me.

    While in high school, I also discovered a college that specialized in animation. I desperately wanted to attend. The college was called CalArts (California Institute of the Arts), designed and founded by the legendary Walt Disney himself. This was the place to learn about animation.

    By no small miracle, I was granted entrance, and off I went. I loved every minute of my training. The room number of the CalArts animation department was and still is A113. If you’re a Pixar or Disney enthusiast (aka animation nerd) like I am, you probably know A113 shows up in every Pixar film. From Mater’s license plate in the film Cars to Mike and Sully’s dorm room number in Monsters University to dozens of other hidden places in Pixar films. Why? Because almost all of the directors, storyboard artists, writers, character designers, and animators from Pixar attended CalArts. Alums also include the creators of animated TV shows like The Powerpuff Girls, Dexter’s Laboratory, We Bare Bears, and directors and actors like Tim Burton, Pee-Wee Herman, and David Hasselhoff. I even heard that the Hoff and Pee-Wee were roommates! Now that would make a great TV show.

    During my first year at CalArts, I made an animated film called Steward Skyler Saves the Day. To my surprise, it caught the attention of a director working on the brand-new, prime-time, animated hit The Simpsons. I was asked to come into the studio and take a Simpsons animation test. Yes, there really was and still is a Simpsons animation test that confirms whether or not you can draw Bart, Homer, Marge, Lisa, and Maggie. I passed the test and was offered a job as an animator on The Simpsons, but declined, letting them know I had to finish my degree first . . . actually no . . . I immediately left school and began animating on the third season of The Simpsons, as the youngest animator at nineteen years old. At this point, I had in a way accomplished my dad’s goal—ahem—my goal of becoming an animator. But something was about to change.

    One day, while animating on the episode Homer Alone, I stumbled into the story room at The Simpsons. Now I had always imagined writers on a TV show to be moody individuals, sitting alone in a dark office behind a keyboard churning out script pages, but instead I witnessed an eclectic group made up of comic book artists, Harvard grads, and comedians, who all had one thing in common—they were great storytellers. Even Conan O’Brien spent time as a writer on The Simpsons. As I witnessed their brainstorming process for turning out scripts, I instantly knew that this was what I wanted to do. I wanted to do more than animate stories other people had written, I wanted to create those stories. While my dad’s

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