The Olympic opening ceremony’s unsung heroes
Danny Boyle – or Sir Danny Boyle as I shall insist on calling him until it’s officially confirmed – has made a phenomenal creative statement with his Olympic opening ceremony.
His creative genius in redefining the Opening Ceremony is widely celebrated.
Yet are there possibly greater heroes involved in the process, who, thus far, have gone unrecognised in their achievement and contribution to this ‘greatest show on earth’?
I refer to the people who appointed Boyle to the job of the Artistic Director of the Opening Ceremony.
The team who seemingly monitored his work, progress and ultimately backed him when needed.
It’s alright being a creative genius but do you need bigger people around who can say ‘yes’ to his visions of the ‘Isle of Noises’?
Should greater or at least equal credit for the Olympic Opening ceremony go to the Olympics Executive Producers committee for appointing Danny Boyle?
For every great creative genius there is a wise – and presumably relived after the experience – patron, connector. Someone who has made it happen.
Should we be throwing the spotlight and applause on the Olympic Executive Producers – Stephen Daldry CBE, Mark Fisher, Hamish Hamilton, and Catherine Ugwu as well as the London 2012 ceremonies board: Bill Morris, London 2012 Director of Ceremonies, Education and Live Sites; Martin Green, Head of Ceremonies; Catherine Ugwu, Executive Producer, Production; Scott Givens, Managing Director; Sara Donaldson, Chief Operating Officer; Dion Carter, Finance and Commercial Director; and Non-Executive Directors Frank McCormack and Alan Robertson.
You might say they were the ones who took the risk.
The biggest driver in decision-making in my experience is people’s avoidance of risk.
Yet risks they took and risks they now celebrate the creative dividend from.
At the same time they minimised risks: They appointed an award-winning proven film director in Danny Boyle.
The experience of both the Executive Producers and the ceremonies board is immense, with proven track records of great distinction in related creative fields.
So, the significance for your creativity is:
- What ways do you need to take risk?
- Yet, how do you minimise the likelihood of making a bad deicison?
- Where is experetise required?
- What expertise gaps are there?
And perhaps a point to reflect on: for every great creative genius there are greater clients or patrons who say ‘yes’ or ‘Yes!’
Something to say..?