Eisner was able to force Roy Disney off the board in November 2003, but that didn’t end the turmoil. Disney released a scathing open letter. “The company has lost its focus, its creative energy, and its heritage,” he wrote. His litany of Eisner’s alleged failings included not building a constructive relationship with Pixar. By this point Jobs had decided that he no longer wanted to work with Eisner. So in January 2004 he publicly announced that he was cutting off negotiations with Disney.
Jobs was usually disciplined in not making public the strong opinions that he shared with friends around his Palo Alto kitchen table. But this time he did not hold back. In a conference call with reporters, he said that while Pixar was producing hits, Disney animation was making “embarrassing duds.” He scoffed at Eisner’s notion that Disney made any creative contribution to the Pixar films: “The truth is there has been little creative collaboration with Disney for years. You can compare the creative quality of our films with the creative quality of Disney’s last three films and judge each company’s creative ability yourselves.” In addition to building a better creative team, Jobs had pulled off the remarkable feat of building a brand that was now as big a draw for moviegoers as Disney’s. “We think the Pixar brand is now the most powerful and trusted brand in animation.” When Jobs called to give him a heads-up, Roy Disney replied, “When the wicked witch is dead, we’ll be together again.”
John Lasseter was aghast at the prospect of breaking up with Disney. “I was worried about my children, what they would do with the characters we’d created,” he recalled. “It was like a dagger to my heart.” When he told his top staff in the Pixar conference room, he started crying, and he did so again when he addressed the eight hundred or so Pixar employees gathered in the studio’s atrium. “It’s like you have these dear children and you have to give them up to be adopted by convicted child molesters.” Jobs came to the atrium stage next and tried to calm things down. He explained why it might be necessary to break with Disney, and he assured them that Pixar as an institution had to keep looking forward to be successful. “He has the absolute ability to make you believe,” said Oren Jacob, a longtime technologist at the studio. “Suddenly, we all had the confidence that, whatever happened, Pixar would flourish.”
Bob Iger, Disney’s chief operating officer, had to step in and do damage control. He was as sensible and solid as those around him were volatile. His background was in television; he had been president of the ABC Network, which was acquired in 1996 by Disney. His reputation was as a corporate suit, and he excelled at deft management, but he also had a sharp eye for talent, a good-humored ability to understand people, and a quiet flair that he was secure enough to keep muted. Unlike Eisner and Jobs, he had a disciplined calm, which helped him deal with large egos. “Steve did some grandstanding by announcing that he was ending talks with us,” Iger later recalled. “We went into crisis mode, and I developed some talking points to settle things down.”
Eisner had presided over ten great years at Disney, when Frank Wells served as his president. Wells freed Eisner from many management duties so he could make his suggestions, usually valuable and often brilliant, on ways to improve each movie project, theme park ride, television pilot, and countless other products. But after Wells was killed in a helicopter crash in 1994, Eisner never found the right manager. Katzenberg had demanded Wells’s job, which is why Eisner ousted him. Michael Ovitz became president in 1995; it was not a pretty sight, and he was gone in less than two years. Jobs later offered his assessment:
For his first ten years as CEO, Eisner did a really good job. For the last ten years, he really did a bad job. And the change came when Frank Wells died. Eisner is a really good creative guy. He gives really good notes. So when Frank was running operations, Eisner could be like a bumblebee going from project to project trying to make them better. But when Eisner had to run things, he was a terrible manager. Nobody liked working for him. They felt they had no authority. He had this strategic planning group that was like the Gestapo, in that you couldn’t spend any money, not even a dime, without them approving it. Even though I broke with him, I had to respect his achievements in the first ten years. And there was a part of him I actually liked. He’s a fun guy to be around at times—smart, witty. But he had a dark side to him. His ego got the better of him. Eisner was reasonable and fair to me at first, but eventually, over the course of dealing with him for a decade, I came to see a dark side to him.
Eisner’s biggest problem in 2004 was that he did not fully fathom how messed up his animation division was. Its two most recent movies, Treasure Planet and Brother Bear, did no honor to the Disney legacy, or to its balance sheets. Hit animation movies were the lifeblood of the company; they spawned theme park rides, toys, and television shows. Toy Story had led to a movie sequel, a Disney on Ice show, a Toy Story Musical performed on Disney cruise ships, a direct-to-video film featuring Buzz Lightyear, a computer storybook, two video games, a dozen action toys that sold twenty-five million units, a clothing line, and nine different attractions at Disney theme parks. This was not the case for Treasure Planet.
“Michael didn’t understand that Disney’s problems in animation were as acute as they were,” Iger later explained. “That manifested itself in the way he dealt with Pixar. He never felt he needed Pixar as much as he really did.” In addition, Eisner loved to negotiate and hated to compromise, which was not always the best combination when dealing with Jobs, who was the same way. “Every negotiation needs to be resolved by compromises,” Iger said. “Neither one of them is a master of compromise.”
The impasse was ended on a Saturday night in March 2005, when Iger got a phone call from former senator George Mitchell and other Disney board members. They told him that, starting in a few months, he would replace Eisner as Disney’s CEO. When Iger got up the next morning, he called his daughters and then Steve Jobs and John Lasseter. He said, very simply and clearly, that he valued Pixar and wanted to make a deal. Jobs was thrilled. He liked Iger and even marveled at a small connection they had: his former girlfriend Jennifer Egan and Iger’s wife, Willow Bay, had been roommates at Penn.
That summer, before Iger officially took over, he and Jobs got to have a trial run at making a deal. Apple was coming out with an iPod that would play video as well as music. It needed television shows to sell, and Jobs did not want to be too public in negotiating for them because, as usual, he wanted the product to be secret until he unveiled it onstage. Iger, who had multiple iPods and used them throughout the day, from his 5 a.m. workouts to late at night, had already been envisioning what it could do for television shows. So he immediately offered ABC’s most popular shows, Desperate Housewives and Lost. “We negotiated that deal in a week, and it was complicated,” Iger said. “It was important because Steve got to see how I worked, and because it showed everyone that Disney could in fact work with Steve.”