Читать книгу Drachenväter: Die Interviews - Konrad Lischka - Страница 10

I don't know. I wouldn't say freewheeling exactly company. When I got there in 1991, the company had already been there long enough. To have a ‚gee, it's our way of doing things’ and hierarchy, and budget, and structure. A creative company needs structure, and direction, and hierarchy maybe more than most. Because you're working with art studios, and cartographers, and editors, designers, all freewheeling, creative, inventive people.

If you don't have some way to keep track of all that, it all turns to mush. It all turns hard. It's horrible. There was a designated person, who pretty much was keeping the schedule and had to yell at people who missed their deadlines. There was a budget for, like, ‚You get six weeks to do this painting. That's it. If you're not done, we're printing it the way it is.’

One of the first lessons for me there was, ‚It's creative, but it's business’, and as an editor, you know that. I was hired as an editor first, and I became a designer later. I was told how many words to put in the magazine this month: ‚Edit them.’

‚OK.’

‚This article needs to be fifty words shorter. Kill fifty words.’

‚OK.’

It was that ability to set creative boundaries and schedules. That was part of my first impression. At the same time, all the people there were so full of creative energy, and juice, and crazy stuff. The Halloween parties are still legendary around here.