If you think that only a few people are creative, you are wrong. If you also think that some people are born to be leaders and the rest are followers, you are wrong again. If you still think that some people can have an impact but the majority cannot, keep reading. In “Originals: How Non-Conformists Move the World,” you will find out how to boost your creativity and you will also learn how to identify original ideas and predict which ones will be successful.
Adam Grant, who is recognized as one of the world’s 25 most influential management thinkers, admits that when he declined to invest in the Warby Parker company, it was the worst decision he ever made.
But what the founders of Warby Parker were trying to do seemed impossible. Back in 2008, four students wanted to make eyeglasses more affordable. They had noticed that items purchased online were much cheaper, so why not sell eyeglasses on the Internet?
People have always paid a hefty price for eyeglasses as they are considered a medical purchase. Dave Gilboa, one of Warby Parker’s co-founders, wanted to know why eyeglasses were so expensive. He soon discovered that 80 percent of the eyewear industry was dominated by a European company called Luxottica, according to the book. Luxottica, taking advantage of its monopoly status, was charging up to 20 times the standard cost of a pair of eyeglasses, according to the book. Gilboa realized that things could be done differently.
Despite being told that their idea was impossible to realize, the founders quit their jobs to start a company. They wanted to offer eyeglasses that cost $500 in a shop for $95 online and for every purchase, a pair would be donated in the developing world. After GQ Magazine called them “the Netflix of eyewear,” they reached their target for a year within a month. They were selling so many eyeglasses that at one point, they had 20,000 customers on a waiting list. Over a period of five years, the company made $100 million in annual revenues and donated more than a million pairs of eyeglasses. Warby Parker is now worth more than $1 billion.
“Originality itself starts with creativity, generating a concept that is both novel and useful. But it doesn’t stop there. Originals are people who take the initiative to make their visions a reality. The Warby Parker founders had the originality to dream up an unconventional way to sell glasses online, but became originals by taking action to make them easily accessible and affordable,” Grant wrote in the book.
Another characteristic of being original is rejecting the accepted norm and looking for a better option. Economist Michael Housman was working on a project to figure out why certain customer service agents stayed longer in their jobs than others. He discovered that employees who used Firefox or Chrome Internet browsers stayed longer than those who used Internet Explorer and Safari. He conducted a survey that showed that two thirds of the customer service agents interviewed used the default browser on their computer and never thought of trying a better one. The customer agents who accepted the built-in browsers — in this case Internet Explorer or Safari — followed standard operating procedures for dealing with customer complaints, saw their jobs as fixed, became unhappy, missed days of work and eventually quit.
The employees who decided to change their Internet browsers to Firefox or Chrome took a different approach to their jobs. They, for the most part, looked for new ways of dealing with customers, took the initiative, enjoyed working and stayed in their jobs.
The author also debunks the myth that originality requires you to take big risks. The movers and shakers of this world are also gripped by fear and doubt and would rather avoid taking big risks.
The book tells readers that of the entrepreneurs who established highly successful companies in the US, many did not quit their jobs or education. Google founders Larry Page and Sergey Brin figured out how to improve Internet searches in 1996 but they continued their graduate studies.
“We almost didn’t start Google because we were too worried about dropping out of our PhD program,” Page said.
Pierre Omidyar built eBay as a hobby and kept on working until his online job brought him more money than his job as a programmer.
For his part, Bill Gates also did not take major risks. After selling a software program in his sophomore year, he waited a whole year before leaving his studies. Even then, he did not drop out but took a leave of absence approved by the university.
“Having a sense of security in one realm gives us the freedom to be original in another. By covering our bases financially, we escape the pressure to publish half-baked books, sell shoddy art or launch untested businesses,” Grant wrote.
“Originals: How Non-Conformists Move the World” explains how you can stand up for a new idea without risking your reputation and your career. This captivating book is full of surprising advice that will not only change the way you see the world but will also change the way you live your life.
Book Review: How to be a bold entrepreneur without risking your career
Book Review: How to be a bold entrepreneur without risking your career
Series of inspired redirections leads rising star in Saudi cinema to Cannes screening
- The filmmaker’s AlUla Creates project is set to be partially screened at Cannes Film Festival
JEDDAH: Filmmaker Hanaa Alfassi, from Jeddah, is a rising talent in the nascent world of Saudi cinema, rubbing shoulders with iconic directors like Haifa Al-Mansour.
Her latest project, “When the Shelves Hymn,” created under the working title “Bygones,” is a coming-of-age drama that is currently in post-production. A scene is set to be screened at a Film AlUla event at Cannes Film Festival this week and the film is part of the AlUla Creates initiative, with Al-Mansour present as one of the mentors on set.
“We were fortunate to have the director Haifaa Mansour provide valuable feedback during the development process.” Alfassi told Arab News. “She is a very kind and inspiring filmmaker, and we were glad as a team to have her visit the set.”
Collaborating closely with industry veterans like Moayad Abualkhair and Al-Mansour, Alfassi benefited from robust feedback loops that significantly enhanced the development process.
HIGHLIGHTS
• Hanaa Alfassi also served as a judge at the 10th Saudi Film Festival, which was held recently this month in Dhahran.
• Her cinematic perspective was profoundly influenced in 2012 during the premiere of ‘Wadjda’ at the Tribeca Film Festival in New York City.
• A film she was involved in, ‘In Between,’ directed by Dalia Bakheet, was selected for the Annecy Film Festival in 2019.
• Her initial foray into the digital arts began with a 3D animation course in 1999 during her high school years in Egypt.
She also faced numerous challenges while filming “When the Shelves Hymn.”
“Despite unexpected delays, the team utilized these interruptions for in-depth discussions and rehearsals, adding depth to their work,” she said.
Filming in the old town of AlUla was a deliberate choice, intertwining the narrative with the historic location’s enchanting landscapes.
“The choice of an antique shop in the old town was not only organic to the story but also perfectly aligned with the location’s authenticity,” the filmmaker said.
We were fortunate to have the director Haifaa Al-Mansour provide valuable feedback during the development process.
Hanaa Alfassi, Saudi filmmaker
“Despite the numerous regulations governing shooting location, as it’s a perceived UNESCO heritage site, the production design team led by Amany Wahba and Theory PS ensured strict adherence to all requirements.”
The support from mentors throughout the production was crucial as it helped fine-tune the script, enrich the film’s direction, and ensure the final product was not only a reflection of Alfassi’s vision but also collaborative filmmaking.
“Their support went beyond just providing feedback; it was a source of encouragement and motivation throughout the process,” she told Arab News.
Alfassi also served as a judge at the 10th Saudi Film Festival, which was held recently this month in Dhahran, a task that provided her with a unique vantage point and offers opportunities to partake in meaningful discussions.
“Serving as a jury member is also a learning experience exposing me to a diverse range of films and viewpoints as well as true discussions about the nature of cinema as an art form,” she said.
Alfassi’s cinematic perspective was profoundly influenced in 2012 during the premiere of “Wadjda,” the first feature-length film made by a female Saudi director (Haifaa Al-Mansour) at the Tribeca Film Festival in New York City. The film was the Kingdom’s official submission for the foreign language film category in the 86th Academy Awards, marking the first time the country submitted a film to the Academy for consideration.
At the premier, surrounded by a diverse audience, Alfassi was struck by the universal curiosity and connection films can foster. “It was a moment filled with excitement and curiosity as we witnessed people from diverse backgrounds and cultures come together to experience a film from a different place,” she said.
“This sense of curiosity has always been a part of me, but the experience reinforced its importance. It’s crucial for me today to maintain this curiosity, as it enables me to tell diverse narratives and explore new perspectives.”
Her entry into the world of filmmaking was not straightforward, but rather a series of inspired redirections. Her initial foray into the digital arts began with a 3D animation course in 1999 during her high school years in Egypt.
Although the emerging digital era fascinated her, Alfassi found the detailed process of animation to be too time-consuming. This led her to explore photography, which temporarily satisfied her storytelling impulses. However, her desire to tell dynamic, evolving stories only grew from there.
Alfassi enrolled in the filmmaking institute, setting her career trajectory firmly toward the cinema. “As I pursued my studies in mass communication at University of Ain Shams, my mother discovered a new institute founded by one of Egypt’s renowned filmmakers, Rafat Al-Meehi,” she said. “I enrolled, balancing two years of filmmaking education alongside my college curriculum.”
Over the years, Alfassi has contributed to various short films both as a director and producer. One of these, “Lollipop,” received a financial award from the ENJAAZ Dubai Film Market’s production support fund and gained support from The Heart Productions and the Industry Lab at the New York Film Academy.
“Lollipop” has been showcased at several prestigious festivals, including the Dubai International Film Festival and the Malmo Arab Film Festival. It was also featured in the “Hope” program by ANHAR, the Arab Network for Human Rights Films.
Another project she was involved in, “In Between,” directed by Dalia Bakheet, was officially selected for the renowned Annecy Film Festival in 2019.
From being inspired by a film by Al-Mansour to becoming a film director herself and having Al-Mansour on site, Alfassi’s hard work and perseverance has clearly paid off. Late last year at the 2023 Red Sea International Film Festival, alongside her colleagues Jade and Mana Al-Majd, she clinched one of the two awards in the TV Series Lab category for their comedy TV pilot set in Saudi Arabia, an achievement she considers an honor.
Alfassi’s journey in filmmaking is a compelling narrative of passion, adaption, and perseverance.
Looking ahead, the Saudi filmmaker is enthusiastic about her participation in future festivals and is keen to leverage platforms like the Cannes Film Festival to broaden her network and introduce her work to a global audience.
Saudi Film Commission takes charge of cinema sector
- First phase includes regulating licensing for the operation of permanent, temporary and special cinemas
- CEO Abdullah Al-Qahtani: The Film Commission will undertake a comprehensive review of all procedures related to the cinematic sector
JEDDAH: Saudi Arabia’s Film Commission has announced it will now have oversight over the cinema sector, which will no longer fall under the jurisdiction of the General Authority of Media Regulation.
The Council of Ministers had ordered the change, which has now been implemented after the completion of the required regulations, the Saudi Press Agency reported on Monday.
The first phase includes regulating licensing for the operation of permanent, temporary and special cinemas, as well as the production, distribution and import of movies, videos and television programs.
Abdullah Al-Qahtani, the commission’s CEO, said: “The Film Commission will undertake a comprehensive review of all procedures related to the cinematic sector with the aim of their development and enhancement.
“Key improvements will focus on enhancing the customer experience by streamlining and optimizing the processes required for all activities in the cinematic sector. This will involve reviewing the licensing requirements for the film sector, as well as simplifying the licensing process and application for related services.”
The commission posted on X: “The film and cinema sector jurisdiction has been transferred from the General Authority for Media Regulation to the Film Commission. This move, facilitated by continuous cooperation and support between the two bodies, underscores the commission’s ongoing commitment to developing and improving the sector.”
The commission’s board has approved a reduction in fees for cinema licenses. It has also waived operational license fees for three years until 2027, covering permanent, temporary, and special cinema halls. Applications for licenses can now be made through the unified electronic platform Abde’a.
Swiss artist pays homage to heritage in Riyadh show
- ‘From Roots to Vision’ by Vlad Pocol is inspired by Saudi Vision 2030 and his own personal journey
RIYADH: In Ahlam Gallery’s latest solo exhibition, Swiss painter Vlad Pocol examines the ties that link past, present and future — with Saudi Arabia’s Vision 2030 as a reference point.
“If you could explain your artworks in one word, what would it be?” one listener asked. “Intuition,” Pocol replied, explaining the basis of his first show in the Kingdom.
The artist relied on intuition when he decided only a few months ago that Saudi Arabia would be his new home, leading him to create an exhibition based around three ideas: heritage, transition, and vision.
The immersive exhibition titled “From Roots to Vision: A Migration” urges observers to think about heritage, and challenge the possibilities of the future as we weave our past legacy for generations to come.
Pocol told Arab News: “It’s great to evolve, but it’s also important to stay rooted in our own heritage. I’ve taken Saudi Arabia as an example. Everyone is so excited with what’s happening with the Vision (2030), but everyone is still so rooted and respectful and inspiring in a collective way … that can also inspire us in an individual way.”
Within the “Heritage” collection, “Identites” delves into the themes of self-reflection and outsider perceptions. Four papier mache panels woven together by rope encourage the viewer to see alternative versions of themselves as they are layered in complexity with oil paint.
It is great to evolve, but it is also important to stay rooted in our own heritage.
Vlad Pocol, Swiss artist
“Legacite” is a series of six artworks that explores the themes of circularity, continuity, and generational cycles. In a single dot, each painting prompts a reflection on the viewer’s part within these continuous loops.
The highlight of the show, “Sans Fin,” is a mirage of moving images constructed by strokes of paint. The piece is inviting, yet mysterious, prompting us to question our capability to grow using the metaphor of a black hole — you never know what may lie in the unknown.
In 2018, when Pocol was a lawyer, he was invited by a colleague to a workshop centered around recreating the work of a contemporary artist. After an accident that resulted in a damaged painting, he developed a technique to repair the artwork.
“My technique gives structural movement. When you see my paintings, you enter a world … it’s moving. My energy also comes up in the artwork,” he said.
In “Transition,” the works invite viewers to consider what lies beneath the surface, with more sculptural works coming into play.
Another installation is made of discarded materials salvaged from artwork waste. What we deem as undesirable is turned into something valuable, and even beautiful, challenging us to reconsider sustainability practices and our role in global consumption.
In the “Vision” collection, the artist’s optimism about the future is linked to the promise of Saudi Arabia’s Vision 2030.
His work “Dessen” is based on a childhood memory of winning his first drawing contest, and celebrates the impact of early creative expressions on future artistic development.
While “Elles” is a tribute to femininity and the women in his family, nearby twin works are inspired by the artist’s migration from Romania to Switzerland.
Pocol describes the green-colored “Ja Deu Tu Certo” as “one of the most personal” works in the collection.
“Any pieces I’ve offered to my mom have been green because I really believe in the power of healing and the green (color). My mother has been fighting metastatic cancer for two years now,” he said. The work conveys his belief that “she will be well.”
He said the color also holds significant meaning in Saudi culture, as it stands for pride and patriotism.
Reflecting on showcasing his works in the Kingdom, Pocol said: “It’s so significant to have my exhibition here. While I have roots from Romania, 30 percent of my genes are Middle Eastern. Being here in Saudi Arabia is very subconscious. I feel at peace, like I’m coming back to something.
“I’ve traveled a lot in my life and it’s the first time I’m able to find a new home outside of Switzerland … once you follow your intuition, it gets you to whatever is meant for you. That’s why I’m here in Saudi Arabia. It’s meant to be.”
The exhibition will run until June 2.
Irish performer ‘cries’ after Israel reaches Eurovision final as UK venues cancel watch parties
Bambie Thug, Ireland’s entry in the Eurovision Song Contest, claims to have cried after Israel qualified for the final to be held on Saturday.
“It is a complete overshadow of everything, goes against everything that Eurovision is meant to be,” Bambie Thug told journalists ahead of the event at Malmo Arena in Sweden. “I cried with my team.”
The 31-year-old singer and songwriter wore a keffiyeh and carried Irish flags while urging the European Broadcasting Union to show “conscience” and “humanity.”
The artist will perform “Doomsday Blue” in the final.
Israel’s performer, Eden Golan, will present her song “Hurricane” at the competition. The track underwent revisions after the initial version, “October Rain,” was deemed too political by the EBU.
Although the contest’s motto is “united by music,” this year’s event has attracted protests from Palestinians and their supporters, who say Israel should be excluded because of its conduct of the war in Gaza.
Thousands of people are expected to march for a second time this week through Sweden’s third-largest city, which has a large Muslim population, to demand a boycott of Israel and a ceasefire in the seven-month conflict.
In Finland, a group of about 40 protesters stormed the headquarters of public broadcaster YLE on Saturday, demanding it withdraw from the song contest because of Israel’s participation.
Venues across England are canceling their gigs after Palestine protest groups instructed their followers to pressure pubs showing the contest - leading some venues to close due to staff safety concerns.
The Duke of York cinema in Brighton called off its Eurovision event this week, telling ticket holders it was doing so “due to safety concerns for our staff and customers,” the Guardian reported. The Brighton Palestinian Solidarity Campaign called the decision a “massive win.”
AlUla to have starring role in ‘Motor City’ to be filmed in Saudi Arabia
DUBAI: Saudi Arabia’s AlUla is expected to have a starring role in director Potsy Ponciroli’s upcoming action thriller “Motor City.”
Production is due to start on July 10 in New Jersey and Saudi Arabia. The film is part of production company Stampede Ventures’ 10-picture slate deal with Film AlUla.
The cast will include Alan Ritchson, Shailene Woodley, Ben Foster and Pablo Schreiber.
“Motor City” is centered around John Miller (Ritchson), a Detroit auto worker who loses everything, including his girlfriend (Woodley), after being framed by a local gangster (Foster) and sent to prison.
After his release, Miller seeks revenge while trying to win his former girlfriend back.
