It seemed natural that Mr. Patel’s story should be toldmostly in the first person – in his voice and through hiseyes. But any inaccuracies or mistakes are mine. I have a few people to thank. I am most obviouslyindebted to Mr. Patel. My gratitude to him is as boundlessas the Pacific Ocean and I hope that my telling of his taledoes not disappoint him. For getting me started on thestory, I have Mr. Adirubasamy to thank. For helping mecomplete it, I am grateful to three officials of exemplaryprofessionalism: Mr. Kazuhiko Oda, lately of the JapaneseEmbassy in Ottawa; Mr. Hiroshi Watanabe, of OikaShipping Company;
It was rough, really rough, the worst time in my life. I had a young family. I had Pixar. I would go to work at 7 a.m. and I’d get back at 9 at night, and the kids would be in bed. And I couldn’t speak, I literally couldn’t, I was so exhausted. I couldn’t speak to Laurene. All I could do was watch a half hour of TV and vegetate. It got close to killing me. I was driving up to Pixar and down to Apple in a black Porsche convertible, and I started to get kidney stones. I would rush to the
The narration by Richard Dreyfuss worked well, but Lee Clow had another idea. What if Jobs did the voice-over himself? “You really believe this,” Clow told him. “You should do it.” So Jobs sat in a studio, did a few takes, and soon produced a voice track that everyone liked. The idea was that, if they used it, they would not tell people who was speaking the words, just as they didn’t caption the iconic pictures. Eventually people would figure out it was Jobs. “This will be really powerful to have it in your voice,” Clow argued. “It will be a way to
Jobs and Clow agreed that Apple was one of the great brands of the world, probably in the top five based on emotional appeal, but they needed to remind folks what was distinctive about it. So they wanted a brand image campaign, not a set of advertisements featuring products. It was designed to celebrate not what the computers could do, but what creative people could do with the computers. “This wasn’t about processor speed or memory,” Jobs recalled. “It was about creativity.” It was directed not only at potential customers, but also at Apple’s own employees: “We at Apple had forgotten who we were.
By this time they had other competitors, in addition to the Altair, most notably the IMSAI 8080 and Processor Technology Corporation’s SOL-20. The latter was designed by Lee Felsenstein and Gordon French of the Homebrew Computer Club. They all had the chance to go on display during Labor Day weekend of 1976, at the first annual Personal Computer Festival, held in a tired hotel on the decaying boardwalk of Atlantic City, New Jersey. Jobs and Wozniak took a TWA flight to Philadelphia, cradling one cigar box with the Apple I and another with the prototype for the successor that Woz was working on.
One sticking point was that Jobs wanted his payout to be in cash. Amelio insisted that he needed to “have skin in the game” and take the payout in stock that he would agree to hold for at least a year. Jobs resisted. Finally, they compromised: Jobs would take $120 million in cash and $37 million in stock, and he pledged to hold the stock for at least six months. As usual Jobs wanted to have some of their conversation while taking a walk. While they ambled around Palo Alto, he made a pitch to be put on Apple’s board. Amelio tried to
Gassée came in afterward, but he acted as if he had the deal in his hand. He provided no new presentation. He simply said that the Apple team knew the capabilities of the Be OS and asked if they had any further questions. It was a short session. While Gassée was presenting, Jobs and Tevanian walked the streets of Palo Alto. After a while they bumped into one of the Apple executives who had been at the meetings. “You’re going to win this,” he told them. Tevanian later said that this was no surprise: “We had better technology, we had a solution that
By Thanksgiving of 1996 the two companies had begun midlevel talks, and Jobs picked up the phone to call Amelio directly. “I’m on my way to Japan, but I’ll be back in a week and I’d like to see you as soon as I return,” he said. “Don’t make any decision until we can get together.” Amelio, despite his earlier experience with Jobs, was thrilled to hear from him and entranced by the possibility of working with him. “For me, the phone call with Steve was like inhaling the flavors of a great bottle of vintage wine,” he recalled. He gave his assurance
When Jobs unveiled the NeXT computer in 1988, there was a burst of excitement. That fizzled when the computer finally went on sale the following year. Jobs’s ability to dazzle, intimidate, and spin the press began to fail him, and there was a series of stories on the company’s woes. “NeXT is incompatible with other computers at a time when the industry is moving toward interchangeable systems,” Bart Ziegler of Associated Press reported. “Because relatively little software exists to run on NeXT, it has a hard time attracting customers.” NeXT tried to reposition itself as the leader in a new category, personal workstations,
The new team at Disney—Michael Eisner the CEO and Jeffrey Katzenberg in the film division—began a quest to get Lasseter to come back. They liked Tin Toy, and they thought that something more could be done with animated stories of toys that come alive and have human emotions. But Lasseter, grateful for Jobs’s faith in him, felt that Pixar was the only place where he could create a new world of computer-generated animation. He told Catmull, “I can go to Disney and be a director, or I can stay here and make history.” So Disney began talking about making a production deal with