康奈尔大学的application essay

Submitted to Cornell 

Stagnation, cynicism, disillusionment. Those adjectives fairly capture the spirit of High Concept Studios when my manager and I were recruited by a High Concept board member to turn the company around in 2001. As VP of New Film Projects, my new role was to direct our expansion into animation and comedy and retain our relationships with the three key directors in High Concept's $550 million stable. Though I believed in High Concept's potential because of its track record with drama and action films, when I first arrived it was immediately clear that its 250+ employees' morale had been dealt a severe blow by executive management's lackadaisical leadership. Though individually brilliant, the executives were not working cohesively, resulting in poor product positioning in the marketplace and a spirit of disorganization among employees, creative staff, and film distributors.  Calling a meeting of the 6 full-time and 3 contract new projects employees who reported to me, I enjoined them to leverage their personal network among High Concept's other teams to find out what was wrong. Through them and my own contacts I also conferred with each of High Concept's five functional groups. How could we save the company? What I discovered was that each group in the studio worked on a highly ad hoc basis, with little consistent integration of effort.  essay代写：www.lunwenhui.com  The International Distribution group, for example, had initiated a new relationship with a Shanghai Film Distribution (SFD) unaware that the Domestic Distribution Group's deal with RKM Theaters explicitly precluded us from working with SFD. This lack of communication and planning contributed to unacceptable overhead, and High Concept's near-sighted focus on short-term earnings meant sound, long-term thinking was unlikely. My solution, sanctioned by the CEO and general management, was to make the key processes of new project development and film promotion part of a single corporate-wide collaboration. Each film production team would be staffed with representatives from each stakeholder group, and as a company we would focus on no more than 10 to 12 film projects and key promotional campaigns at a time. By working with every group to determine the best tradeoffs between short- and long-term gains, I won companywide support that successfully focused our message so employees, creative staff, and distributors could respond.  Within twelve months, our films were receiving increased coverage from industry publications and we had increased our profitable film ventures by 300%, setting the stage for our acquisition by industry leader RKO Studios in 2002.