The Walt Disney Company: Los Reyes Del Entretenimiento

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The Walt Disney Company: Los Reyes Del Entretenimiento 702-S10 REV: JULIO 25,2001 MICHAEL G. RUKSTAD DAVID COLLIS The Walt Disney Company: Los reyes del entretenimiento «Sólo espero no olvidar nunca una cosa: que todo esto empezó por un ratón». Walt Disney El resurgimiento de The Walt Disney Company bajo la dirección de Michael Eisner se consideraba como una de las grandes historias de transformación de finales del siglo XX. Cuando Eisner llegó, en 1984, Disney languidecía y había escapado por poco a una adquisición y a la fragmentación. A finales del año 2000, sin embargo, los ingresos habían aumentado de 1.650 a 25.000 millones de dólares, mientras que los beneficios netos lo hacían de 100 a 1.200 millones (véase Anexo 1). Durante los primeros 15 años de Eisner, Disney generó para sus accionistas un rendimiento total anual del 27%.1 Los analistas atribuían a Eisner gran parte del mérito de la resurrección de Disney. Descrito con «más dedicación que la Madre Teresa», Eisner tenía fama de duro.2 «Si no eres duro –decía–, no consigues calidad. Si eres blando e indeciso, como nuestros personajes, te conviertes en el enclenque de la playa, y a la gente de este negocio no le importa echarte arena en la cara».3 El rendimiento de Disney en 1998 y 1999 había sido muy inferior al objetivo de crecimiento establecido por Eisner, que era del 20%. El beneficio neto sólo subió un 4% en 1998, y cayó un 28% en 1999. La rentabilidad de los recursos propios había sido de un promedio del 20% durante los diez primeros años de la era Eisner, pero empezó a decaer tras la fusión con ABC en 1996, y cayó por debajo del 10% en 1999. Los analistas atribuyeron el declive a las grandes inversiones en nuevas empresas (como grandes cruceros y el nuevo parque temático de Anaheim) y al bajo rendimiento de la cadena de televisión ABC. Aunque en el año 2000 los beneficios se habían recuperado, este aumento se debía en gran medida a la recuperación de ABC, gracias al éxito de un solo programa: «Who Wants to be a Millionaire» («¿Quién quiere ser millonario?»). Los analistas empezaban a preguntarse si la magia de Disney estaba empezando a desvanecerse. 1 La Franco, Robert, «Eisner’s Bumpy Ride», Forbes, 5 de julio de 1999, pág. 50. 2 Flower, Joe, «Prince of the Magic Kingdom», John Wiley & Sons, Nueva York, 1991, pág. 143. 3 Huey, John, «Eisner Explains Everything», Fortune, 17 de abril de 1995. ________________________________________________________________________________________________________________ El caso de LACC número 702-S10 es la versión en español del caso HBS número 9-701-035. Los casos de HBS se desarrollan únicamente para su discusión en clase. No es el objetivo de los casos servir de avales, fuentes de datos primarios, o ejemplos de una administración buena o deficiente. Copyright 2001 President and Fellows of Harvard College. No se permitirá la reproducción, almacenaje, uso en plantilla de cálculo o transmisión en forma alguna: electrónica, mecánica, fotocopiado, grabación u otro procedimiento, sin permiso de Harvard Business School. Purchased by Rafael Tomas Vargas ([email protected]) on October 29, 2012 702-S10 The Walt Disney Company: Los reyes del entretenimiento Los años de Walt Disney, 1923-1966 A los 16 años, el joven campesino de Missouri, Walter Elias Disney, falsificó la edad de su pasaporte para poder servir en la Cruz Roja durante la primera guerra mundial. Regresó cuando acabó la guerra, con 17 años, decidido a ser dibujante. Después de que la empresa de caricaturas que creara en Kansas City fracasara tras sólo un año de actividad,4 en 1923 Walt se trasladó a Hollywood, donde fundó Disney Brothers Studio5 con su hermano mayor Roy (véase Anexo 2). Walt era la fuerza creativa, mientras que Roy se ocupaba de las finanzas. Tras llegar rápidamente a la conclusión de que nunca sería un gran animador, Walt se centró en supervisar el trabajo de creación de las historietas.6 Una serie de cortos con «Oswald, the Lucky Rabbit» («Oswald, el conejo afortunado») como protagonista, se convirtió, en 1927, en el primer éxito importante de Disney Brothers. Sin embargo, al cabo de un año, Walt fue traicionado por su distribuidor, que contrató a la mayoría de los animadores de Disney en un intento de dejar a éste sin derechos sobre Oswald.7 Inicialmente, Walt pensó que podría continuar haciendo cortos de Oswald con nuevos animadores y un nuevo distribuidor, pero tras leer la letra pequeña de su contrato, constató desolado que su distribuidor era propietario de los derechos. Desesperado por crear un nuevo personaje, Walt modificó las orejas de Oswald e introdujo algunos cambios menores en la apariencia del conejo. El resultado se llamó Mickey Mouse. No obstante, Mickey no consiguió despertar mucho interés y Walt intentó atraer a un distribuidor añadiéndole sonido sincronizado, algo que nunca se había intentado en un dibujo animado.8 y 9 Su audacia se vio recompensada con el estreno de «Steamboat Willie» en 1928.10 De la noche a la mañana, Mickey Mouse se convirtió en una sensación internacional, conocido como «Topolino» (Italia), «Ratón Mickey» (España) y «Musse Pigg» (Suecia). Sin embargo, la empresa seguía necesitada de liquidez, de modo que concedió una licencia para el uso de Mickey Mouse en la cubierta de un cuaderno, el primero de muchos otros acuerdos de licencia. Con el tiempo, cuando los problemas de liquidez a corto plazo disminuyeron, Disney empezó a preocuparse del valor de la marca y, por tanto, sólo autorizó el uso del nombre a «las mejores empresas».11 Los hermanos Disney dirigían su empresa como una organización plana, no jerárquica, en la que todos sus miembros, incluso Walt, utilizaban sus nombres de pila y nadie tenía cargos. «No es necesario tener un título –decía Walt–. Uno sabe si es importante para la empresa».12 Aunque era muy exigente en cuanto a la creatividad y la calidad, Walt insistía en el trabajo en equipo, la comunicación y la cooperación. Se presionaba tanto a sí mismo, y también a su personal, que en 1931 sufrió una crisis 4 En 1922, Disney y Ub Iwerks crearon Laugh-O-Grams, que desapareció en 1923. Cuando Walt se hubo trasladado a Hollywood, convenció a Iwerks para que entrara en su nueva empresa al año siguiente. 5 El nombre del estudio se cambió por el de Walt Disney Productions en 1929. 6 Smith, Dave y Steven Clark, «Disney: The First 100 Years», Hyperion, Nueva York, 1999, pág. 16. 7 De los animadores iniciales, sólo Ub Iwerks permaneció leal a Disney. 8 De Roos, Robert, «The Magic Worlds of Walt Disney», en Smoodin, E., «Disney Discourse», Routledge, Nueva York, 1994, pág. 52. 9 Walt vendió su coche para ayudar a financiar la banda sonora. 10 Thomas, Bob, «Building a Company», Hyperion, Nueva York, 1998, págs. 60-62. 11 Smith, Dave y Steven Clark, op. cit., pág. 26. 12 Flower, Joe, «Prince of the Magic Kingdom», John Wiley & Sons, Nueva York, 1991, pág. 55. En los años noventa, los organigramas todavía no eran habituales en Disney. Se esperaba que los empleados supieran cómo funcionaba la organización sin necesidad de consultar organigramas. 2 Purchased by Rafael Tomas Vargas ([email protected]) on October 29, 2012 The Walt Disney Company: Los reyes del entretenimiento 702-S10 nerviosa.13 Sin embargo, muchos de los empleados estaban absolutamente comprometidos con la empresa. A pesar de haber obtenido seis Óscar de la Academia y de haber introducido con éxito nuevos personajes, como Goofy y el Pato Donald, Walt vio que los cortos de dibujos animados no podrían sostener el estudio indefinidamente. Tenía la sensación de que el dinero de verdad estaba en los largometrajes.14 En 1937, Disney estrenó «Blancanieves y los Siete Enanitos», el primer largometraje de animación en color y el que ha obtenido los mayores ingresos brutos de todos los tiempos.15 En una iniciativa que más tarde se convertiría en sello distintivo de Disney, el día del estreno, en los estantes de Sears y de Woolworth podían encontrarse algunos productos de consumo de Blancanieves. Con el éxito de Blancanieves, la empresa fijó el objetivo de estrenar dos largometrajes al año, además de un gran número de cortos. A continuación, la empresa empezó a crecer. La base de empleados se multiplicó por siete, se construyó un nuevo estudio en Burbank y, en 1940, la empresa salió a bolsa para financiar la estrategia. Disney sobrevivió a los difíciles años de la segunda guerra mundial y al fracaso de películas costosas, como «Fantasía» (1940), con la producción de historietas educativas y formativas para el gobierno, como «How Disease Travels».16 Disney no hizo nuevos largometrajes durante la guerra, pero en 1944 reestrenó Blancanieves por primera vez, iniciativa que generó buena parte de los ingresos de ese año.17 En adelante, el reestreno de clásicos de la animación para las nuevas generaciones de niños se convirtió en una importante fuente de beneficios para Disney. Después de la guerra, la empresa tuvo de nuevo dificultades financieras. Fue necesario que transcurrieran varios años para que hiciera el siguiente largometraje de animación18 («Cenicienta», 1950), de modo que Walt decidió generar ingresos rápidos con películas como «Canción del Sur» (1946), que mezclaba actores reales con animación.19 Otra diversificación incluyó la creación de Walt Disney Music Company para controlar los derechos musicales de Disney y reclutar a grandes músicos. En 1950, el primer especial de Disney en televisión, «One Hour in Wonderland», alcanzó los 20 millones de espectadores en un momento en el que sólo había 10,5 millones de aparatos de televisión en Estados Unidos.20 Con el estreno de «La Isla del Tesoro» en 1950, Disney entró en la producción de películas con actores, y en 1965 producía un promedio de tres películas al año.
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