A Bug's Life
《虫虫危机》

When Apple developed the iMac, Jobs drove with Jony Ive to show it to the folks at Pixar.
在苹果开发出了iMac之后，乔布斯和乔尼·艾弗开车去了皮克斯，把iMac展示给那儿的伙伴们。
He felt that the machine had the spunky personality that would appeal to the creators of Buzz Lightyear and Woody,
乔布斯认为这款活力十足的机器能够吸引“巴斯光年”和“伍迪”的创造者，
and he loved the fact that Ive and John Lasseter shared the talent to connect art with technology in a playful way.
而且他很髙兴看到艾弗和约翰·拉塞特都具备这种把艺术和科技有趣结合的天赋。
Pixar was a haven where Jobs could escape the intensity in Cupertino.
皮克斯就像一座避风港，得以让乔布斯排解在库比蒂诺的压力。
At Apple, the managers were often excitable and exhausted,
在苹果，管理人时而兴奋时而疲累，
Jobs tended to be volatile, and people felt nervous about where they stood with him.
乔布斯情绪多变，经常把大家弄得不知所措。

At Pixar, the storytellers and illustrators seemed more serene and behaved more gently, both with each other and even with Jobs.
在皮克斯，编剧和插画师无论彼此合作还是和乔布斯在一起，都更加平和，举止行为也更加和善。
In other words, the tone at each place was set at the top, by Jobs at Apple, but by Lasseter at Pixar.
换句话说，领导者的性格奠定了整个公司的风格，就如同苹果带着乔布斯的影子，而皮克斯也深受拉塞特的影响。
Jobs reveled in the earnest playfulness of moviemaking and got passionate about the algorithms
乔布斯陶醉于电影制作过程的趣味性，并深深着迷于魔法般的计算机特技，
that enabled such magic as allowing computer-generated raindrops to refract sunbeams or blades of grass to wave in the wind.
比如计算机模拟制作雨滴折射出阳光，或青草叶在微风吹拂下晃动。
But he was able to restrain himself from trying to control the creative process.
同时他也克制自己不要去控制创意过程。
It was at Pixar that he learned to let other creative people flourish and take the lead.
在皮克斯，他懂得了要给创意人员天马行空的自由空间。
Largely it was because he loved Lasseter, a gentle artist who, like Ive, brought out the best in Jobs.
这在很大程度上是因为，他很欣赏拉塞特这样一位彬彬有礼的艺术家，像艾弗一样，能激发出自己最好的一面。