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Academics at Carnegie Mellon University and the Massachusetts Institute of Technology have found that the performance of groups is not correlated with their members’ average intelligence, but with characteristics such as sensitivity and how good teams are at giving everyone time to speak.
卡耐基梅隆大学和麻省理工学院的学者发现，团队的表现与其成员的平均智力无关，而是与其它一些特质相关，比如敏感性以及团队有多善于给予每个人发言机会。
Ringo provides backing; the band would be less cohesive without him.
林格是后盾；没有他，乐队就没有这般凝聚力。
Another principle reinforced by the film: look here, there and everywhere for inspiration.
影片还强调了另一个准则：随处寻找灵感。
In a study from McKinsey, more than 5,000 executives were asked to describe the environment in which they had their own best experiences of being in a team.
在麦肯锡的一项研究中，5000多名高管被要求描述他们是在何种环境下获得了最愉快的团队经历。
Among other things, the consultancy identified the importance of “renewal”, the habit of keeping staleness at bay by taking risks, by learning from others and by innovating.
在得到的结果中，这家咨询公司还指出了“焕新”的重要性，通过冒险、向他人学习和创新以把陈腐拒之门外。
“Get Back” shows a team of superstars embracing exactly that ethos: playing the songs of other bands, grabbing ideas like magpies and happily taking the advice and help of outsiders.
《Get Back》展示了这一巨星团队全情拥抱这一理念的样子：演奏其他乐队的歌曲，像喜鹊一样及时抓住灵感，乐于接受外人的建议和帮助。
It is the introduction of a pianist called Billy Preston, known to the group from their early days playing in Hamburg, which really makes the recording sessions start to click.
一位名叫比利·普雷斯顿的钢琴家的加入才让录制变得真正顺畅起来，乐队成员早期在汉堡演奏时就认识他了。
(Let’s make him the fifth Beatle, suggests John. “It’s bad enough with four,” sighs Paul.)
（约翰建议让他加入成为第五名披头士成员。“四个人就已经够烦的了，”保罗叹了口气说道。)
A third message of the film concerns when and how to let it be.
影片传递的第三个讯息是关于何时以及如何成立一个团队。
In an effort in 2016 called Project Aristotle, Google tried to define the characteristics of its most effective teams.
在2016年一项名为“亚里士多德计划”的尝试中，谷歌试图阐明其最有效团队的特征。
One of its findings was that goals ought to be “specific, challenging and attainable”.
研究结果之一是，目标应该是“具体的、具有挑战性的和可实现的”。
When they first meet up, on the second day of 1969, the band has a task that fits these criteria snugly: to write an album’s worth of new songs in just a matter of days and perform them on a TV special.
当他们在1969年的第二天第一次见面时，乐队面临的一项任务恰好符合这些标准：在短短几天内写出一张专辑的新歌，并在一个电视特别节目中演奏这些歌。
But how they get there is left largely to them.
但如何实现这一目标在很大程度上取决于他们自己。
That doesn’t always work out.
这件事也不总是行得通。
At one point Paul yearns for a “central daddy figure” to set them straight on their scheduling.
其中有段时间，保罗特别希望能有一位“父亲般的中心人物”来使他们的日程安排更加明确。
But the combination of a deadline and autonomy yields remarkable results.
但是，最后期限和自主性结合起来产生了非凡的效果。
There are limits to what can be learned from “Get Back”.
从《Get Back》中能学到的东西是有限的。
The Beatles are not always supportive of each other—George, feeling disregarded by John and Paul, briefly quits the band.
披头士乐队并不总是互相支持——乔治因为感到被约翰和保罗忽视，短暂地退出了乐队。
Drugs played a part in their output: LSD may be a red line for some managers.
药物在他们的产出中起到了一定的作用：对一些管理者来说，致幻药可能是不可跨越红线。
Although technical ability is not the only determinant of success, sheer talent helped.
然而，技术能力并不是成功的唯一决定因素，十足的天赋也有助益。
Any band with a Lennon, a McCartney and a Harrison in it would have an advantage.
任何乐队，只要有了列侬、麦卡特尼和哈里森的加入，它就有了一定优势。
卡耐基梅隆大学和麻省理工学院的学者发现，团队的表现与其成员的平均智力无关，而是与其它一些特质相关，比如敏感性以及团队有多善于给予每个人发言机会。
Ringo provides backing; the band would be less cohesive without him.
林格是后盾；没有他，乐队就没有这般凝聚力。
Another principle reinforced by the film: look here, there and everywhere for inspiration.
影片还强调了另一个准则：随处寻找灵感。
In a study from McKinsey, more than 5,000 executives were asked to describe the environment in which they had their own best experiences of being in a team.
在麦肯锡的一项研究中，5000多名高管被要求描述他们是在何种环境下获得了最愉快的团队经历。
Among other things, the consultancy identified the importance of “renewal”, the habit of keeping staleness at bay by taking risks, by learning from others and by innovating.
在得到的结果中，这家咨询公司还指出了“焕新”的重要性，通过冒险、向他人学习和创新以把陈腐拒之门外。
“Get Back” shows a team of superstars embracing exactly that ethos: playing the songs of other bands, grabbing ideas like magpies and happily taking the advice and help of outsiders.
《Get Back》展示了这一巨星团队全情拥抱这一理念的样子：演奏其他乐队的歌曲，像喜鹊一样及时抓住灵感，乐于接受外人的建议和帮助。
It is the introduction of a pianist called Billy Preston, known to the group from their early days playing in Hamburg, which really makes the recording sessions start to click.
一位名叫比利·普雷斯顿的钢琴家的加入才让录制变得真正顺畅起来，乐队成员早期在汉堡演奏时就认识他了。
(Let’s make him the fifth Beatle, suggests John. “It’s bad enough with four,” sighs Paul.)
（约翰建议让他加入成为第五名披头士成员。“四个人就已经够烦的了，”保罗叹了口气说道。)
A third message of the film concerns when and how to let it be.
影片传递的第三个讯息是关于何时以及如何成立一个团队。
In an effort in 2016 called Project Aristotle, Google tried to define the characteristics of its most effective teams.
在2016年一项名为“亚里士多德计划”的尝试中，谷歌试图阐明其最有效团队的特征。
One of its findings was that goals ought to be “specific, challenging and attainable”.
研究结果之一是，目标应该是“具体的、具有挑战性的和可实现的”。
When they first meet up, on the second day of 1969, the band has a task that fits these criteria snugly: to write an album’s worth of new songs in just a matter of days and perform them on a TV special.
当他们在1969年的第二天第一次见面时，乐队面临的一项任务恰好符合这些标准：在短短几天内写出一张专辑的新歌，并在一个电视特别节目中演奏这些歌。
But how they get there is left largely to them.
但如何实现这一目标在很大程度上取决于他们自己。
That doesn’t always work out.
这件事也不总是行得通。
At one point Paul yearns for a “central daddy figure” to set them straight on their scheduling.
其中有段时间，保罗特别希望能有一位“父亲般的中心人物”来使他们的日程安排更加明确。
But the combination of a deadline and autonomy yields remarkable results.
但是，最后期限和自主性结合起来产生了非凡的效果。
There are limits to what can be learned from “Get Back”.
从《Get Back》中能学到的东西是有限的。
The Beatles are not always supportive of each other—George, feeling disregarded by John and Paul, briefly quits the band.
披头士乐队并不总是互相支持——乔治因为感到被约翰和保罗忽视，短暂地退出了乐队。
Drugs played a part in their output: LSD may be a red line for some managers.
药物在他们的产出中起到了一定的作用：对一些管理者来说，致幻药可能是不可跨越红线。
Although technical ability is not the only determinant of success, sheer talent helped.
然而，技术能力并不是成功的唯一决定因素，十足的天赋也有助益。
Any band with a Lennon, a McCartney and a Harrison in it would have an advantage.
任何乐队，只要有了列侬、麦卡特尼和哈里森的加入，它就有了一定优势。
