Brad Bird Interviews

Brad Bird

Brad Bird has done a couple radio interviews in the past week which are worth a listen. The first interview refers to him as “Big Bird” and “one of Pixar’s chief polishers,” but beyond that unnecessary cuteness, it’s a decent chat in which Bird discusses what’s wrong with Hollywood filmmaking and expresses reservations about how animation is treated at the Oscars. The second interview gets off an to equally bad start when the host refers to animation as a “genre” and Bird has to correct him. It eventually picks up, especially when he discusses how he came onto Ratatouille midway through the film’s development. The latter interview also features unintentional moments of comic relief by historian Charles Solomon who makes heroic efforts to correctly pronounce the name Ratatouille.

(Thanks, Jakob Schuh, for the first interview link)


  • http://www.lyris-lite.net David Mackenzie

    Great stuff, thanks Amid. “Big Bird” huh… I always referred to Mr Bird jokingly as “Bird Man!!!!”, after John K yelling the same phrase on one of the Ren & Stimpy commentaries…

  • Chuck R.

    Bummer of a name: “Brad” is a tiny nail. “Bird” is Charlie Parker. He needs to put that Disney marketing machine to work and get himself a cool moniker —like “Sting”.
    Hmmm, maybe not.

  • Dwight Fitch

    Disney’s marketing machine would spend six months on it, then come up with ‘Brad Bird rhymes with Earl Hurd.’

  • red pill junkie

    Hmm… seems Brad is working on a live action film now. I hope we hear more about that project soon

  • Chuck R.

    I’ll second that, Red Pill.

    I’d also like to hear Brad discuss the style of Pixar films. Amid broached the subject in an earlier post that degenerated into a “love-or-hate Pixar” thread, but he made a good point. Brad Bird seems eager to move animation stories and concepts into unfamiliar territory (Incredibles deals with infidelity, societal pressures, and runaway litigation and carries a PG rating) But Pixar’s style, appealing as it is, changes very little from film to film, even though their pre-production art and Golden Books play heavily with shape and texture.

    If I could interview him, I’d ask: What’s on the horizon? —Is Pixar itching to push the envelope stylistically, or leave it to someone else? Is the cute, polished look the only way to tell a story? What does Brad think of Triplettes or Persepolis? can those styles find a wide audience in America?