History Creator / BradBird

4th Jul '17 4:40:35 PM NWolfman
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** He has a distinct way of directing dialogue that succeeds at the difficult task of making the animated character and the voice appear one and the same.

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** He has a distinct way of directing dialogue that succeeds at the difficult task of making the animated character and the voice appear one and the same. He supposedly does this by telling his actors to give performances that will directly inspire the animators.
24th Jun '17 2:56:15 PM NWolfman
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* TheFifties: Two of his movies take place in the fifties and deal with specific sentiments of the period. ''The Iron Giant'' involves the looming fear of the Cold War and also invokes a bit of the classic sci-fi made during then. ''The Incredibles'' involves the "everyone should be equal, ordinary, and a nuclear family" value then.

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* TheFifties: Two of his movies take place in the fifties and deal with specific sentiments of the period. ''The Iron Giant'' involves the looming fear of the Cold War and also invokes a bit of the classic sci-fi made during then. ''The Incredibles'' involves Incredibles'', while not explicitly set in the "everyone should 1950s, borrows heavily from the aesthetic, namely what people living in the decade ''thought'' the future would be equal, ordinary, and a like, while also criticizing the value of the nuclear family" value then.family.
20th Apr '17 7:57:35 PM TheRealYuma
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-->Everyone in Hollywood says they wish they could do it like Pixar, but they really donít. Thereís no secret at Pixar, but there is a belief in letting people pursue something with passion and take chances, and most of Hollywood, really, doesnít like that. Itís too scary. Some studio executives will say they love obsessive creators who take risks, but really most of them would rather play it safe. Projects cost a lot of money and people would rather follow patterns they know and make things safe and accessible. Hollywood wants there to be a math formula for making hit films. To make something really great and different and interesting means taking risks and following these ideas in your head.

to:

-->Everyone in Hollywood says they wish they could do it like Pixar, but they really donít. Thereís no secret at Pixar, but there is a belief in letting people pursue something with passion and take chances, and most of Hollywood, really, doesnít like that. Itís too scary. Some studio executives will say they love obsessive creators who take risks, but really most of them would rather play it safe. Projects cost a lot of money and people would rather follow patterns they know and make things safe and accessible. Hollywood wants there to be a math formula for making hit films. To make something really great and different and interesting means taking risks and following these ideas in your head.head.
** He's also done this to Disney of all companies on a number of occasions during his time in making WesternAnimation/TheIronGiant, as seen in the Blu-ray's documentary.
12th Oct '16 11:02:29 PM jameygamer
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*** ''WesternAnimation/{{Ratatouille}}': That film "employed lush speeches on the importance of elitism and the dangers of complacency, albeit speeches delivered by a talking rat." Hertz could have done better than that: ex-reason staffer Julian Sanchez wrote in 2007 that "Ratatouille is essentially an animated version of The Fountainhead, except that cooking replaces architecture, Ellsworth Toohey eventually has a Grinchian change of heart, and Howard Roark is a rodent."

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*** ''WesternAnimation/{{Ratatouille}}': ''WesternAnimation/{{Ratatouille}}'': That film "employed lush speeches on the importance of elitism and the dangers of complacency, albeit speeches delivered by a talking rat." Hertz could have done better than that: ex-reason staffer Julian Sanchez wrote in 2007 that "Ratatouille is essentially an animated version of The Fountainhead, except that cooking replaces architecture, Ellsworth Toohey eventually has a Grinchian change of heart, and Howard Roark is a rodent."
20th Sep '16 11:30:48 AM Kalaong
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*** ''WesternAnimation/TheIronGiant'': On the surface, it's a charming cartoon about a boy and his alien robot. Yet the film spends an awful lot of time and energy developing a deep mistrust of government forces, especially military bureaucrats whose sole purpose is to destroy something they don't understand, something spectacular.

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*** ''WesternAnimation/TheIronGiant'': On the surface, it's a charming cartoon about a boy [[ABoyAndHisX A Boy and his alien robot.His Alien Robot]]. Yet the film spends an awful lot of time and energy developing a deep mistrust of government forces, especially military bureaucrats whose sole purpose is to destroy something they don't understand, something spectacular.
24th Aug '16 1:19:13 PM Kalaong
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*** ''Film/{{Tomorrowland}}'': Hertz characterizes it this way: "Tomorrowland was constructed by the world's 'best and brightest,' who were able to realize their visions only by being 'free from government, bureaucracy' and other forces of mediocrity that would quash the gifts of the exceptional." Basically the [[Literature/AtlasShrugged Galt's Gulch]] the [[Film/AtlasShrugged films]] didn't have the funding to show. Better yet, [[spoiler:the people of Tomorrowland even choose to let the world destroy itself for the exact same reason Galt's Gulch did; because it refused to value them and the future they offered. And that destruction is even their fault, albeit for entirely ''opposite'' reasons - where Galt spent decades WalkingTheEarth headhunting the world's dreamers right out from under an apathetic world after it declared him a slave, Nix tried to ''warn'' the world of what was in store only for it to choose destruction, so he withdrew from it in disgust. This actually makes Tomorrowland an ''amazing'' Objectivist movie; where Galt gave the world the opportunity to change right 'til the very end, Nix is [[RuleOfSymbolism literally crushed]] by his altruistic warning - '''[[AtlasPose a giant sphere he refused to shrug off]]!''' In the end, Frank and Casey go back to Galt's plan of recruiting dreamers while asking the world to change.]]

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*** ''Film/{{Tomorrowland}}'': Hertz characterizes it this way: "Tomorrowland was constructed by the world's 'best and brightest,' who were able to realize their visions only by being 'free from government, bureaucracy' and other forces of mediocrity that would quash the gifts of the exceptional." Basically the [[Literature/AtlasShrugged Galt's Gulch]] the [[Film/AtlasShrugged films]] didn't have the funding budget to show. Better yet, [[spoiler:the people of Tomorrowland even choose to let the world destroy itself for the exact same reason Galt's Gulch did; because it refused to value them and the future they offered. And that destruction is even their fault, albeit for entirely ''opposite'' reasons - where Galt spent decades WalkingTheEarth headhunting the world's dreamers right out from under an apathetic world after it declared him a slave, Nix tried to ''warn'' the world of what was in store only for it to choose destruction, so he withdrew from it in disgust. This actually makes Tomorrowland an ''amazing'' Objectivist movie; where Galt gave the world the opportunity to change right 'til the very end, Nix is [[RuleOfSymbolism literally crushed]] by his altruistic warning - '''[[AtlasPose a giant sphere he refused to shrug off]]!''' In the end, Frank and Casey go back to Galt's plan of recruiting dreamers while asking the world to change.]]
22nd Aug '16 1:22:35 PM Kalaong
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*** Film/{{Tomorrowland}}: Hertz characterizes it this way: "Tomorrowland was constructed by the world's 'best and brightest,' who were able to realize their visions only by being 'free from government, bureaucracy' and other forces of mediocrity that would quash the gifts of the exceptional." Basically the [[Literature/AtlasShrugged Galt's Gulch]] the [[Film/AtlasShrugged films]] didn't have the funding to show. Better yet, [[spoiler:the people of Tomorrowland even choose to let the world destroy itself for the exact same reason Galt's Gulch did; because it refused to value them and the future they offered. And that destruction is even their fault, albeit for entirely ''opposite'' reasons - where Galt spent decades WalkingTheEarth headhunting the world's dreamers right out from under an apathetic world after it declared him a slave, Nix tried to ''warn'' the world of what was in store only for it to choose destruction, so he withdrew from it in disgust. This actually makes Tomorrowland an ''amazing'' Objectivist movie; where Galt gave the world the opportunity to change right 'til the very end, Nix is [[RuleOfSymbolism literally crushed]] by his altruistic warning - '''[[AtlasPose a giant sphere he refused to shrug off]]!''' In the end, Frank and Casey go back to Galt's plan of recruiting dreamers while asking the world to change.]]

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*** Film/{{Tomorrowland}}: ''Film/{{Tomorrowland}}'': Hertz characterizes it this way: "Tomorrowland was constructed by the world's 'best and brightest,' who were able to realize their visions only by being 'free from government, bureaucracy' and other forces of mediocrity that would quash the gifts of the exceptional." Basically the [[Literature/AtlasShrugged Galt's Gulch]] the [[Film/AtlasShrugged films]] didn't have the funding to show. Better yet, [[spoiler:the people of Tomorrowland even choose to let the world destroy itself for the exact same reason Galt's Gulch did; because it refused to value them and the future they offered. And that destruction is even their fault, albeit for entirely ''opposite'' reasons - where Galt spent decades WalkingTheEarth headhunting the world's dreamers right out from under an apathetic world after it declared him a slave, Nix tried to ''warn'' the world of what was in store only for it to choose destruction, so he withdrew from it in disgust. This actually makes Tomorrowland an ''amazing'' Objectivist movie; where Galt gave the world the opportunity to change right 'til the very end, Nix is [[RuleOfSymbolism literally crushed]] by his altruistic warning - '''[[AtlasPose a giant sphere he refused to shrug off]]!''' In the end, Frank and Casey go back to Galt's plan of recruiting dreamers while asking the world to change.]]
22nd Aug '16 1:21:55 PM Kalaong
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Added DiffLines:

** He also [[http://www.theglobeandmail.com/arts/film/brad-birds-objectivist-leanings-shine-brightest-in-tomorrowland/article24549785/ seems]] to have a MasochismTango with Creator/AynRand; All of his films have central themes that can easily be seen as Objectivism, albeit with a humanist touch that greatly expands its audience.
***''WesternAnimation/TheIronGiant'': On the surface, it's a charming cartoon about a boy and his alien robot. Yet the film spends an awful lot of time and energy developing a deep mistrust of government forces, especially military bureaucrats whose sole purpose is to destroy something they don't understand, something spectacular.
***''WesternAnimation/TheIncredibles'': Here, an ungrateful (i.e. complacent, average, worthless) public bands together to force superbeings into a life of mediocrity, so terrified are they of anything powerful or special. The film's villain, who embraces envy as much as Rand rejected it, also has a half-cocked scheme to mass-produce superpowered weapons, laying out Bird's guiding philosophy in one tidy pull quote: "When everyone's super, no one will be."
***''WesternAnimation/{{Ratatouille}}': That film "employed lush speeches on the importance of elitism and the dangers of complacency, albeit speeches delivered by a talking rat." Hertz could have done better than that: ex-reason staffer Julian Sanchez wrote in 2007 that "Ratatouille is essentially an animated version of The Fountainhead, except that cooking replaces architecture, Ellsworth Toohey eventually has a Grinchian change of heart, and Howard Roark is a rodent."
***''Film/MissionImpossibleGhostProtocol'': doesn't really count, since Bird didn't write the script. Still, Hertz asks, "isn't Tom Cruise's superspy, Ethan Hunt, just an ass-kicking John Galt?"
***Film/{{Tomorrowland}}: Hertz characterizes it this way: "Tomorrowland was constructed by the world's 'best and brightest,' who were able to realize their visions only by being 'free from government, bureaucracy' and other forces of mediocrity that would quash the gifts of the exceptional." Basically the [[Literature/AtlasShrugged Galt's Gulch]] the [[Film/AtlasShrugged films]] didn't have the funding to show. Better yet, [[spoiler:the people of Tomorrowland even choose to let the world destroy itself for the exact same reason Galt's Gulch did; because it refused to value them and the future they offered. And that destruction is even their fault, albeit for entirely ''opposite'' reasons - where Galt spent decades WalkingTheEarth headhunting the world's dreamers right out from under an apathetic world after it declared him a slave, Nix tried to ''warn'' the world of what was in store only for it to choose destruction, so he withdrew from it in disgust. This actually makes Tomorrowland an ''amazing'' Objectivist movie; where Galt gave the world the opportunity to change right 'til the very end, Nix is [[RuleOfSymbolism literally crushed]] by his altruistic warning - '''[[AtlasPose a giant sphere he refused to shrug off]]!''' In the end, Frank and Casey go back to Galt's plan of recruiting dreamers while asking the world to change.]]
22nd Jul '16 3:41:10 PM ngh93
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'''Brad Bird''' is a screenwriter/director from Kalispell, Montana. His experience lies mostly within the realm of animation, and he's also known as one of the directors to actually bob and weave his way around the concept of the AnimationAgeGhetto, due to most of his works looking aesthetically cartoony, but having a maturity and depth that rivals most live-action pieces. Bird got his start working as an animator on ''WesternAnimation/{{Animalympics}}'', {{Creator/Disney}}'s ''Disney/TheFoxAndTheHound'' and Martin Rosen's ''Literature/ThePlagueDogs'', and moved on to work with Creator/StevenSpielberg in his ''Series/AmazingStories'' anthology series, notably with a short titled "Family Dog". He got his big break after he managed to grab the attention of TraceyUllman, and began work alongside Creator/MattGroening on a crude animated series that premiered on her show, called ''WesternAnimation/TheSimpsons''.

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'''Brad '''Phillip Bradley "Brad" Bird''' (September 24, 1957-) is a screenwriter/director from Kalispell, Montana. His experience lies mostly within the realm of animation, and he's also known as one of the directors to actually bob and weave his way around the concept of the AnimationAgeGhetto, due to most of his works looking aesthetically cartoony, but having a maturity and depth that rivals most live-action pieces. Bird got his start working as an animator on ''WesternAnimation/{{Animalympics}}'', {{Creator/Disney}}'s ''Disney/TheFoxAndTheHound'' and Martin Rosen's ''Literature/ThePlagueDogs'', and moved on to work with Creator/StevenSpielberg in his ''Series/AmazingStories'' anthology series, notably with a short titled "Family Dog". He got his big break after he managed to grab the attention of TraceyUllman, and began work alongside Creator/MattGroening on a crude animated series that premiered on her show, called ''WesternAnimation/TheSimpsons''.
6th May '16 1:41:53 PM ryanasaurus0077
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** His praise of Pixar's software engineering department, whom he considers their true unsung heroes, boarders on LargeHam:

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** His praise of Pixar's software engineering department, whom he considers their true unsung heroes, boarders borders on LargeHam:



** He also has a distinct way of directing dialogue that succeeds at the difficult task of making the animated character and the voice appear one and the same.

to:

** He also has a distinct way of directing dialogue that succeeds at the difficult task of making the animated character and the voice appear one and the same.
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http://tvtropes.org/pmwiki/article_history.php?article=Creator.BradBird