[[quoteright:255:http://static.tvtropes.org/pmwiki/pub/images/Brad_Bird_Oscar_8052.jpg]]

->''"Itís not a genre! A Western is a genre! Animation is an art form, and it can do any genre. You know, it can do a detective film, a cowboy film, a horror film, an R-rated film or a kidsí fairy tale. But it doesnít do one thing. And, next time I hear, ĎWhatís it like working in the animation genre?í Iím going to punch that person!Ē''
-->-- '''Brad Bird''' on the DVD commentary of ''WesternAnimation/TheIncredibles''

'''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''.

Bird's later claims to fame include two films that captured his love of the classic comic book stories, ''WesternAnimation/TheIronGiant'' and ''WesternAnimation/TheIncredibles'', the latter of which was the beginning of his tenure at Creator/{{Pixar}}. His next animated film was the Pixar-produced ''WesternAnimation/{{Ratatouille}}''. He then moved into live-action by directing ''Film/MissionImpossibleGhostProtocol'', the fourth installment of the ''Film/MissionImpossible'' films, which is his live-action debut. The film has received extremely positive reviews, particularly for its action scenes. His most recent project is ''Film/{{Tomorrowland}}'', a film for Disney inspired by the area of the Franchise/DisneyThemeParks, and he's currently working on a sequel to ''The Incredibles''.

----
!!Tropes demonstrated by Brad Bird and his works include:

* BerserkButton: Bird has vowed to punch out the next person who calls animation a "genre", as he believes it is a medium that can tell any kind of story.
* CrossdressingVoices: Originally, Edna Mode of ''The Incredibles'' was to be played by a woman, though Pixar struggled finding an actress they liked. Eventually Lily Tomlin was asked, but when she heard Bird do his impression of how he wanted the voice to sound like, she suggested ''he'' do it instead.
* DescendedCreator: For ''The Incredibles'', as he was the only one who could properly do Edna's accent.
* DeconstructorFleet: It would appear that Bird loves to take his childhood to pieces and play with the bits.
** {{Reconstruction}}: But then he puts them back together better than ever.
*** ''The Incredibles'': In the first few minutes, he shows the negative effects of superheroes/villains on society, buries them ''ComicBook/{{Watchmen}}''-style, then shows how difficult normal life is for supers like the Silver age. Then he gives them a villain to fight and shows that ''heroes'' aren't the problem.
* 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.
* HotBlooded:
** Making-of videos show him at his most passionate (which you ''really'' need to be for filmmaking).
** His praise of Pixar's software engineering department, whom he considers their true unsung heroes, borders on LargeHam:
--> "If I were one of these people, I'd be like 'HEY!! I JUST MADE A MIRACLE HAPPEN!!'"
* SignatureStyle:
** His animated films feature classically animated (i.e., full, Disney-quality animation) characters with broad, graphic designs. Unlike most CGI movie characters, the characters in his two Pixar films actually look as though they were drawings first before being modeled in the computer.
** 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 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 [[ABoyAndHisX 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 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.]]
* TakeThat: Has [[http://herocomplex.latimes.com/2011/08/10/brad-bird-hollywood-isnt-brave-enough-to-copy-pixar-process/ this]] to say about other studios who try to be like Pixar:
-->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.