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VIDEO INTERVIEW – Whether he follows a rat wandering in the sewers of Paris or imagines a chase on the roof of a train launched at high speed in the Incredibles the filmmaker not afraid of pieces of bravery.
The Dreamlike Dream of Iron Giant
Public and Critical Failure at its Exit, The Iron Giant is today an Object of Worship , to the point that his eponymous character became a central element of the last Steven Spielberg, Ready Player One . In the midst of the cold war, a young child falls into a forest on a steel colossus from the sky. Amnesic, he learns the basics of goodness from a resourceful kid, barely concealed decal of Brad Bird himself.
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Featuring an animation mixing pencil and the third dimension, the feature film reveals in one sequence one of the central questions of the filmmaker: can we fight against his tendency to savagery? ? In a nightmare, the Iron Giant remembers his true nature: that of a killing machine, endowed with a destructive ventral badplate. This reminiscence comes as the Giant discovered earlier an innocent doe murdered by a hunter – direct reference to the mother of Bambi. The gratuitous violence of the Man reactivates the anger of the iron beast, reminding him to his lowest instincts. Since King Kong, things have not changed.
Model of dreamlike staging, this sequence also leads to the question posed by Brad Bird in the preamble of Iron Giant : "Does a weapon have a soul?" Like all children before him, the colossus, steel frame with the threatening aspect, saw his first nightmare. He discovers his greatest weakness and becomes fully human. Brad Bird needed to imagine such an idea!
The dangerousness of the cloak in The Incredibles
The Iron Giant having caused the admiration of his peers, Brad Bird is recruited by the studio Pixar with a possible carte blanche. It then comes out of his cards a project that has worked for 20 years: The Incredibles. Crazy imaginative, the film is a triumph in the hall and near the critics. The sarcastic tone adopted by Brad Bird is probably no stranger. In 2004, date of the release of the film, the superhero genre in the cinema takes only the hair of the beast with the release of Spiderman 2 and X-Men 2 . Rather than add his stone to the building, Bird chooses to tell a family story. "It's not about super-heroes, but about a family"
»READ ALSO – Brad Bird:" Hollywood goes over the dishes "
Hence this anecdotal and yet surprisingly violent sequence with regard to a family production. In the film, the Parr family's official seamstress, Edna Mode, has to make a new costume for Mr. Indestructible. The latter, forcibly retired, wants to regain his old costume. He suggests adding a cloak. In 1 minute and 15 seconds, Edna makes him understand what makes this idea bad by listing all these dead superheroes because of their flying fabric. The opportunity for the filmmaker to openly mock the ridiculous accoutrement of many super-saviors of American comics. One, saving a plane by flying, is even sucked into the engine of the machine. It does not remind you of a hero with an S on the chest?
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This sequence takes on a another function, which Brad Bird confessed to us for the release of Incredibles 2 . "You have to worry about the characters so that a story is interesting to follow". Instill danger. Make the enemy threat palpable. That's why, by killing saviors we think are invincible, Brad Bird means that the danger facing the unbelieving family can lead to death. A serious situation, signified in the bend of a comic sequence. The Art of Brad Bird
Making Taste Visible in Ratatouille
"Every taste is unique. But by mixing the flavors, you get something new. This piece of dialogue is not the mantra of filmmaker Brad Bird, but an excerpt from his second film Pixar, Ratatouille. In the story, the rat Rémy tastes a strawberry, then a piece of cheese, then both. In a few images, the viewer understands the breadth of the rat's pbadion for cooking and the quality of his refined nose.
The feat stands in the combination of two elements: abstract animation and meaningful music. The animation is signed by the brilliant Canadian animator Michel Gagné, already at work on The Iron Giant. That produced nearly 1400 drawings to achieve this fireworks of colors. He helped himself to music, composed by Michael Giacchino as a preamble to the animation. The combination of the two produces a magma of flavors unique to the famous dishes once in the mouth. To make the taste visible is what can be called a tour de force.
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