Brad was the only The Simpsons director to pitch story ideas.
Brad directed the animated short film, Jack-Jack attack, which was included on The Incredibles DVD.
Brad has worked as an animator on the Disney films, The Fox and The Hound and The Plague Dogs.
Brad has a wife and three children.
Brad has done audio commentaries for three episodes of The Simpsons, two of which he directed.
Brad believes animation not to be a genre, but instead an art form.
In Brad's film, The Incredibles, he provided the voice for the character Edna Mode, on the temporary audio track, but because they couldn't find anyone else to fit the role, it ended up being the final voice.
Brad grew up in Portland, Oregon.
Brad helped tremendously with the transition of The Simpsons from the Tracey Ullman Show animated shorts to the half-hour program.
He is close friends with Pixar co-founder, John Lasseter.
Brad won an Academy Award for directing The Incredibles.
Brad's favourite character on The Simpsons is Krusty The Klown.
Brad: When I first told my friends that I was working on The Simpsons, they were concerned saying, "Oh, you're working in television?", because back in 1989, film was the only animation that was successful and there wasn't any animation running, during prime time TV.
Brad: I could absolutely do a hand-drawn film. That said, there are certain things about working in CG that I do truly prefer. I love the minute control over facial animation, whereas in hand-drawn, once you get down to the width of a pencil line between drawings it's very difficult to control, because the line itself becomes more active than any movement it's supposed to represent. And I love being able to move the camera in space. That said, there is a look, and a tactile feel, to hand-drawn that computer just can't replicate—computer has its own thing, and it's a wonderful medium, and I would love to do other things with that medium, but hand-drawn is also something that you can't get any other way… so I hate to see it abandoned. Just as I don't wish to see Nick Park abandon clay animation, until he wants to abandon clay. I love Wallace and Gromit just the way it is, and I look forward to any stop motion that Henry Selick wants to do. Stop motion is probably the closest thing to CG that there is, and yet it doesn't look the same. It has its own feel, a little more "touchy."
Brad: Look as a movie fan, there are two kinds of sequels. There's the great sequel you want to see. The Empire Strikes Back, T2, Godfather 2, Toy Story 2. those are all done by the original filmmakers and done with the assumption the filmmakers could match or better the film everyone liked. Then there's Jaws 2 and Butch and Sundance: The Early Days and Grease 2, that are done cynically to cash in on the film, but have none of the original team. I don't think the world needs any more of those sequels. If I could figure out an idea that was worth exploring and we could reassemble the original team, I would do it, because I love the characters. I don't think every movie deserves a sequel, but if I could meet those two criteria and make a sequel to The Incredibles what Toy Story 2 was to Toy Story, I would do The Incredibles 2.
Brad: (talking about The Iron Giant)The cool thing about it was even though I may have disagreed with a couple of writers' analysis of what it was, the fact that it was written about in the op/ed section of the New York Times several times was really gratifying to me. Look, it's a mainstream animated movie, and how often are those considered thought provoking? It's meant to be a great time at the theater, but it's also designed to work on more than one level.
Brad: (Talking about it came that he worked at Pixar)They liked Iron Giant a lot and it worked out. I went up there and pitched them The Incredibles and they said, "lets make it." What was really surprising about the company was that ... instead of saying, "we got it all figured out, and if you want to come up, here are the ten things you have to put in your story, and dadadada, we have the formula down, we rock, you don't.
Brad: I got fired for quote rocking the boat unquote. They were basically saying that if I'd stop complaining about quality, I could hold onto my job. I said, "I'm complaining about stuff your master animators taught me to complain about. So either I'm getting fired or I'm selling out everything you guys supposedly stand for.
Brad: Disney itself is more of a producer's studio than a director's studio.
Brad: I was not a big comic-book reader. I read a few, when I was little, but I was really much more into things like "Peanuts" and "B.C."—funny strips. I got my heroes secondhand, from television and movies, to a certain extent.
Brad: Many studios like Hanna Barbara believe you have to cut corners to produce good animation with techniques, like reusing backgrounds, but you just have to know how to direct the animation, using small and quick cheats.