Brad Bird's 30-Year Sci-Fi Epic Finally Lands on Netflix!

Oscar-winning filmmaker Brad Bird, known for acclaimed works such as The Iron Giant, Ratatouille, and The Incredibles, is set to release his decades-long passion project, Ray Gunn, on Netflix later this year. In an interview with Collider’s Steve Weintraub, Bird discussed the extensive journey of bringing this adult animated feature to life, his approach to animation, and his views on original storytelling versus sequels.

Ray Gunn is an unrated feature that uniquely blends sci-fi and 1940s noir, set in an alternate 1939. The story follows Raymond Gunn, the last human private detective, voiced by Sam Rockwell, as he delves into a twisted mystery involving murder, aliens, and a prominent star named Venus Nova, voiced by Scarlett Johansson. Other notable vocal talents include Tom Waits and John Ratzenberger. Bird revealed that the project took 30 years to realize, highlighting the challenges inherent in animation filmmaking and his drive to push the medium beyond traditional expectations.

A significant aspect of Ray Gunn's development involved its transition from a hand-drawn concept to a CG-animated film. Bird acknowledged that while he initially envisioned it as hand-drawn, the capabilities of computer graphics allowed for unprecedented camera movement and detailed lighting that could truly honor the film noir aesthetic, treating it much like a live-action movie. He also emphasized his cinematic approach to animation, utilizing both long, languorous shots and extremely short, impactful ones, a technique he applied in films like The Incredibles to play with pacing and emotional impact. One particularly complex shot in Ray Gunn involves Venus Nova navigating an entourage while interacting with Raymond Gunn, a sequence that, despite its difficulty, appears seamlessly fluid on screen.

Bird praised Netflix and Skydance for their willingness to support his vision and push the boundaries of animated storytelling. He believes Ray Gunn has the potential to broaden the animation audience beyond younger viewers, appealing to teenagers and young adults who might otherwise disengage from the medium. He drew parallels to Ratatouille, which found success with adult audiences on weeknight screenings, proving that quality animation can resonate with anyone who appreciates good movies, regardless of age. Bird asserts that the medium of animation itself is not limited, but rather the types of stories typically told within it.

Regarding sequels, Bird expressed a clear stance. While acknowledging that audiences often desire follow-ups to successful films, he believes some stories, such as Ratatouille and The Iron Giant, are complete and shouldn't be revisited. He views The Iron Giant's belated success as proof that not all films need immediate sequels. However, he remains open to the idea of more The Incredibles films and appreciates well-made sequels like Toy Story 5. Bird is a strong proponent of original storytelling, fearing that Hollywood's focus on existing franchises stifles creativity. He revealed he is currently working on a live-action script with some animated elements, hoping to find a partner willing to take a