Brad Bird Shocks Fans: Set to Return for 'Incredibles 3' in New Role, Not as Director!

At San Diego Comic-Con 2026, Collider's Steven Weintraub moderated a highly anticipated panel titled "Brad Bird: My Cinematic Journey," offering an in-depth look into the illustrious career of one of Hollywood's most distinctive directors. Bird, known for rarely making movies, making each new release a significant event, reflected on over three decades of filmmaking that includes critically acclaimed classics like The Iron Giant, The Incredibles, Ratatouille, and Mission: Impossible – Ghost Protocol. The panel also heavily featured discussions around his latest passion project, Ray Gunn, a retro-futuristic sci-fi noir set to premiere on Netflix later this year.

Bird's journey began with formative advice from Disney animation legend Milt Kahl, who famously urged him to "explore the possibilities"—a principle that continues to guide every project he undertakes. His early work on The Simpsons was also pivotal, teaching him the art of visual storytelling and the necessity of making rapid decisions under intense pressure. This experience, likened to Lucille Ball's candy factory conveyor belt, prepared him for the demanding pace of feature film production.

The director revisited the enduring appeal of The Iron Giant, a film that initially struggled due to a lack of marketing but eventually became a beloved cult classic through television reruns. Bird revealed the challenge of pitching an animated movie that grappled with mature themes like fear, death, and choice, famously asking, "What if a gun had a soul... and didn't want to be a gun?" This poetic core, diverging from the original book's alien space pack battle, resonated with studio executives and paved the way for the film's unique narrative.

Discussing The Incredibles, Bird addressed the resistance to creating stylized human characters in CG animation, a stark departure from Pixar's earlier, cuter character designs. He cited Jan Pinkava's Oscar-winning short Geri's Game as an inspiration for proving compelling human characters were achievable. The film also saw significant evolution in its villain; an early exercise involving the Parr family in civilian identities led to Syndrome's creation, inspired by Burt Ward's "dark resentment" as Robin. Bird also shared insights into adapting to Pixar's collaborative "Braintrust" process, emphasizing the value of smart notes and the studio's commitment to protecting strong stories.

Bird recounted the dramatic circumstances of taking over Ratatouille mid-production, a story confirmed to be "somewhat" true. After providing insightful notes during screenings, he was called back from vacation by Steve Jobs and Ed Catmull. The film, which already had two complete storyboarded versions, required significant adjustments. While much of the original voice cast like Ian Holm and Brian Dennehy remained, Bird championed Patton Oswalt for Remy and Peter O'Toole for Ego, believing their voices were perfect fits. A standout moment in the film, Anton Ego's final review, was written under intense pressure, breaking traditional animation conventions by becoming "slower and quieter" and deeply "soul-searching." Michael Giacchino's "super romantic" musical suite was a "secret weapon" in selling this unconventional ending to the executives.

The conversation also touched upon Bird's leap into live-action with Mission: Impossible – Ghost Protocol. Unable to get his long-gestating 1906 project off the ground, he sought out ready-to-go projects. A two-to-three-hour conversation with Tom Cruise, who admired The Incredibles, led to the opportunity. Bird shared thrilling anecdotes from the set, including Cruise's fearless approach to stunts, such as shattering 37 double-pane windows and swinging a mile up in the air. Despite moments of personal terror, Bird acknowledged Cruise's role as a producer meant he couldn't say no.

A significant portion of the panel focused on Ray Gunn, a project Bird has been "waiting for" rather than actively working on for 30 years due to funding challenges. Described as "Buck Rogers meets the Maltese Falcon," it's a mystery set in an alternate, retro-futuristic urban environment. The film is lauded for its staggering level of visual detail, designed to reward repeat viewings. Bird praised his "murderer's row" of creative collaborators, including Ben Burt, Tony Fusilli, and Pete Sohn (who is now directing Incredibles 3), many of whom have worked on his previous films. Michael Giacchino, the film's composer, discussed his approach to scoring Ray Gunn, focusing on the emotional core of the character Ray rather than generic detective noir tropes, blending 50s sci-fi, 30s/40s noir, and slight jazz elements to create a unique soundscape distinct from The Incredibles. Originally conceived as a hand-drawn feature, Ray Gunn was eventually made in CG by Cinecitta in Montreal under an aggressive schedule, achieving a grand scale without cutting corners. It premieres on Netflix on December 18.

Bird also revisited his decades-long dream project, a limited series about the 1906 San Francisco earthquake and the devastating fires that followed. He envisions it as an eight-episode series, rich with historical detail and "insane" stories, featuring "literal tornadoes of fire" and gale-force heat-generated winds. This project, while still unmade due to its immense scope, remains a strong interest. Looking to the future, Bird confirmed he is co-writing and co-producing Incredibles 3, which will be directed by Pete Sohn. He also teased another upcoming live-action project with animation elements, indicating his continued exploration of diverse cinematic approaches. Giacchino also hinted at an upcoming directorial project of his own, along with his work on Spider-Man: Brand New Day.