About

Brady Kirchberg is a New York–based producer with nearly two decades of experience across narrative film and television, documentary, and commercial production. He is known for balancing creative ambition with disciplined execution, and for being a calm, trusted presence in high-pressure environments.

He has worked across nearly every layer of the business—starting in front of the camera, then moving into locations, production managing, line producing, and producing. His credits include award-winning independent films and prestige television, with projects premiering at Sundance, SXSW, and Venice, including High Maintenance (HBO), A Kid Like Jake, The Sound of Silence, Topside, Adam, Complete Unknown, Little Men, and Love Is Strange, as well as the Emmy-nominated season of Billy on the Street. As in-house Lead Producer at Freethink, he oversaw a fast-moving documentary slate from development through delivery, earning three Telly Awards for projects while there.

In recent years, Brady has focused on building his own slate, producing numerous short films, with two narrative features currently in post-production, and additional projects in development, including a feature adaptation of his short Capture. He is also a founding leadership member of The Drawing Board, a New York–based collective developing original work.

Grounded in physical production and fluent in development, packaging, and post, Brady approaches material as both a creative partner and an execution-focused producer. He is known for maximizing resources, maintaining clarity under pressure, and aligning creative vision with practical realities—earning the trust of both directors and financiers.

SELECT CLIENT LIST

Google, HBO, NBC, AirBnB, AMEX, Uniqlo, Nintendo, Sony, Nike, Converse, Footlocker, Samsung, YouTube, ESPN, KFC, Macallan, Bravo, Cartoon Network, TruTV, Vimeo, sweetgreen, Nutrafol, Alex Mill, Funny or Die, Harry’s, Flamingo, RCA.

WHAT I’M DRAWN TO

I gravitate toward stories where character meets the uncanny—psychological, often genre-tinged films about memory, grief, technology, and the slippery line between what's real and what isn't. CAPTURE's creeping dread, Big George's father-daughter ache, the near-future loneliness of Deborah at Work—different worlds, same instinct: get inside a character's head and stay there. I want films that respect an audience's intelligence and don't let go of them afterward. As a collaborator, I protect the director's vision while keeping the production honest—calm when things go sideways, resourceful enough to make a small budget look big, and straight with everyone about money, timelines, and the hard calls.

WHY EARLY MARTINI

In film, the "martini shot" is the last shot of the day—the one everyone's been waiting for. An early martini means you're ahead of schedule and everything's running as it should: thoughtful planning, respect for people's time, and enough room left to enjoy the win. For industry folks it signals experience and a well-run set; for everyone else, it's just the universal appeal of doing great work efficiently—and earning the drink. That's the whole philosophy. (And, sure—who doesn't love an early martini?)