Bonnie Hunt Quotes

Supporting characters add depth to a story, and great actors leave their imprint with the audience.

Oftentimes what happens is that the writer understands one character, but they don't understand the other one, and the other one ends up not being written as well.

'Push' had a story, 'The Paperboy' story you could just throw up in the air and shoot holes through the book because the story wasn't as strong. But I felt the characters were stronger in 'The Paperboy'; they were vivid.

I put heavy emphasis on the characters.

With an interesting character, there's always something to say.

It always comes down to script and characters.

I like three-dimensional characters - it's just more interesting when you get on set.

I believe the audience likes to see well-defined characters on screen than just larger-than-life heroes.

Each character, be it the antagonist or the protagonist, brings with himself his own personality... and I have tried to stay true to each one of them; each is enjoyable in their own way!

In 'Poster Boys,' every character is well defined.

The film industry is mostly about unidimensional characters.

I mean, can I really create a full, three-dimensional character? I don't know anymore. I'm certainly going to try.

When writing a novel a writer should create living people; people not characters. A character is a caricature.

Movie characters rarely get to think out loud or talk very much about their emotions. Instead they have to, very briefly, show their feelings through their action or through dialog.

Look at the Coen brothers. All their minor characters are as interesting as their protagonists. If the smaller characters are well-written, the whole world of the film becomes enriched. It's not the size of the thing, but the detail.

The instant that movies became described as character driven was the instant when characters stopped mattering in movies. In other words, the birth of the notion of the character-driven movie coincided with the birth of movies in which characters were incidental to the very activities in which they engaged.

And I have the support of the writers: I have a great relationship with the creative team, and they have a good hold of my character and my personality, and they come up with some great stuff, and I'm forever trying to change it up, keep it fresh.

I feel I should never do passive characters. They don't work for me.

My first job is to write the characters as full and authentic people as well as I can.

It's hard to know whether certain characters come to life or not, they either come to have their own life or they don't. I've written many things in which the characters just remain inert.

When you're writing a book, with people in it as opposed to animals, it is no good having people who are ordinary, because they are not going to interest your readers at all. Every writer in the world has to use the characters that have something interesting about them, and this is even more true in children's books.

I treat all my characters as if they were real, and I am scrupulous about the details of their lives.

I enjoy the writing process and producing; I enjoy seeing an idea come to fruition. I'm driven by very complex characters. You look at the pilot of 'Breaking Bad,' where there's so much depth to the character, you can't help but be invested when you watch.

There are always practical decisions to be made about any character you're playing.

I do not choose characters because I think, 'Wow, that woman is so strong.' I chose these characters with utmost conviction because I think they were realistic enough to exist, and I really liked the scripts.