Bonnie Hunt Quotes

Most people know me at Pixar as the guy that doesn't like to do sequels or very reluctant to do sequels.

Every story is different, so what is a detail in one might not be in something else. Diversity is something I embrace and love about my work.

I think the most important thing when you're telling a story is to just tell the story as best as you possibly can.

I prefer writing originals.

I think a fictional invention grows according to its own development, not the author's. Characters in fiction are not simply as alive as you and me, they are more alive. Becky Sharp, Elizabeth Bennett, and Don Quixote may not outlive the burning out of the sun, but they will certainly outlive the brief candle of our lives.

I wanted to make sure that 'Up' wasn't a 3D movie about a man who sails his house to South America. It's a movie about an old man who sails his house to South America that also happens to be in 3D. So the first thing is always the story.

I don't want ever to be guilty of what my critics claim: doing formula without original elements.

Being an actor is an extension of telling a story and I loved story telling as a child.

Old is authentic. Old is genuine. Old is valuable.

There are many ways to go about a story. And if you give yourself some formal constraints, it just makes the job so much - maybe 'easier' isn't the right word, but because you know your boundaries, you can just play within those boundaries much more, so it's much more fun to do.

I give each book however long it needs to be the best I can make it.

You have to write the story that's at the front of your head. There is no point in trying to write for the market; it won't ring true.

I don't have a problem with green screen at all. I think children invented CGI. We invent worlds. A stick can become a sword. Or a bowl of stones can become a bowl of tomatoes. That's what children do, and that's what CGI enables us to do.

For years, I was watching other people have so much fun playing out their version of authorship, like Louis C.K. and Larry David. As I watched them do their thing, I began to pine for the days when I had a lot less expected of me and, often, a lot more creative freedom. The courage that those guys have is always captivating to me.

Creatively, it's great, because when you write your own movies, you get to create whatever you want.

At Pixar, 'Wall-E' was our ninth film, and they've all been successes - more than that, they've all really touched people. Everybody wonders, 'How do you do it?' Well, how do you not do it? You just work hard.

Mostly I sat down and said, 'I'm not going to write a boring story.' And that actually, surprisingly, solves most of your problems.

When Walt Disney was making his films, he trusted his instincts and made films for himself, but they appealed to everybody, not just kids.

Our responsibility as filmmakers is to make things that are fresh, unique and original.

Everybody involved in Pixar, I've not met one person who's not incredibly creative and nice and lovely and know what they're doing.

My early experiences in animation taught me that following someone else is not a great idea.

The secret sauce of the business that I can offer is my creativity, and in order to keep my creativity alive and fresh, I have to pretend that no one is watching the show, that there are no audiences, there are no ratings; I'm just telling a story.

I try to steer away from doing something that's just commercial instead of sticking to a good script.

I just feel like TV takes more risks than film. Film has gotten very safe: it's very compartmentalized about what type of things will be successful. And whereas in TV, since all these new platforms opened, they're saying to writers, go out there, write the most different show that you can write. Write something that's really original and different.

Write the story you need to tell and want to read. It's impossible to know what others want, so don't waste time trying to guess.