Eric Bana Thinking Quotations

I think luck gets you on to the stage. But it has nothing to do with keeping you there.

I think love can come fairly easily and grow - but really liking the core essence of someone is a much harder thing to bottle. If you have both, you're in pretty good shape.

I wasn't going to be a college kid. The only subject I was interested in was English. I think I had a subconscious interest in analyzing story.

I am attracted to characters who think they are in control, but their situation is uncontrollable.

I think the beauty of working with young people is they remind you of the spirit of acting and it's just a big play.

I think there are times when you walk onto a set you can potentially be either intimidated or distracted by what's going on around you.

You have to be proactive about your destiny and then realize that the other half of it is completely out of your control. I think it's fascinating.

It's got to be a challenge but at the same time you have to feel as though you can play them - it's really dangerous to want to be a part of something just because you think it's going to be great. I've been sent plenty of scripts where I've known that it's going to be a great film and a successful one, but I just couldn't convince myself that I was the right person for the part. So, I think you have to be careful with that.

It's usually very, very hard for me to pick up a script that was written and try and see myself as a part of that, especially when you're used to performing all your own material. It's OK with drama, I like being handed great material but I think with comedy it's far more personal and probably a lot harder for me to find a fit.

Definitely the script because you want to be part of an interesting story, you want your character to be a challenge, then comes the director. But essentially it's the script first and whether it's a character that you think you can do.

I tend not to read the size of the production into a script when I'm reading it. It's just something you respond to or not and I do think it's very dangerous to say it's time now to do this or it's time now to do that.

I never really think much about the size of a production because I think as an actor, once you're in it, it's all the same. I never ever pick projects based on their size.

I guess I'm a very keen observer, and I'd like to think I have a good imagination.

I just think that's the job of an actor. I guess that's the variation that you're talking about. It's probably a byproduct of just constantly looking for something different, because that's what I feel like I'm supposed to do.

A girl's got to be fun. It's the one bit of advice I always give to friends of mine who are thinking of getting married.

I think if you had to map that out at the beginning and you said, "Right, sit down, this is what you're going to be doing," you'd probably freak out. But I'm someone who really enjoys not being himself. So if you consider that, then it all sort of makes sense.

I think you need to be able to see a lot of negative in things in order to extract material, so there's probably something to that. A lot of the people I used to work with were very, very, very unfunny offstage, so that's a pretty common thing.

It really depends on the director. I think quite often, it's not what you expect. The most serious film can be the most fun. The one that's supposed to be fun can be the most serious. I don't think there are any hard-and-fast rules. I just think it really depends on your director and what the general vibe is.

There's a plethora of wonderful documentaries. I made a point of not looking at anyone else's portrayal of Henry because I think it would have been too confusing - so I've got a lot of films to look forward to.

I love working with people who have had television experience because I think there's a real efficiency and methodology that comes from that background.