I race historic muscle cars back in Australia, and that's my hobby. And I try to race home as soon as I've finished a movie but don't tell anyone.— Eric Bana
The most scandalous Eric Bana quotes that are free to learn and impress others
I've worked with some of the great cinematographers.
So I'm always watching what they do and I'm watching how the director composes his shots, just because I find it interesting as an actor; you're trying to help them out as well.
I'm always one time zone behind myself.
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.
I've always been a bit of a car freak.
In America now every romantic comedy is interpreted politically.
I can remember when I was promoting Black Hawk Down we were all being asked what it said about September 11th. Well, it was shot before that happened, so, nothing.
I'm spending all my time and energy on the project at hand.
The only thing that may make me different from other people is I have passionate interests outside of work.
The longer you have something, the stronger the bond. That's true with people as well as things.
I don't like to come at my character from some really technical place.
I deliberately fly in and out of LA for as small a time as humanly possible.
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'm a bit of a romantic.
I've had frustrated storytelling juices that have been lying dormant for a long time, and I guess the documentary was a way of me telling a story that I felt most qualified to tell. And I loved it, and I'd love to do something else someday, probably more narrative-based. But I'm in no rush.
I don't consciously seek out Australian projects.
I put them on the same table as all the other scripts and I wouldn't ever do a film just because it's been shot at home.
I've always been someone that sets achievable short-term goals.
I've never been someone that's had a five-year plan, or a three-year plan. That just seems to lead to a lot of disappointment, and doesn't give you the chance to be flexible. So I've just always been someone that's sort of reassessed where I'm at, and set goals that are realistic. And luckily, I've had plenty of chances to recalibrate and adjust, and good fortune's come my way.
I'd say I'm the opposite of someone that has the urge to stand in front of strangers and make them laugh, but the idea of getting up and telling a story and people finding it amusing always appealed to me.
If you can jump up onstage and make people laugh, shouldn't you also be able to inhabit a character?
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'm realistic about it. It's been quite some years since I've worked full-time in that area, so I no longer have any material that bears any relevance to my life or the audience. I'd need to take probably a year off, which I wouldn't be prepared to do, so it's a romantic ideal.
I do believe in reading signs if they're really obvious to you.
Things happen. Someone will say something to you today in the morning and then later on that day someone will mention the same thing and then the next day someone will mention it again. There's a reason why three people have said something within twenty four hours.
I've given no thought to moving to America at all.
I always use the analogy that when you go to a jeans store and put on a new pair of jeans, it's a pair of jeans and they feel different; so, when you're dealing with these sort of costumes it's a very big departure and really does make you feel quite different. But it's wonderful.
Film sets are great fun. Film people are great people to hang around with. I don't want to run off and be distracted by other things.
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 knew a bit but we don't study a lot of British history at school in Australia.
We have our own 50-year period to concentrate on.
I was a fan of the television show as a kid but I wouldn't say that I've followed all the movies or anything like that. But I was a television junkie as a kid.
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.
Without a doubt, rowing is the hardest thing you can attempt to learn in a short period of time.
I don't like working in a studio, at all.
I just prefer to be on location, rather than hearing the bells of the studio going off. It's like being in Las Vegas, where no one knows the time and there are no windows.
There wasn't a moment where I got into cars.
It wasn't a conscience decision or something that came later, it was there since I was born. I just love it.
When I shoot I'll take my family with me - one movie a year and then the rest of the time at home.
If you're lucky enough to be involved in a film that's about something very real and that you hope will continue to hold up in 20 years' time it just gives you more energy and makes it feel all the more worthwhile.
I really enjoy behind the camera stuff and I'm a frustrated photographer myself and just love the camera. I love that side of it and that part of the filmmaking world and I enjoy developing things. It's an area that I'll continue to be more active in as time goes by.
I really enjoy working on small films.
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.
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 loved working with him [Justin Chadwick].
He was very smart in how he assembled the people around him and had a crew that he knew very well. He was very comfortable on the set and I never felt that I was working with a first-time filmmaker.
I'm very much a bit of a ghost presence.
Throw your children in the surf and let them get used to it.
They have to learn all about rips and tides and swimming between the flags and all that sort of stuff. I know that sounds ridiculous but it's true.
The more I love the character, the harder it is to get it wrong.
I have to get to a point that I can speak for them.
I think I wasted a lot of my youth, falling for girls who were a couple of years older than me.
My wife and I really, really like each other as well as love each other.
If a great comedy landed on my doorstep, I would find it hard to say no.
The thing I love about working with first-time directors is that it's always quite shocking how little difference there is between them and directors who've been directing all their lives.
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.
The reason my kids come to the set is so I can actually see them.
If I read something and I love it, I'll do it and I don't even ask what the budget is.
Having seen Justin's work on Bleak House, I knew that he'd be incredibly well prepared and interesting stylistically for this and that was definitely the case. It's very liberating for actors - and I can only speak for myself here - but he creates a very loose environment and he's a great collaborator.
I never look at the size of the film when I'm looking for a part.