Best 93 quotes of Eric Bana on MyQuotes

Abs are for people with no friends.

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.

As an actor I've been attracted to the sort of films that I want to go and see. That tends to usually be drama-related.

At the beggining of my career, for me the comedy circuit was a combination of desperation and the fact that it was something I could do. I sort of meandered and really had no idea what I was going to do with my life. I had a go at stand-up, and I was sort of okay at it. 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. So I'd say it was probably more about that than anything.

But it's healthy - whatever you can do to keep you fresh and awake. Acting's such a ridiculous job and sometimes you need to look at it like that to get a sort of degree of freshness.

By the time I finished comedy, I was really burnt out of it. I had had enough. I don't really have a strong desire to prove myself in that area, or to go back to it in any great way.

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.

Each time you go to the same track you know whether you're improving or whether you're not... it's not open to interpretation. It's measurable - unlike acting.

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.

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 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.

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

I didn't study Greek mythology in school and I wish I had.

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 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 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.

I don't often watch broad comedies and think, "Oh well, I could have been a part of that." It's usually the opposite. I usually watch them, enjoy them, admire them, and think, "You know, I really have nothing to contribute to that".

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.

I enjoy just being cocooned in production and it's completely different to your other life that you have. I enjoy that. I enjoy being on the set and hanging out and talking to whoever we're working with and just being in the moment.

If a great comedy landed on my doorstep, I would find it hard to say no.

I fell in love with many women at school who had no idea I existed. I'm a bit of a romantic.

If you can jump up onstage and make people laugh, shouldn't you also be able to inhabit a character?

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 get inhabited by a character and then you mourn it. There's a period of mourning for me, definitely.

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

I guess on a base level that's one of the first parental instincts that you have with children in Australia is learn to swim. Not only learn to swim but learn to swim strong.

I guess subconsciously that all the great people you work with have an influence on you.

I hate being clean-shaven. My daughter gets very upset if I shave and says, 'Bring back the spikes, Dad.'

I have a theory that I really want my kids to know - the only coloration that they make between dad being in films and reality is just a lot of people doing a lot of hard work.

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.

I'll give you a list of a hundred ways that I'm more likely to be injured than belting around a race track with people who know what they're doing. It's not a place where I feel I'm in unnecessary danger.

I look my best when I take my helmet off after a long motorcycle ride. I have a glow and a bit of helmet hair.

I love being at home, being with friends and family. I'm of European stock, brought up in Australia. I'm a passionate guy. I just love life.

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

I'm spending all my time and energy on the project at hand.

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 never look at the size of the film when I'm looking for a part.

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 occasionally go to the gym and I lift free weights, I don't use machines.

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.

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.

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 I wasted a lot of my youth, falling for girls who were a couple of years older than me.

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

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.

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.