Eric Bana Quotes

The script is a blueprint for the film - there are very few bad scripts that make good movies. If you really like the character and understand the utility it serves within the movie, that's a part of my process.

I've learned that in the theater the story is everything. Every lyric, every line and every musical gesture has to propel the journey of a given character or the overall plot.

I'm all about the story. If I like the character and I think the story's entertaining, I'll do it.

'The Piano Lesson' is very sophisticated, easily the most adult or complex material I've attempted. It's the first film I've written that has a proper story, and it was a big struggle for me to write. It meant I had to admit the power of narrative.

Sometimes it's less about the character and more about the story for me. I'll play a rock in the background if I think the story is fantastic and I can be a part of it somehow. That's what I look for.

I don't see a difference between playing a performance capture role and a live action role, they're just characters to me at the end of the day and I'm an actor who wants to explore those characters in fantastically written scripts. The only caveat is a good story is a good character.

I get so excited about reading a new script.

I'm just a sucker for a good script.

I write short stories, and I wrote a play.

One of the challenges is creating characters. I am trying to compose my sentences to express epic events happening to ordinary people.

I find the constraints of drama actually freeing: It brings everything down to character and action.

Story is the primary factor any day. If I believe that a particular director would do justice to it, I will accept an offer.

Even Dopehri,' if somebody has a bit of imagination, the way it's written, they will be able to see that it's a screenplay with dialogues.

In theatre, you learn the story is more important than the actor.

The script is really always the main attraction, and then there's whether there is an interesting character and great people around you. Those are the key elements that I look for.

The most important thing is the script.

Roughly, the action of a character should be unpredictable before it has been shown, inevitable when it has been shown. In the first half of a novel, the unpredictability should be the more striking. In the second half, the inevitability should be the more striking.

I like acting and things when I like the writing. If I don't like the writing, I don't like acting. I think in some ways everything starts for me from the place of writing.

Only in very rare circumstances will you see something cut out of my first drafts. Maybe it's because of the way I write. I'm very focused on the logical progression of the story, and every character has a role to play.

I just want to tell a good story, so I always ask myself, 'Are these people real to me?'

The problem with the screenplay is that it's not literature, and it's not a film. It's a very weird, technical kind of blueprint that will be absolutely transformed into something else that is not that, you know? Honestly, a screenplay is no literature.

I like films to be complete in their written form.

Any show I'm working on, I want the stories to always be about something, and to have the potential to be emotional. That's the kind of story that I like.

When I wrote for TV, I was always thinking in terms of character and story. After fifteen years, it became hard-wired in me.

I'm not a theoretician about playwriting, but I have a strong sense that plays have to be pitched - the scene, the line, the word - at the exact point where the audience has just the right amount of information. It's like Occam's razor.