A Quote by Eric Bana
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.
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Just from my own experience, a lot of the comedians I used to work with were miserable in their actual 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.
At uni I met a lot of people I had nothing in common with. Some were very clever, some very rich, some very sporty. Some of them became my best friends, but not at first. Having things in common isn't always the best start to a friendship. I'd stick with it! Also, try to chat to people when they're on their own. So many people feel they need to perform in big groups.
A lot of people think that to make it as a model you just need to be pretty and slim, but they're wrong. There's a lot of hard work involved. You have to be very focused, know what kind of work you're aiming for.
I've been able to see some very impressive people that are in politics, and I've been able to see a lot more people that are much less impressive that I don't know if I'd want to spend my life working with. When I see sort of how the sausage is made, it's not very pretty.
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.
I think a lot of women who are celebrities and who are very beautiful have terrible problems with their men being very controlling. Women allow themselves to be dominated and controlled by men in all sorts of other ways that are very complicated, you know? I don't really see a lot of women engaging in discussions about the struggles and power relations with men and their lives, like their bosses, boyfriends, husbands, coworkers. I don't see that happening very often, whereas I see a lot of misogyny on the internet. I see a lot of hatred towards women and a lot of fear of women.
'Goon' is very much an action - it's got a lot of heart, it's got a lot of comedy, it's got a lot of similarities to what I think was successful in 'Deadpool,' and so I think it's not a stretch to compare those two things and say the world is a little more ready than they used to be for this kind of material.
'Fallout 76' is a very different 'Fallout' game. We're very aware of that. We think a lot of people will like it, because we like it. But a lot of people probably won't. We need to balance that. This is an idea we have, and there's a lot of old 'Fallout' stuff in it, but it's a very new experience.
People wrestle sometimes making movies, and I think that conflict is a very essential thing. I think a lot of very happy productions have produced a lot of very banal movies.
At one point, when I didn't make the 2007 World Cup squad, I was very, very frustrated. Then I became very hard on myself. Whenever I used to go to the nets, or when I trained in the gym, I was very hard on myself. I couldn't sleep; I used to think a lot. Very, very desperate to make a comeback.
We have this myth that if you work hard, you can accomplish anything. It's not a very American thing to say, but I don't think that's true. It's true for a lot of people, but you need other things to succeed. You need luck, you need opportunity, and you need the life skills to recognize what an opportunity is.
Now we're in a recession, and at war, so people want to see this chihuahua movie, The Fountain. To be told to come to terms with death, that death is the road to all - it's a very intense subject. But as with movies that are very unusual, that have come to be thought of as very interesting, one finds out at the time that they were not understood. So who knows? We'll see. A lot of people really, really loved it, and a lot of people didn't get it.
There's a lot of responsibility involved in sharing a very personal story with a lot of people, and it's easier for others not to know about things - and I know that. But in terms of the general climate, socially, these are things people have to deal with on a daily basis. We hear so many negative stories but rarely do we get positivity. We have memes of cute cats and puppies and things like that, but if they didn't exist, people would be a lot more unhappy. We need more things like that.
I was a very happy child, so to speak. But, since we didn't have video games or television, and very little radio, in terms of a form of entertainment, I used to read a lot and I would draw a lot, and those two things used to occupy my time.
It's my goal to make a building as immaterial as possible. Architecture is a very material thing. It takes a lot of resources, so why not eliminate what you don't need as long as you're able to achieve the same result?
I always worked as an individual artist even when Group Material asked me to join the group. There are certain things that I can do by myself that I would never be able to do with Group Material. First of all, they are a totally democratic entity and although you learn a lot from it, and it's very moving, it's very exacting, everything has to be by consensus, which is the beauty of it, but it is much more work. It's worth it 100%. But as an individual artist there are certain things that I want to bring out and express, and the collaborative practice is not conducive to that.
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