Johnny Flynn Quotes
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I played trumpet for Noah and the Whale a couple of times.
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I'm not that politically educated.
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I find it hugely exciting to be dealing with another writer's language.
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Loads of verses don't make it into the finished song.
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My guitar is a 1934 National Trojan. They call it a resonator, which is the guitar guys played in the honky-tonks before amplification. It's very loud. It's the type of guitar that Son House and Robert Johnson played.
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The pop industry is so well-practised at channelling young people's creative energy that I think it gets abused.
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Certain films should only be watched at 40,000 feet. Like, certain comedies and certain, uh, emotionally charged movies.
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Taking someone else's language and fitting it into your own speech - you learn a lot about other people's brains, doing that.
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The thing I find really special in performance is that there is this slightly mystical thing that takes over when you're responding to a crowd and engaging in people's imaginations collectively in a room. I've always thought that one of the most incredible things about being alive is going to see some kind of performance like that.
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My father was an actor. Both of my older brothers are actors. My younger sister is an actress. For me, that's my job; that's my craft. But then all through school and through drama school, I was gigging and running nights and playing in bands, and I just didn't want to let that go.
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I like really bad puns - proper, red-top, nasty puns - I find them funny.
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When I was young, I was being pushed, against my will, towards becoming a classical musician. I had music scholarships; I had to play the violin and do orchestra practice and that sort of stuff. That meant I didn't get to do any school plays. I desperately wanted to do that.
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It's great to be able to write songs and draw on life, to write truthfully, and to be able to do that, it's good to be exploring other stuff as well.
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I fell in love with the legend of Paul Robeson as a kid. My dad would tell me all these amazing stories about his life and, bizarrely, ended up singing to Robeson on his deathbed.
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I grew up playing classical violin and a lot of Bach and Mozart and the things that Einstein loved.
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The Band mean a lot to me in terms of what I aspire to achieve with my group, as the music they made went against the fashion of the time.
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I take them both seriously - I don't particularly want to be an 'actor-musician.' I want to play the great challenging parts, to be right for the part, rather than just, 'Oh, he can play the fiddle.'
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I feel really lucky that I somehow have blagged my way into loads of different experiences. I find making a film fascinating, I find making a play amazing, and working with my band and scoring things... it's all really cool. I'm just a glutton for experience, really.
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I try and stay in my right brain as much as I can, but my left takes over.
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I sometimes self-edit when it comes to auditions and go, 'They're not going to cast me, so I'm not going to do it.'
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If you're in a garage band, it's about being better than the band in the next-door garage. But in the folk tradition, it's more a vibe of sharing.
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My only incentive is to write music that changes me, where the process of making it is a discovery and is true in some way, at that moment.
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I've been cast in a lot of comedies. I've done things like multi-cam sitcoms: you know, 'Seinfeld' type... not as good as 'Seinfeld,' but that kind of thing. I love that stuff.
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I don't really write songs. They're just there anyway, chiseling away at the atmosphere, and suddenly they're like, 'Oh, thanks for coming. Thanks for finding me. We'll share each other now.'