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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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When I first moved to London, there was talk of a folk revival, with annoying names like nu-folk that made me feel slightly ill.
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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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There's something amazing about 'Fawlty Towers' and 'The Office' only being two series. I think, when you really nail it, you don't need to do more than two or three.
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I can't remember a 'best gig,' and my brain doesn't work in absolute terms like that.
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I think Bob Odenkirk is phenomenal.
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I really love a lot of early Sixties R&B, rock n' roll, and I love performing songs that have that power and soulfulness.
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The reason I stopped music for a while and concentrated on theatre was that it was more conducive to parenting; having the days free was quite handy. I love them both. I hope I don't have to compromise one for the other.
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As a jobbing actor or musician, you have to take any work you can get.
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What's quite nice about this whole folk movement is that it's born out of genuine friendship. And nobody's infringing on anybody's space.
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I think the truest things come from silence, but everything's always so clogged up with noise. If everything falls away, and you can truly listen to someone, giving them yourself and generosity, you can truly lose yourself in what they're saying. Like, not impose your ideas on what they're saying, but really tune into them.
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In my early twenties, the whole experience of going on tour was like losing myself in this slightly wild environment.