Phil Daniels Quotes
My acting career began when I walked into a drama school class run by Anna Scher in Islington. Anna discovered a lot of people: Linda Robson, Pauline Quirke, Gary and Martin Kemp, and Dexter Fletcher were among my contemporaries.
Quotes to Explore
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In my opinion, all relationships between people have some sort of violence, and it is central.
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That a majority of the Abolitionists in this place would patronize a free labor store, in preference to others, I do not doubt; but we do not muster money in Cincinnati.
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In France, successive waves of Gaul, Visigoth, and Frank have swept over the land and have dominated it. But the fair hair and blue eyes and the clear skin of the conquering races have been submerged by the rising and overflow of the dusky blood of the original population.
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My friends in the TV news business are in a state of despair about Donald Trump, even as their bosses in the boardroom are giddy over what he's doing for their once sagging ratings.
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I have Dalinian thought: the one thing the world will never have enough of is the outrageous.
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I don't necessarily think that installation is the only way to go. It's just a label for certain kinds of arrangements.
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The actors that I admire are able to step into so many different roles.
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I don't talk about political matters. That's not my department.
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I don't stop at my past; I like new work. I like what I'm doing tomorrow.
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When my children say, 'In the future, Mummy, will things get better or worse for humanity?' I say: 'Who knows, since Amy Winehouse died. It's all in the air now. Eat your broccoli.'
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I hated my big hair. I always wore it straight.
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Not owning a car anymore, I feel like I'm barely an American. I miss it. And I barely ever get to listen to the radio in the car, which is the best place for radio.
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The future lies in designing and selling computers that people don't realize are computers at all.
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When I was young I had an apprenticeship as an engineer.
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We should not look at terrorism from the nameplates - which group they belong to, what is their geographical location, who are the victims. These individual groups or names will keep changing. Today you are looking at the Taliban or ISIS; tomorrow you might be looking at another name.
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When I see old photos of me on the beach I don't look too bad... but it's hard trying to breathe in for such a long time when I spot the photographers!
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It's important to see how people see your work and how they feel about it. I know a lot of directors who are like, 'I never read reviews,' and I'm like, 'Yeah I can tell.'
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Some people try to get very philosophical and cerebral about what they're trying to say with jazz. You don't need any prologues, you just play.
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I have these ideas that people go 'Oh, that's cool. I'd pay to see it, but I'm not gonna give you $25 million.'
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It is easier to take a position in the abstract than when it hits home.
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I've worked with people who wanted to be creative every day: it was like a goal to arrive with something very special. Sometimes it's just disturbing, because special is good when it's needed. But when it's not needed, it's confusing, and you go away from the authenticity by a strong desire to be unique and singular.
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Very often, when you're playing people who love each other, or who hate each other, you manufacture those feelings. You have to do that a lot.
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I think the only productive way to approach characters, and frankly people in life, is through empathy. The minute we call someone a villain, we are choosing to part with empathy and that can be a slippery slope, both as an actor and a human being.
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My acting career began when I walked into a drama school class run by Anna Scher in Islington. Anna discovered a lot of people: Linda Robson, Pauline Quirke, Gary and Martin Kemp, and Dexter Fletcher were among my contemporaries.
