Quotes from Johnny Flynn

In my early twenties, the whole experience of going on tour was like losing myself in this slightly wild environment.

I like really bad puns - proper, red-top, nasty puns - I find them funny.

I'm not a funny person.

I'm a big Bob Dylan fan. I'm also a blues geek.

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.

I can't remember a 'best gig,' and my brain doesn't work in absolute terms like that.

I like getting older. I always looked younger than I was, and I found that people wouldn't give me the room to speak. The older I get, it's like, 'Oh, I'm still talking, and they're still listening.'

We all have these shades in our nature: it's a spectrum within all of us.

I like the idea of letting the music do its own work and the stories being more expressionful - if that's a word - in people's imagination. I've just got a thing about people and songs telling you how you should feel.

My dad was an actor, and he always said that work was work; you can't turn your nose up at it. We didn't have much money when I was growing up, and he had this real work ethic, which I inherited.

I had a series of jobs in the small fishing village in West Wales where my family lived when I was a teenager. I worked as a fisherman in the day, and then the skipper and his wife ran a small restaurant - she'd cook the fish he caught.

I find it hugely exciting to be dealing with another writer's language.

I'm often the one in my gang of friends who's worried about how we're going to get from A to B. I'm the one running around saying, 'Is somebody going to do something about it?' Everyone else is bit more chilled.

The world that I know and the world that I come from is from the arts, and my wife's an artist, and I've been a musician since I left college, and there's tons of musicians I'd love to play.

I've always identified as an actor. That's what I set out to do.

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.

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.

It's interesting to marry American musical traditions with the subtlety of English-style storytelling and folk singer-songwriters like Martin Carthy and Bert Jansch - they're two heritages that are distinct but also cross over on so many levels.

I had to learn how to work in a studio at first because it's a totally different creative environment to the 'bedroom recordings' I'd done before, where I could translate my own ideas without having to explain them to anyone.

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.

I've never done anything like 'Brotherhood' before. It was a great challenge to take up a part in a live audience sitcom - it was amazing.

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.

I really love a lot of early Sixties R&B, rock n' roll, and I love performing songs that have that power and soulfulness.

Our job as actors is to invent the things that bridge ourselves with the characters, so you have to build something if it's not there - you try and learn what makes people behave in a certain way.