A Quote by Glen Hansard
Well, playing a guy who writes songs and busks on Grafton Street in Dublin and falls in love with Marketa Irglova wasn't very difficult for me. There was very little acting going on.
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My family, although they're very large on both my parents' sides, they don't know much about their family tree. Occasionally, they try to dig, but they can't get very far, and it's baffling. In Dublin, it seems that so many public records were wiped out; it's proven to be very difficult, so I know very little.
I think that a lot of these cops have been put in very difficult situations and tasked with very difficult jobs with very little training and very little help.
Greg Trooper writes great songs, including one of my very favorite songs in the world, Little Sister. On top of all that, there's his voice - an instrument I have coveted for 15 years.
For me, Paul Simon has always been an incredible songwriter, as he writes very complicated songs that sound very simple, and he makes it look so easy when it's not.
Joss Whedon writes beautiful drama. His sensitivity and his sense of drama and scenes are pretty exceptional. There's no one else writing like him, really, in sci-fi and TV. That's not to say there are no astonishing writers on TV. I was nervous about coming to America and playing an English person who speaks very English when all the writers are American, because it's a very particular thing to imitate, and if it's badly imitated, it sounds painfully contorted and silly. And he writes very well for English people. It was Joss Whedon who persuaded me.
I did play with Dr. Strangely Strange a couple of years ago - that difficult third album, 'Alternative Medicine,' 1997. It was great to see them all. They're very special people and they were very good to me in Dublin in the 1960s.
For me, Conte was a manager very difficult to work with. His philosophy, his way of dealing with things is very complicated. There were a few games... Sometimes we just don't understand. You're playing very well, then you get substituted. I do not understand.
I was never particularly a part of the following of tango; I just liked it... most of all, I recognized that the urban content and the approach seemed very familiar and very connected to the songs that I was doing, the kind of songs that I wanted to write - the songs about the street.
If you see me performing, you're going, that guy is simply the most extroverted guy I've ever seen. But if you've seen me very often on a daily basis and all the while growing up, I was very, very introverted. Very introverted. So I have sort of the extremes of both of those characteristics.
I'm a very spiritual guy, very funny, emotional, I love women, I'm a playful guy. Sometimes I may get a little angry. So there's so many sides of me I want to be able to display and not be boxed in as just a trap rapper or a dope boy that wants to flex on everybody. I'm not into all of that.
I don't love playing new songs in a festival environment. Because when it comes to a festival a lot of people probably won't know your band really well at all so playing more familiar songs is a little more conducive in having a better show.
I'm very lucky that people are able to say, 'Oh, that's that Moody Blues guy!' I'm very fortunate with that. That's all. Without the songs, I think, I'd just be a pretty average karaoke singer. In the end, it comes down to the songs: the strength of the songs.
Acting is mathematics for me. I do very little homework and rather rely on my imagination for playing a role.
I'm not going to lie: not playing football will be very difficult for me.
If I am not playing at one hundred percent, it is going to be very difficult for me to win.
I'm very driven, and I play with a lot of passion. So sometimes I'm a little too amped up because I love playing football and I'm very passionate about this game and playing for my teammates.
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