A Quote by Yannick Bolasie
In Willesden I was surrounded by quite a few footballers, but a lot of them have fallen off, and that's not something I wanted to do.
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I know people who have, until recently, lived with dirt floors. There are people who live way back off the grid, without electricity. Not a whole lot, but quite a few. That's a choice for a lot of them. There might be a religious element in their isolation, at least with some of them.
Most footballers are quite tense, aren't they? So many footballers have been stitched up over the years. They've got to mind what they say, be careful about this, careful about that, because something might be misconstrued, twisted around.
You can be surrounded by many people but still feel quite lonely if you don't have strong connections and if you feel you can't be yourself with them. Conversely, you can just be around a few people, but feel deeply connected to them.
I think that there are quite a few acts which have stayed with the basic feelings and that's good. And I see something of a swing back to that. For example there are quite a few people copying my early stuff now. Like it's become a reference point or something.
It was somewhere in Ohio - Cedar Point or something like that - one of those thrill rides. A few cars up, someone's sunglasses had fallen off, and we were on one of those corkscrew parts, and I saw sunglasses and just instinctively grabbed them right out of the air. I was like, 'Oh, my reaction time is really good. This is going well.'
No matter what I've published - and you can look it up, I've published quite a lot in science, quite a few books too - none of it's very important. All will be forgotten and in a few years time will be a few comments in eight-point type in footnotes at the bottom of the page somewhere.
When I arrived in Milan, I found myself surrounded by many fantastic footballers.
I wanted my first film to be something where I was surrounded by an amazing cast. I wanted to do something that was completely unexpected, totally out of the box, something that would blow people's minds, that the last thing on the planet earth they would ever think I would do would be it.
Well, I think one of the big things wrong with kids these days, a lot of them don't have a family. A lot of them got one parent and there's quite a few that don't have any parents and that's where the whole problem is. There's no family life, no father to slap 'em around when they need it.
When I was in Dutch and Italian football, a lot of people looked at Manchester United, and when they were asked who was the best player, a lot of them said Paul Scholes. Much of what he did looked simple, but actually it was quite hard. Invariably he controlled the ball instantly and passed it straight on, keeping the game moving. He made inch-perfect passes across the pitch; he saw the gaps and could play the ball through them. So it didn't surprise me that so many top-class international footballers recognized his quality.
I've done quite a lot of improv work before, and I wanted to do this film ["The Invisible Woman"] because it felt like a different technique. We were very true to the lines, and there was something quite formal and almost theatrical about it.
Offers dried up after a few years and it was like I had fallen off the radar.
Life coaching, the mental and physical well-being of footballers, is going to be really important. I don't mean necessarily in a deep psychological way. But they're surrounded by a lot of people. Important people, seemingly. Not always. But important in their worlds. They're mini companies.
Everyone has their own background and some managers are Premier League footballers, international footballers, some of them find themselves getting jobs.
One way of working is just bring a group of totally different musicians together and encourage them to stick to their guns, not to do the thing that normally happens in a working situation where everyone homogenizes and concedes certain points - so eventually they're all playing in roughly the same style. I wanted quite the opposite of that. I wanted them to accent their styles, so that they pulled away. So there would be a kind of space in the middle where I could operate, and attempt to make these things coalesce in some way. In fact quite a lot of my stuff has arisen from that.
I haven't always wanted to be an actor, no. I wasn't one of the little kids that was desperate to be an actor. I did a lot of drama and a lot of music, but it was just something for fun on the side. I was quite shy as a kid and I found a lot of freedom in performing. I never knew you could do it as a job.
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