London Scene Quotes

I thought the 60s in London was normal, so when it stopped it was a shock.

There's a thing in the U.K., particularly in London, where it's kind of the idea of subculture and counterculture and the outside and the idea that it's great to be a freak, and the freak always wins. So I think English girls are a lot less scared of being the freak or looking like an idiot.

If I stayed in London, I probably would have gotten more work. I've never wanted to be thought of as an 'It' girl, someone who rides on the coattails of my mother.

It was a dark and stormy night; the rain fell in torrents - except at occasional intervals, when it was checked by a violent gust of wind which swept up the streets (for it is in London that our scene lies), rattling along the housetops, and fiercely agitating the scanty flame of the lamps that struggled against the darkness.

I was a punk when I was 15 - I was definitely into it in a big way and loved it - but I came to London when punk was maybe where you'd say punk is dead.

Even with the 'Top Boy' series with Ashley Walters... I've been talking like on the creative direction wave with Drake about the series. Making greatness with it. The whole style of what's going on in London, the sound, is real. It's an actual thing that actually happened. So it deserves to be on the telly.

On the other hand in London you can get an audience that desires dance to go as far as it can go: they've seen the bricks of ideas built over a period so therefore there is an acceptance of what otherwise might seem out on a limb.

When we left university, in the late '80s, one of the guys had been to the Comedy Store in London, came back very excited and suggested we set up something like it. And so we did.

Punk was perfect for lazy people, because anyone could do it--you didn't even need to know how to play your instrument, assuming you knew how to plug it in. There was really no difference between Sid Vicious and anyone in London who owned a bass.

When I first started acting, I was actually working with the National Youth Theatre in London doing anti-knife crime workshops, so I was listening to a lot of music that was around us all the time, around the guys I was working with, and the kids - lots of young grime artists from London.

The sky over London was glorious, ochre and madder, as though a dozen tropic suns were simultaneously setting round the horizon . . . Everywhere the shells sparkled like Christmas baubles.

London Fashion Week isn't the most organised, but I don't mind that. It's such an exciting place - it's small and cool.

I was in rock music in London when it was the height of Brit pop, with The Kinks revival and Suede and Blur and Oasis, and all of those really great bands that were of a certain style. If I'd really been smart and commercially minded, I would have just got myself a blazer and some Stay Press and some Fred Perry tops, and just gone out and tried to do it like everyone else. Instead, I did this ridiculous thing of trying to do this music.

Back when I was helping put the swing into the swinging '60s, I used to hang out with Cathy McGowan. We'd be doing 'Ready Steady Go!' on T.V., and Biba used to make our dresses. We'd be in the flat in Cromwell Road on Friday night, just before the live show, and they'd still be sewing.

I consciously decided not to be a 'London' actor. Those gangster movies made a lot of East End actors think they were movie stars. And I was very aware that they were going to go out of fashion.

Bath was hardly known for its rock'n roll. We weren't part of the London scene or the New Romantics or any of that.

London audiences have this reputation for being a bit too cool for school.

You see in the streets of London, great and little boys running about in long blue coats, which, like robes, reach quite down to the feet, and little white bands, such as the clergy wear.