Top 22 Tom Burke Quotes

When I entered the profession, I didn’t make a big deal of it. People didn’t really know I was my parents‘ son.

The Souvenir is an incredibly specific story, but people recognise the universal in it. Because, that’s how stories work.

I felt quite confident – when you come out of drama school you feel like you’re on top of everything. I always tell people to go to drama school even if they’ve already done movies or whatever because the way you encounter content is so different.

I mean, happiness is a slippery thing. What makes you happy one day can make you miserable the next.

Sometimes people hide behind a kind of naturalistic milieu. But life is full of the most sharp, abrupt changes of tone, from the tragic to the absurd.

I remember when I had to copy writing off the board at school it just looked to me like a magic eye picture, I could just see so many shapes.

I mean, I don’t want to come down on call-out culture, because I guess it has its place, but there was an interesting article I read by a black feminist writer who was saying it brings shame into the equation. And shame can be very paralysing to people.

I feel like an expressionist nihilist deep in my heart. And I think nihilism can stop the wheel from going around, around, around, around, around – saying the same thing, reacting the same way.

I’ve only three times in my career felt I absolutely had to play a part and the first two I got close and was vetoed – by the same person actually. So when ‘Strike‘ came along I had no qualms about signing on for something I was potentially still going to be doing in 10 years.

Philip of Spain is a ruler who has forgotten that a ruler is there to serve the people.

You only have to look at Manchester‘s Royal Exchange or Home to understand the huge energy outside London – there’s enough talent around the country to have a Donmar and National in every city. It just comes down to money.

I think there’s a dark and twisted idea of democracy that everybody is as interesting as everybody else. So we mustn’t make anybody too interesting. There’s an ironing out of edges and eccentricities, idiosyncrasies in people and situations.

I think ‘The Musketeers’ is probably the Dumas novel people are most familiar with, or if not that, it’s ‘The Count Of Monte Cristo’. I’ve always been a big fan of Dumas because, on the one hand, he writes a lot about revenge, but he also writes about the cost of it to the revenger – I’d always had an interest in that.

Regional theatres don’t patronise their audiences, and they’re not afraid to do big, bold things.

Yet everybody’s experience is really interesting. Or, if not their experience, then their unlived life. Or their desire. Their id. Their curiosity.

I think a series risks straying into self-parody if you get into a fourth series… sometimes even if you get into a third, because the audience knows how it’s going to go.

But the fact I’m even getting to play a character that the producer, director and writers want me to play is a rarity in the industry. You’d think it happens all the time. It doesn’t. There are so many hoops to jump through to get cast in something.

Doing a TV show where it’s a very relentless schedule, it does democratise you in a brilliant way. It does chip away at the old ego and you do realise that you’re only really ever as good as the words that you’re saying, the people you’re talking to, or more importantly, listening to.

I’m finding myself increasingly attracted to literature that starts with pessimism as it’s leading point and goes from there.

I remember spending time in Stratford growing up with all that company running round and putting on silly hats and just having fun all the time.

Certainly in my generation, there aren’t enough actors from a working-class background.

My dad was part of that generation with Albert Finney and Tom Courtenay, of working-class actors breaking through. They’d never had an actor in the family.