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He had zero experience but he was really good. The irony is, given the fact that the character can't play very well, is that he's actually a brilliant footballer.
--
Of co-star Greg Sulkin in film "66"; Evening Times (Glasgow); Nov 2, 2006; Andy Dougan; p. 3

 

Helena Bonham Carter

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"There is no doubt for me that Paul Scholes is still in a class of his own. He’s almost untouchable in what he does. I never tire of watching him play. You rarely come across the complete footballer, but Scholes is as close to it as you can get. One of my regrets is that the opportunity to play alongside him never presented itself during my career."

 

Paul Scholes

 

And make no mistake: irony tyrannizes us. The reason why our pervasive cultural irony is at once so powerful and so unsatisfying is that an ironist is impossible to pin down. All U.S. irony is based on an implicit "I don’t really mean what I’m saying." So what does irony as a cultural norm mean to say? That it’s impossible to mean what you say? That maybe it’s too bad it’s impossible, but wake up and smell the coffee already? Most likely, I think, today’s irony ends up saying: "How totally banal of you to ask what I really mean."

 

David Foster Wallace

 

Character means that the person derives his rules of conduct from himself and from the dignity of humanity. Character is the common ruling principle in man in the use of his talents and attributes. Thus it is the nature of his will, and is good or bad. A man who acts without settled principles, with no uniformity, has no character. A man may have a good heart and yet no character, because he is dependent upon impulses and does not act according to maxims. Firmness and unity of principle are essential to character.

 

Immanuel Kant

 

Although he was a famous footballer he seemed very normal compared to today's modern stars. He lived in a modest flat below ours and was very generous. He often brought home footballs from training for the kids in the block to play with.

 

Ferenc Puskas

 

So then how have irony, irreverence, and rebellion come to be not liberating but enfeebling in the culture today’s avant-garde tried to write about? One clue’s to be found in the fact that irony is still around, bigger than ever after 30 long years as the dominant mode of hip expression. It’s not a rhetorical mode that wears well. As [Lewis] Hyde. . .puts it, "Irony has only emergency use. Carried over time, it is the voice of the trapped who have come to enjoy the cage." This is because irony, entertaining as it is, serves an almost exclusively negative function. It’s critical and destructive, a ground-clearing. Surely this is the way our postmodern fathers saw it. But irony’s singularly unuseful when it comes to constructing anything to replace the hypocrisies it debunks. This is why Hyde seems right about persistent irony being tiresome. It is unmeaty. Even gifted ironists work best in sound bites. I find gifted ironists sort of wickedly funny to listen to at parties, but I always walk away feeling like I’ve had several radical surgical procedures. And as for actually driving cross-country with a gifted ironist, or sitting through a 300-page novel full of nothing by trendy sardonic exhaustion, one ends up feeling not only empty but somehow. . .oppressed.

 

David Foster Wallace