Quotes 361 till 380 of 396.
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When one is not understood one should as a rule lower one's voice, because when one really speaks loudly enough and is not heard, it is because people do not want to hear. One had better begin to mutter to oneself, then they get curious.
Nietzsches Zarathustra (1988) -
When strangers start acting like neighbors... communities are reinvigorated.
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When the culture is strong, you've got this consistency where black people can grow up in these places with this voice just resonating about our special-ness in the universe. And I always say you're in trouble if you get too far away from that core that grounds you.
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When we read a story, we inhabit it. The covers of the book are like a roof and four walls. What is to happen next will take place within the four walls of the story. And this is possible because the story's voice makes everything its own.
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When we talk in company we lose our unique tone of voice, and this leads us to make statements which is no way correspond to our real thoughts.
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When you drop your guard in films, the acting process compensates. You get lazy and you start acting.
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When you hear in the tape recordings Nixon's own voice saying, We have to stonewall, We have to lie to the Grand Jury, We have to pay burglars a million dollars, it's all too clear the horror of what went on.
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When you saw Jon Lovitz or Dana Carvey or Phil Hartman doing something, they were acting. It was real acting. Like, they were acting like that person. They weren't like - it wasn't even like they were really trying to go for a laugh, especially in Phil Hartman's case.
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When you start so young working, you build a hunger for acting, working, and a busy life.
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When you're performing, you're playing to the back row. With acting, you have to be more nuanced.
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Why do we go around acting as though everything was friendship and reliability when basically everything everywhere is full of sudden hate and ugliness?
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Winston was a bit of a challenge, all right, from a lot of different perspectives. It wasn't just the culture or the class divide or the historical baggage - it was also the age difference. We had to see if I could be aged-up legitimately, without it becoming some sort of hokey acting challenge.
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With acting, I started very young, and I'd performed for a lot of children in boarding schools, late at night after the dormitory lights were out. I'd have a flashlight, and I'd be Count Dracula, or Shakespeare, or Yogi Bear, and leap from bunk to bunk. I loved the laughter; I liked the way it made people feel.
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With my trumpet voice, I love gritty, plunger, growly sounds. But vocally, I love Anita O'Day - a raspier but definitely softer sound. Part of the fun has been finding vehicles or writing for both of those sounds.
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With narration, you have to be very accurate with your voice. It's a good exercise to do.
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With the a cappella groups, every voice is like one string on a guitar, one note on the piano, or one cymbal, and you don't have the luxury of falling back on anything.
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Without wonder and insight, acting is just a trade. With it, it becomes creation.
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Women don't want to hear what you think. Women want to hear what they think - in a deeper voice.
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Working with Mrs. Clarke at The Gryphon School is when I really began to think of acting as a potential career.
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Worldly faces never look so worldly as at a funeral. They have the same effect of grating incongruity as the sound of a coarse voice breaking the solemn silence of night.
All voice-acting famous quotes and sayings you will always find on greatest-quotations.com (page 19)
