A Quote by Archie Panjabi

I had a dialect coach to get an American accent, and then another dialect coach to come off it a bit. There is something deep and mysterious in the voice when it isn't too high-pitched American.
I was too kind of brave and proud to want a dialect coach because I thought that showed weakness in my armor. But then you just learn it's a more efficient way of doing it. A dialect coach is really important because it takes a certain technical responsibility off your shoulders.
When I arrived in L.A., I assumed I'd be able to put on the American accent. It proved difficult, so I had six months working with a dialect coach, and it's become a habit.
The accent got lost somewhere along the way. I'm a little embarrassed about it. When I arrived in LA I assumed I'd be able to put on the American accent. It proved difficult so I had six months working with a dialect coach and it's become a habit.
I had a really fantastic dialect coach that I worked very well with, and I was constantly surprised by the different intonations that the Russian dialect has.
I went to a dialect coach and she told me that I had five problems; two were my Israeli accent and three were my New Jersey accent. I don't even want to know what I sounded like back then!
I thought I had a pretty good American accent but I had a few sessions with a voice coach over there and she was picking up on a few things. Possibly because I've got such a strong Northern accent, I emphasise the wrong part of words so the idea is to work on my American accent.
There's a bit of a difference in the way he sounds. Samuel E. Wright lent his voice and personality to the animated film with his booming voice. I have a high-tenor voice. Instead, I have to figure out a way to convince the audience to come along with me and accept this new texture and tambour to the way Sebastian sounds. I have a great dialect coach.
Working on the accent helped, enormously. I will tell you that when I brought Michael a correct 'British' accent, one that my dialect coach was happy with, he hated it.
I have an acting coach, a dialect coach, and just a great team around me.
Dialect was my biggest fear. So, I spent a long time working with dialect coaches just trying to get American down. I think it's very important and very easy to misinterpret.
If you are playing a Hispanic character who has to speak in dialect or in an accent, nail that dialect or accent. When I hear a character that's supposed to be Cuban speaking with a Mexican accent or vice versa, it grates on me and immediately pulls me out of the story.
It's like a puzzle, putting together your individual accent and what you grew up with or what you heard. It must be insane to be a dialect coach, to balance all that out.
The American has no language, he has a dialect, slang, provincialism, accent and so forth
I find standard American the hardest. It really fits in a different place in your mouth. Southern, I find the easiest. If you talk to a dialect coach and you get sort of technical, where an English person keeps their voice in their throat, a Southern person does the same, and it's got the same sort of music to talking.
The riskiest thing I have done in my fifties is to do a Polish accent for a new film. I had a great time working on it and two wonderful people to guide me. A dialect coach that I have known for thirty years and a Polish actor.
I guess I'd always mocked the American accent. I didn't consider it a respectable dialect, but I was told that it was.
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