A Quote by Ashley Walters

You know, I have got quite a husky, gritty voice which people say - even when I'm talking nicely - does sound a bit rough. — © Ashley Walters
You know, I have got quite a husky, gritty voice which people say - even when I'm talking nicely - does sound a bit rough.
I've learnt to accept what has happened to my voice, I suppose, but I do wish it didn't sound quite so rough.
At first I wasn’t all that tempted by him, but then he killed the spider. Which was a huge point in his favor.” “Absolutely. I love men who kill bugs.” “And then when I was freaking out and couldn’t breathe, he was so…gentle.” Zoe sighed and colored, remembering. “He was holding me, and talking to me in that voice…you know, sort of low and rough around the edges…” “All the Nolans sound like that,” Justine said reflectively. “Like they’ve got a mild case of bronchitis. Totally hot.
My voice was left with its husky sound after surgery on large vocal nodules.
When I go to the cinema, I want to have a cinematic experience. Some people ignore the sound and you end up seeing something you might see on television and it doesn't explore the form. Sound is the other picture. When you show people a rough cut without the sound mix they are often really surprised. Sound creates a completely new world. With dialogue, people say a lot of things they don't mean. I like dialogue when it's used in a way when the body language says the complete opposite. But I love great dialogue I think expositional dialogue is quite crass and not like real life.
I don't like the sound of my own voice. And, for people I don't know, their impression of me is what they read on the internet, and they're so far off a lot of the time. I think people are intimidated by me, and I don't know why. Sometimes even my own bandmates can be intimidated, or irritated, by me. I come across as arrogant somehow. In reality, I've probably got the lowest self-esteem of anybody I know, which has really been rubbed in my face lately in personal situations.
Personally, to have people recognize your work is amazing. I love meeting fans and talking to them, and that happens quite a bit now, which is really cool. ... I'm at that great level where fans will stop and say hi, which I love, but the paparazzi don't care, which is incredible.
There's a look of mischief in his eyes. 'Smilla. Why is it that such an elegant and petite girl like you has such a rough voice.' I'm sorry,' I say, 'if I give you the impression that it is only my mouth that's rough. I do my best to be rough all over.
I always went in with a very specific idea of the sound I wanted, and once I'd recorded I'd try and make it sell as much as I could, but I only went in thinking of a sound I wanted. So, it's no surprise to me that he got the hit and I didn't. But what I realized was that he did dress it up nicely, and my god, he does sing on key well.
Every modulated sound is not a song, and every voice that executes a beautiful air does not sing. Singing should enchant. But to produce this effect there must be a quality of soul and voice which is by no means common even with great singers.
Lawyers on TV always tell their clients not to say anything. The cops say that thing: 'Anything you say will be used against you.' Self-incrimination. I looked it up. Three-point vocab word. So why does everyone makes such a big hairy deal about me not talking? Maybe I don't want to incriminate myself. Maybe I don't like the sound of my voice. Maybe I don't have anything to say.
People like to pigeonhole and say, Well, I'm a Washington insider, and you know, that's quite silly. What does that even mean?
I have a Husky named Blu. One would think, given his country of origin, that he would love a cold water bath, but he is a third generation Husky who has quite adjusted to the climate in Bengaluru.
In fact, quite a lot of what I do has to do with sound texture, and, you can't notate that. You can't notate the sound of "St. Elmo's Fire." There's no way of writing that down. That's because musical notation arose at a time when sound textures were limited. If you said violins and woodwind that defined the sound texture; if I say synthesizer and guitar it means nothing - you're talking about 28,000 variables.
But when you are doing an animated voice, it has to have more energy than usual or it falls flat and doesn't work. For myself, I found that I had to put myself in the same physical or emotional state as Sid, in order to make that voice sound alive and authentic. So if there was a scene in which he was running, I would be running beforehand to sound out of breath. That's important because the audience can tell intuitively if it does not sound real.
Occasionally I do things against my inner voice, but you really should go for the thing that touches you most-even if you don't quite know why it does.
More and more, I realise I have a distinct voice, which I didn't realise! You know, it's just my voice. I had no idea. A lot of times, people will say now, 'I recognised you from your voice,' which is interesting to me.
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