A Quote by Benjamin Disraeli

There is no index of character so sure as the voice. — © Benjamin Disraeli
There is no index of character so sure as the voice.
There is no greater index of character so sure as the voice.
I have always believed that hair is a very sure index of character.
I hope that 'Gambit' doesn't take ten years, but it takes a little honing to get that tone and that voice exactly right. The character has such a specific voice in the comic, in the same way that Deadpool has a specific voice in the comic, that we want to make sure that we capture that voice on the page.
I had a very low voice for the character in the show. I said, "That's not actually my voice. That's the character's voice." I'm being such an actor.
The rank of a university is similar to an index number say like the NASDAQ index. I don't understand how you can take an institution like Harvard, Stanford, or Michigan, and represent it by an index number. The concept makes no sense.
I think everything you do, characters I always find, have their own voices and once you establish who that character is you find a different voice. I think it's just a question of establishing that character and the voice speaks through that character.
The expectation is this low, gravelly voice for John, but I went through his early recordings and there were songs in there where the voice was so different, I wasn't even sure if it was him singing, ... So it was interesting to me that we would see him develop the Man in Black sound. I thought it was really important that his voice change as his persona slowly solidified. The music was really the doorway into the character.
I worked on my voice for 'Sweet Dreams' but only to match my speaking voice to Patsy's actual singing voice. That was my way into that character.
I worked on my voice for Sweet Dreams, but only to match my speaking voice to Patsy's actual singing voice. That was my way into that character.
The true index of a man's character is the health of his wife.
Character is character and voice is voice, which translates nicely from writing novels to writing TV. But the process is different. You have a writer's room, people pitch you jokes and you collaborate.
My own motivation has come from the fact that all the indicators in the world, the hunger index or whatever index you say, shows a high prevalence of malnutrition.
I like to do matrices. One option per line, different facets for each column. Salary, location, happiness index, failure index, and all that.
When I read to children, I try to become the characters. It's great if you can make a separate voice for each character. Sometimes you can lower your voice with excitement or get more intimate about it: you can lean forward and engage the children as a narrator or as a reader. It's particularly important that you find the voice that you want to use for each character, because then children can imagine that person as you're reading aloud. And of course, the illustrations help enormously.
With voice overs... you're not thinking about the camera. So your voice becomes this thing that you can manipulate. And depending on the character you're doing, it's all concentration on your voice.
I love it and it is a blessing to be able to have seventy-five to eighty episodes to develop a character and find your voice. You have a similar through voice, and yet you are making different decisions, and so you act differently and you make different choices, as that is what your character would do.
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