A Quote by Benjamin Disraeli

Accent and emphasis are the pith of reading; punctuation is but secondary. — © Benjamin Disraeli
Accent and emphasis are the pith of reading; punctuation is but secondary.
I do think that the imagination you create yourself when you're reading, to create the tone and the accent of the world, is an individual accomplishment that someone is imposing upon you by listening to them read it. Because you're listening to their interpretation, and their emphasis would probably be different from the one that your brain makes while you're reading it.
What I'm above all primarily concerned with is the substance of life, the pith of reality. If I had to sum up my work, I suppose that's it really: I'm taking the pith out of reality.
Every other consideration and plan and emphasis is secondary to that of wielding the forces of prayer.
It's funny because when I'm outside Australia, I never get to do my Australian accent in anything. It's always a Danish accent or an English accent or an American accent.
I speak with a Northern Irish accent with a tinge of New York. My wife has a bit of a Boston accent; my oldest daughter talks with a Denver accent, and my youngest has a true blue Aussie accent. It's complicated.
I know Asian actors out there won't even audition for a role that have an accent. But for me, I was the kid with an accent. I still have an accent to some degree.
Because I'm Irish, I've always done an accent. Not doing an accent is off-putting because I sound like me. I love doing an accent. Doing the accent from West Virginia was great, and we had to get specific with it.
Celebrity is absolutely preposterous. Entertainment seems to be inflating. It used to be the punctuation to your life, a film or a novel or a play, a way of celebrating a good week or month. Now it feels as if it's all punctuation.
The Australian accent just a very lovely accent and it doesn't have the pretention maybe of an English accent, but yet seems a little bit more exotic than an American.
I was a Social Science major in college, with an emphasis in secondary education. I took as many courses on the American colonial era and westward expansion as I could. This turned out to be wonderful preparation for writing fantasy novels.
What I try to do with the accent of any character I play is not necessarily to do something that's generic - an Indian accent and that's how it sounds, for example. I think the accent needs to sound authentic on this person.
Coming to terms with the rhythms of women's lives means coming to terms with life itself, accepting the imperatives of the body rather than the imperatives of an artificial, man-made, perhaps transcendentally beautiful civilization. Emphasis on the male work-rhythm is an emphasis on infinite possibilities; emphasis on the female rhythms is an emphasis on a defined pattern, on limitation.
If you walk through Knightsbridge on any bland day of the week you won't hear an English accent. You'll hear every accent under the sun apart from the British accent.
They said [on a day show], oh, you can't do a Chinese accent. That's - and I said, I'm not doing a Chinese accent. I'm doing my friend's accent. And they said, yeah, you can't do that. And I said, OK, but can I do a Russian accent? And they said, yeah, yeah, of course, you can do that. I said, and a British accent? They said, yeah, go ahead. And I couldn't understand.
In music, the punctuation is absolutely strict, the bars and rests are absolutely defined. But our punctuation cannot be quite strict, because we have to relate it to the audience. In other words we are continually changing the score.
I know that's not the right accent, but I can't do the right accent. It's either the wrong accent or another Octomom joke.
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