A Quote by Dan Castellaneta
The voice doesn't take a lot of effort now, but in the beginning it was hard to try to find a voice. The one I settled on was just easier to do for a half-hour.
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We're always being told 'find your voice.' When I was younger, I never really knew what this meant. I used to worry a lot about voice, wondering if I had my own. But now I realize that the only way to find your voice is to use it. It's hardwired, built into you. Talk about the things you love. Your voice will follow.
I guess it was easier for me to find my voice in poetry than it was in fiction. I'm working on fiction again, and I find it a lot more difficult. It's a struggle. At a certain point, you have your voice and you go to it every time, so it's not like reinventing the wheel. That's the way I see it at least.
There are times when the voice of repining is completely drowned out by various louder voices: the voice of government, the voice of taste, the voice of celebrity, the voice of the real world, the voice of fear and force, the voice of gossip.
Instead of letting anxiety run you, try voicing it. Voice it in your comedy. Voice it in a script. Just voice it, and it'll help you release it.
I got good at trying to throw a voice on a character from the very beginning as opposed to like reading it and sitting with it and mulling over it and stuff like that just try to read what it is and then try to put a funny voice to it like as soon as possible and stuff like that. Once you get laughs with your voice then you can start thinking about, you know the physical characteristics and how they might walk or if they stick out their buck teeth or if they wear an afro and stuff like that. I think like finding the voice of the character helps to like build the wardrobe and everything else.
I had to get the voice back, the precise pitch of Sid's voice and I'd forgotten that I'd pitched him higher than my regular voice, so that was a little difficult to begin with. It was especially hard because we started recording in the morning so I had to warm up a lot and my usual voice is a little more gravelly.
I love doing voice-overs; I wish I could do more of them. It's a lot of fun to see how they take the voice and animate it and try to capture your own expressions and features. It's fascinating.
We cannot have peace on Earth until we learn to speak with one voice. That voice must be the voice of reason, the voice of compassion, the voice of love. It is the voice of divinity within us.
You could say that too much time has passed for us to take up new styles so it's entirely up to us to improve. I personally wanted to produce a voice that's different from when I did "V.V.I.P" so I put a lot of effort into finding my voice.
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.
An activist is someone who makes an effort to see problems that are not being addressed and then makes an effort to make their voice heard. Sometimes there are so many things that it's almost impossible to make your voice heard in every area, but you can sure try.
It really depends, but, generally speaking, just because of the mechanics of it, voice-over is easier because there is no hair, no makeup, no wardrobe, no fittings, no line memorizing. You don't have to me woken up in Russia at 6 in the morning and go film a scene. It's just easier on the body, the family life to do voice-overs.
Finding your voice is something you have to keep working at. Your voice as a comic evolves the same way that you evolve. You have to find out what works for you. How can you express your opinion, your take on the situations in a way that feels natural to you? That's where you find your voice.
I mean it's - it is hard to find a voice on talk radio that is not a conservative voice.
I had a hole in my voice. It's an area in the voice where it's air. It's just - there's no - it's just very airy. And my classical teachers were just so frustrated with me because I would have these deep, low notes that were really strong, and the higher register was strong, but right in that middle area, it was really hard. It was like a passage. And many singers go through this and work it out. But I realized in jazz, I could just take advantage of that and take advantage of having a voice that was very different in different areas.
There are no words and there is no singing, but the music has a voice. It is an old voice and a deep voice, like the stump of a sweet cigar or a shoe with a hole. It is a voice that has lived and lives, with sorrow and shame, ecstasy and bliss, joy and pain, redemption and damnation. It is a voice with love and without love. I like the voice, and though I can't talk to it, I like the way it talks to me. It says it is all the same, Young Man. Take it and let it be.
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