A Quote by David Oyelowo
When I am playing a role far away from me with an accent that is not mine I always employ a dialect coach. I am almost always playing someone that has an accent that is not mine.
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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.
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.
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 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 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.
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 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.
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.
If I can iron out my accent, it opens up another world of possible jobs. Whereas if you have that very strong European accent, it leaves you always being cast as the Hungarian maid or the stripper or whatever. I have voice lessons, and my coach has given me different tongue-twisters to rehearse at home.
The odd thing is if you asked me to do the accent now I would find it very difficult unless I was also playing that part, because I associate it so much with entering into the role and stepping into someone else's shoes.
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.
If you shall marry, You give away this hand, and this is mine; You give away heaven's vows, and those are mine; You give away myself, which is known mine; For I by vow am so embodied yours That she which marries you must marry me-- Either both or none.
I think there will be one overarching coach for Tests and one-day cricket. I think you need one person in control and in charge of that environment. Also it's important for people to know I am not going to be playing a tracksuited role. The execution of strategy is over to the captain and coach as it always has been.
I guess I'd always mocked the American accent. I didn't consider it a respectable dialect, but I was told that it was.
When I do an impression of someone or when I am pretending to be someone else, something freaky happens: I feel the person I am mimicking behind my eyeballs. Their head is sitting perfectly inside mine, helping me project a false self out on to the world. And it's not always a choice.
John Brown was one of my longtime heroes, and it was with no little amount of temerity that I accepted the role. There are some things I am hesitant about, and playing a hero of mine is one of them.
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