A Quote by David Zayas
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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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.
There are more similarities than differences when it comes to preparation of a performance. You're using some lyrics, you have a relationship with them, they apply to different parts of your life and different circumstances, different memories, different stories you have in your head. You form personal relationships with the song. I think that's very similar, in a way, to prepping a character. You pour your own personality, in a sense, into the character, you sympathize with a character in a way that's similar to the way you might sympathize with a song.
I love accents; I would love to find more characters with a variety of vocal intonations. It creates a character. It's like you're singing a song. Some people find their character through walking or movement - for me, voice is one of the ways I find parts of the character.
I love accents, I would love to find more characters with a variety of vocal intonations. It creates a character. It’s like you're singing a song. Some people find their character through walking or movement — for me, voice is one of the ways I find parts of the character.
There's this pet phrase about writing that is bandied around particularly in workshops about "finding your own voice as a poet", which I suppose means that you come out from under the direct influence of other poets and have perhaps found a way to combine those influences so that it appears to be your own voice. But I think you could also put it a different way. You, quote, find your voice, unquote, when you are able to invent this one character who resembles you, obviously, and probably is more like you than anyone else on earth, but is not the equivalent to you.
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.
The "magic if" is a tool invented by Stanislavski, the father of acting craft, is to help an actor make appropriate choices. Essentially, the "magic if" refers to the answer to the question, "What would I do if I were this character in this situation?" Note that the question is not "What would I do if I were in this situation?" What you would do may be very different from what the character would do. Your job, based on your analysis of the script, the scene, and the given circumstances regarding the who of your character, is to decide what he or she would do.
I think it would be self-indulgent to go, "Oh, I'm going to make this character different by giving him a quirk of some kind." I don't think that serves the story, particularly. But even very similar scenes with a different set of actors, a different set of circumstances, it starts to evolve as a different character.
Every character thinks differently, and every character has a different energy and way that they tick. But to find a character like Kai, who is so far that he doesn't even feel things, he is so different from me. That is the most exciting part.
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.
Your writing voice is the deepest possible reflection of who you are. The job of your voice is not to seduce or flatter or make well-shaped sentences. In your voice, your readers should be able to hear the contents of your mind, your heart, your soul.
People say that you want to be varied in your career, and I've done so many things and am very appreciative. But, the one thing I've never done and wanted to do was to be a regular on a TV show, where you get 22 weeks of the year to develop and play a character. I've done arcs of five or eight episodes on shows, but I'd like to have a character that's rich enough and deep enough to want to explore and live with for a few years. Playing the same character, but doing different scenes seems very exciting to me.
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.
In voiceover, all you have to worry about is your voice and practicing with your voice and then being able to understand what the situation and whatnot is happening. And you have endless amounts of film to perfect the character.
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've auditioned for animation stuff for a long time; that's a tough field to crack into. I don't think I have the strongest voice. I don't have a theater-trained voice or a radio voice, but I think I make good character choices.
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