A Quote by Ethan Slater
The process of finding my voice as SpongeBob was to start by watching what Tom Kenny did, trying to do an impression of sorts, and then forgetting all about it and letting the voice become a second-nature thing.
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I started doing comedy when I was a teenager with Tom Kenny, who is the voice of SpongeBob. I don't want to name drop, but, I've known him since I was 6.
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.
To be honest, there is a special gift for doing voice-overs, and the people who did the voices in the 'SpongeBob' cast are excellent at cartoon voice-overs, and they bring something extra to the reads.
Discerning the will of God is a very tricky thing, partly because, you know, the little voice in my head can either be God's voice or it can be my own ego doing a magnificent impression of God's voice.
SpongeBob's voice is really pingy and forward and nasally. The problem is, if you live in the extreme of that for more than 10 minutes, it can be a little grating, and it can be hard on your voice. Also, it gets in the way of the acting to be forcing your voice into this place.
It was this thing I used to do, where I would get on the phone and put my voice in a man's voice like, 'Hey, you're talking to Tom.'
I'm a late bloomer. It's taken me a long time to find my voice, and I think all the records I've made over the years, I was finding my voice, and that's part of the process.
If it's just the voice, then you can only do jokes. It's not really even about the impression so much. It's about the take and what you do with the person. I try to get a character across with the impression.
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.
Well I’ve been doing it for about twenty years, I did films when I was a little kid, when I was about six or seven, I was in films and I had this really high voice, I did a series called Dinobabies, that was my first one. And then after that I did Madeline, yeah so it just kind of happened and then never went away. Then everyone said your voice is going to change and you’ll be out... No, no, still on helium.
I guess that in this process of trying to incorporate or to be faithful to the films I admire so much, that's how I start to find my own voice. The admiration I have for filmmakers, this gratitude, perhaps that's my only way to become specific.
I guess that in this process of trying to incorporate or to be faithful to the films I admire so much, thats how I start to find my own voice. The admiration I have for filmmakers, this gratitude, perhaps thats my only way to become specific.
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 want to make the music that's not there anymore. I'm so passionate about the singing voice... What I'm trying to do actually with my album is show that it's my voice that's leading. It's my voice that's the instrument.
So much of making movies is about discovery on the day, what you're figuring out. If you know everything going in, then it's not worth doing - it's already done. I'm interested in finding people who I think have a voice - and a very specific voice.
Graham Wallas has reminded us that writing as compared with speaking involves an impression at the second remove and reading an impression at the third remove. The voice of a second-rate person is more impressive than the published opinion of superior ability.
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