A Quote by Frank Dillane
Dialect was my biggest fear. So, I spent a long time working with dialect coaches just trying to get American down. I think it's very important and very easy to misinterpret.
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The authentic Gullah dialect is actually very clipped, and so it would sound almost Jamaican and be very odd to an American audience's ears. It's not the typical Southern dialect that we're used to.
The authentic Gullah dialect is actually very clipped, and so it would sound almost Jamaican and be very odd to an American audience's ears. It's not the typical Southern dialect that we're used to. It has a much more percussive rhythm to it.
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.
I had a really fantastic dialect coach that I worked very well with, and I was constantly surprised by the different intonations that the Russian dialect has.
Dialogue that is written in dialect is very tiring to read. If you can do it brilliantly, fine. If other writers read your work and rave about your use of dialect, go for it. But be positive that you do it well, because otherwise it is a lot of work to read short stories or novels that are written in dialect. It makes our necks feel funny.
I don't have a Jersey dialect. So when I approached the singing, I approached it the same way as an actor I approach a dialect, just as a singer.
I was too kind of brave and proud to want a dialect coach because I thought that showed weakness in my armor. But then you just learn it's a more efficient way of doing it. A dialect coach is really important because it takes a certain technical responsibility off your shoulders.
When using dialect, use it lightly. A dialect word here and there is enough. All you want to do is suggest. Never let it call attention to itself.
I think the biggest lesson that I take from 'Avatar' on any set that I go to is just work ethic. Working with Jim Cameron, you're used to working very, very long days and you're very meticulous about details. He's very, very picky about little details, little character-isms and things.
When I arrived in L.A., 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.
If someone said, I want to translate your novel into Igbo, I would say, Go ahead. But when I write in the Igbo language, I write my own dialect. I write some poetry in that dialect.
I feel so fortunate, Because some people think, well you're just relegated to the sideline. But I feel valued there. They trust me. We work very, very hard at making it worthwhile. We are not going to just be down there spewing a bunch of blah. With our halftime talking to the coaches we are really trying to get something meaningful there and something that helps spin the game forward.
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.
I know how a Manipuri is different from a Mizo or someone from Shillong. It's culturally very different... the food is also very different, and so is the language and dialect.
I spent a long time working in restaurants and making no money. It was very character-building, but I think it could have been built in a shorter time.
The American has no language, he has a dialect, slang, provincialism, accent and so forth
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