A Quote by Joan Blondell
In the 20s, you were a face. And that was enough. In the 30s, you also had to be a voice. And your voice had to match your face, if you can imagine that.
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I always thought I had a face like the moon, because I had really chubby cheeks when I was a kid, right up until my mid-20s. My face changed in my later 20s and again in my mid-30s.
If you're paralyzing your face in your 20s and 30s, you're not exercising the muscles that give it strength. My feeling is, laugh, cry, move your face.
You know it's said that you make your own face. So you don't really have a face until you are 30 or your mid-20s. When you are starting to grow up and show your character in your face.
Just imagine living in a world without mirrors. You'd dream about your face and imagine it as an outer reflection of what is inside you. And then, when you reached forty, someone put a mirror before you for the first time in your life. Imagine your fright! You'd see the face of a stranger. And you'd know quite clearly what you are unable to grasp: your face is not you.
The first time we did it [voice-over], I was trying to use my face and my eyes more so and really portray that emotion, and that didn't matter. I realized you have to bring that emotion into the way you sound, and all those different layers have to be in your voice instead of the way you are wrinkling your eyebrows or whatever. I had to learn how to do that.
Completing your performance with your own voice is so important. It's not only my face and expressions... the voice added to it always feels good.
At Julliard we had some voice classes. It was really just so you could carry a tune. It always just helps with your speaking voice also, when you connect your diaphragm and your breath.
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.
There are a couple of things that are, in the present, floating in front of my face, and once one of them gets enough energy to become a voice that I cannot not hear, then I will become a steamroller. When you've made your film, you stop hearing the voice.
I'm hoping to have a huge future in voice-overs. For years, people have said, 'I recognized your voice before I recognized your face!'
When I had my first voice lesson I was 15 years old. And I had a really good teacher. This is what made all the difference. A good teacher will teach you the technique, but also how to listen to your voice.
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.
It had helped to keep her sane, that writing. Then, when time had begun again and real people had entered it, she'd abandoned it here. Now it's a whisper from the past. Is that what writing amounts to? The voice your ghost would have, if it had a voice?
I have never had a pair of knickers sent in the post. I've had jams, lemon drizzle cakes, West Ham football shirts and footballs and books. I've had pillowcases with my face on, tea towels with my face on, face flannels with my face on, towels with my face on.
Excitement radiates through your eyes, your face, your voice, your soul, and your whole personality.
Somebody's real voice is probably the hardest one that somebody could attempt. The characters are all, believe it or not, rooted in a reality of some sort. I've met and talked to people, and they're also fusions of showbiz periphery. But the best thing was, if you did your own voice and you were the star of the show - if it came to blows and they had you on the ropes and you had to leave, then they could just get someone to sound exactly like you.
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