A Quote by Joe Buck
I enjoy the mental gymnastics that go along with matching voice to picture and vice versa and trying to accent the action as opposed to provide all of the action through my words. And that's really what play-by-play is.
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I started in radio. I enjoy the mental gymnastics that go along with matching voice to picture and vice versa and trying to accent the action as opposed to provide all of the action through my words. And that's really what play-by-play is.
Sacred play is anything that takes you into that right hemisphere of your brain. It turns out that this move away from left to the right hemisphere, that sense of expansiveness and everything, can be accomplished through unusual rhythmic action, or any action that requires so much attention away from words that you cannot think in words.
I'm such an action movie junkie that as an action fan, because action scenes are so heightened, we could never really picture ourselves in that scene. So when you're watching an action movie, you experience an action movie more outside of the aquarium: you know you're out of the aquarium looking in at all the swimming fish that are in there.
I try to stay away from stuff that's just action, action, action, action, action, and you kind of fast-forward through the dialogue scenes. I'm not interested in doing that. Give me a reason to fight, and I'll go there. But don't just make it, 'You touched my pen! Haaa-yah!' I've done that before.
Then, if action is possible or necessary, you take action or rather right action happens through you. Right action is action that is appropriate to the whole. When the action is accomplished, the alert, spacious stillness remains.
Anything you put in a play -- any speech -- has got to do one of two things: either define character or push the action of the play along.
In a successful picture book, you always want the voice of the text to match the voice of the art; so that it seems as if the same person writing is the one illustrating and vice versa.
Abraham: You did not come into this environment to create through action. Instead, your action is meant to be a way in which you enjoy what you have created through thought.
I don't have to go through life being mean or having a stern face just to play basketball. I enjoy the game and play it how I like to play it.
To the best of my knowledge, a lot of people who play video games also play tabletop games and vice versa.
In animation, no one gets to see your face, so you can really mess up with your voice like I did 'ParaNorman;' I was a bully in that, which was so much fun to do. In 'How to Train Your Dragon,' I'm a little Viking character. So, it's kind of exciting to play these roles that you normally wouldn't get to play in a live-action movie.
Action is only really compelling when it reveals character - character revealed through action, and not action for its own sake.
I like to use my voice as an instrument and just play along with the music. That's really how I tend to my voice. The content usually comes after or during that process of just trying to be an instrument.
The fashions we call English in Paris are French in London, and vice versa. Franco-British hostility vanishes when it comes to questions of words and clothing. God save the King is a tune composed by Lully for a chorus in a play by Racine.
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.
There is a good deal of excellent research on child's play. It has shown conclusively that through play, with the freedom of action it allows and the stressless environment in which it occurs, children discover, relate to and define themselves and their world. ...It is, therefore, paradoxical that many educators and parents still differentiate between a time for learning and a time for play.
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