A Quote by John Lloyd Young

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. — © John Lloyd Young
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.
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.
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.
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.
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.
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.
College football, acting, opera singing - I approached them all in the same obsessive way.
I approach the singing kind of like with dialect thoughts in my mind. I have to sound like this on certain things to give that Frankie Valli flavor.
Growing up, I had always been an avid bookworm and a straight-A student. I approached my cancer the same way I approached writing my senior thesis in college: I buried my head in research journals, interviewed experts and scoured the Internet for information.
There are no shortcuts. I approached practices the same way I approached games. You can't turn it on and off like a faucet. I couldn't dog it during practice and then, when I needed that extra push late in the game, expect it to be there. Very few people get anywhere by taking shortcuts.
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.
It's just like they approach things on every movie I've worked on, very much as if it was a live-action movie. The character you're playing, even though he's a rooster and is really stupid, you approach it in the same way you would approach Hamlet, which is exactly how I approached it. But they give you the circumstances. "You're on the boat. You didn't expect to be here. You just climbed in a boat to maybe sleep. You don't even know why you climbed in the boat. You're really that dumb.
In some ways, I've always approached singing as acting, and the voice is just like a way of carrying the song.
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'm an actor. The fact that I'm involved in Jigsaw, I don't approach Jigsaw any differently than I approached The Nordic in 'The Firm' or FBI Agent Stokes in 'Mississippi Burning.' It's the same deal. It's just that the effect is sometimes different. So I say, people ask me, 'How does it feel to be a horror icon?' I'm thrilled. It's great.
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.
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