A Quote by Kumail Nanjiani

I had this very strict rule when I began auditioning that I wasn't gonna do a thicker accent, because it was like, 'I can't tell if it's supposed to be funny because he talks funny.' And now I feel like there are certain characters that I could play that could involve doing a thicker accent, as long as it's specific to that character.
Because I'm Irish, I've always done an accent. Not doing an accent is off-putting because I sound like me. I love doing an accent. Doing the accent from West Virginia was great, and we had to get specific with it.
It's funny because when I'm outside Australia, I never get to do my Australian accent in anything. It's always a Danish accent or an English accent or an American accent.
I thought it's very funny that I ended up as a voiceover guy because when I started out as an actor, I had a very strong Long Island accent.
I speak with a Northern Irish accent with a tinge of New York. My wife has a bit of a Boston accent; my oldest daughter talks with a Denver accent, and my youngest has a true blue Aussie accent. It's complicated.
I like to think my accent isn't strong enough, but it's funny: I get people coming up to me in America and saying I sound like Mel B. She's from Leeds. They just hear a British accent and probably can't quite work it out.
Little fussy Otto, in his red-lined black opera cloak with pockets for all his gear, his shiny black shoes, his carefully cut widow's peak and, not least, his ridiculous accent that grew thicker or thinner depending on who he was talking to, did not look like a threat. He looked funny, a joke, a music-hall vampire. It had never previously occurred to Vimes that, just possibly, the joke was on other people.
I could do an American accent, if I were immersed in the accent, meaning if I were living back in Los Angeles and rehearsing and auditioning the whole time.
I think if you have a funny thought, and you want to get off a funny point, try to do it as realistically as you can. If you try to act it funny and accent the funny points, or do it in a funny style, you kind of lose it.
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 was the kind nobody thought could make it. I had a funny Boston accent. I couldn't pronounce my R's. I wasn't a beauty.
That could sound arrogant, I guess, but sometimes I feel like I have a bit of a Zelig thing. I'll blend in wherever. I'm from the South, so I'll have a Southern accent when I'm home. But if I'm up here in New York, I have a British accent.
What I try to do with the accent of any character I play is not necessarily to do something that's generic - an Indian accent and that's how it sounds, for example. I think the accent needs to sound authentic on this person.
One of my best friends growing up was Vietnamese, and he and his mom would teach me how to say certain things so I could impress my nail girls. Then the nail girls would teach me how to count to 100 and basic things like 'Thank you' and 'You're welcome.' It's funny, because any accent that I do now always turns into Vietnamese.
You have to understand the tone of the movie, because if it's supposed to be funny, it can be funny violent like the Home Alone stuff, but you have to really understand the tone of what you're doing and make the action work for that and for the character.
It's funny - I was a big fan of 'The Sopranos.' It became kind of a threat to 'The X-Files' in a way because they could play with language, character, and story in ways that we never could because of the limitations of network television.
When I went to London, they told me I spoke with a funny accent - English with a Chinese accent.
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