A Quote by Melanie Griffith

People who think radio acting is easy are wrong, because you got nothing to work with but your voice. — © Melanie Griffith
People who think radio acting is easy are wrong, because you got nothing to work with but your voice.
Not caring what people think about you is so much easier said than done and I think that it's easy to be in school and kind of compare yourself to everybody else, you might think that you're weird because some people don't like you or because you just dont feel like you belong in your own skin in your school and I think that it's important to realize that there's absolutely nothing wrong with you you're worth so much. As time progresses you'll see that and you have to learn to love yourself and accept yourself because its your skin
I've done a lot of radio in my life. I've done radio plays for the BBC when I was young so I was absolutely used to that style of work, of working with the voice. I have a very distinctive voice so it's always great for me because I open my mouth and everybody knows who it is.
Your muscles know nothing. It's your brain. Exercise is something you've got to do the rest of your life. It's a lifestyle. Dying is easy. Living is a pain in the neck. You've got to work at it.
Voice acting is very different from live-action. You only have one tool to convey emotion. You can't sell a line with a look. It's all about your vocal instrument. Doing voice work is also great because you don't have to get your hair done, which I despise.
I do have a bit of a gravelly voice; people have told me I've got a good voice for radio.
I really love acting. I really do. I really just think of myself like a working woman. And I just go from set to set and work. You have to promote a movie; you have to work. People are going to have opinions and it's weirdly very easy to kind of block out the world because you have your own.
With voice acting it just matters what your voice can do. There are some things that I won't get over other people because my register isn't as deep as other people. So if someone wants a deep, dark, brooding villain voice then they are probably not going to pick me.
There's an awful lot to be desired. I've gone to places where people say to me, "What's your technique?" Technique? What the hell technique is there to acting? We're acting because even with my voice I'm giving what I think is what I want to say.
Even when people didn't think I was the real champion, I got called out anyway. So now when you get a good win the first person people think of is me. I guess they thought it would be easy, but nothing comes easy.
Radio, or at least the kind of radio we're proposing to do, can cut through that. It can reach people who would otherwise never hear your work, and of course I find that very notion inspiring. Radio stories are powerful because the human voice is powerful. It has been and will continue to be the most basic element of storytelling. As a novelist (and I should note that working my novel is the first thing I do in the morning and the very last thing I do before I sleep), shifting into this new medium is entirely logical. It's still narrative, only with different tools.
I always say to every actor, and to people that want to get into this industry, to just try to be on set as much as you can, try to go to acting class, and try to work on your craft because there's nothing that can prepare you, like just when you get thrown onto a set and you've got to work.
You got to wrestle with your conscience. You got to listen to people. It doesn't come so easy to me that this is right and that's wrong. It's never that simple.
When you're acting on camera, you don't really think of your voice. You think of the whole instrument - your body, your look, and whatever you have to do. But when you're doing the voiceover, you're thinking only of your voice. You really can't compare the two different mediums.
I think people think how I got work came easy. People assume that I was an overnight sensation, because they're just now hearing about me, or that everything happened very quickly.
There's nothing wrong with being respected by your peers. There's nothing wrong with trying to do your best. There's nothing wrong with success. There's not even anything wrong with trying to get a raise. There's nothing wrong with that.
I motivate what I see in young people because we employ about forty thousand young people in our various Chick-fil-A units. Some of them come to work because they need to work; others just work because they just like to work. There's nothing wrong with that.
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