A Quote by Rebecca Hall

The voice is always the starting place for me with a character. — © Rebecca Hall
The voice is always the starting place for me with a character.
I never went to drama school. I went straight into the theater. We had the most extraordinary voice teacher. I worked with her when I was starting out in my career. How to place my voice from a very relaxed position was all wonderfully reminiscent of going back to the basics. But I always like to do that with any role that I do, to dismantle it and put it all back together again.
I think everything you do, characters I always find, have their own voices and once you establish who that character is you find a different voice. I think it's just a question of establishing that character and the voice speaks through that character.
I had a very low voice for the character in the show. I said, "That's not actually my voice. That's the character's voice." I'm being such an actor.
I have a voice inside. A voice that I am forever trying to silence. A voice that calls me in when I want to be out, playing. A voice that is always sad. That is always terrified. That always wants to sit in the darkened room, away from noise and movement and colour - away from any experience that could prove to be challenging.
There's a starting place. And that starting place for everyone is ambition. We're all scared of that word today because they made it bad in the late '80s. As if desire is not a good thing.
One exercise I always do when I'm getting to know a character is ask her to tell me her secrets. Sit down with a pen and paper, and start with, 'I never told anybody...' and go from there, writing in the voice of your character.
Acts of bravery don't always take place on battlefields. They can take place in your heart, when you have the courage to honor your character, your intellect, your inclinations, and yes, your soul by listening to its clean, clear voice of direction instead of following the muddied messages of a timid world.
[Maigret Sets a Trap] was always going to be the first film, and it seemed to be quite a nice story. But of course it meant that here I was playing this new character for the first time, in a place where he had been a relative failure, as all these people had been murdered and the pressure was on. Rather than starting optimistically with his pipe in front of the fireplace, he was in quite a difficult place.
I had always wanted to lend my voice to a character. I did a voice for this video game, called 'Fallout 3,' and that was really fun.
If I speak with a character’s voice it is because that character’s become so much part of me that … I think I have the right then to imagine myself into the skin, into the life, into the dreams, into the experience of the particular character that I’ve chosen.
Breathing is always key in any character. When you have a character with no voice, that makes it even more important.
To me the voice has always been the way to start any character. Once I find that, I'm good to go.
Well, one of the things we're supposed to be able to do as playwrights is write from a place of empathy, get into another character's shoes and experience things both mundane and tragic. And people don't - like me right now - people aren't necessarily the most eloquent when trying to express their emotions. I guess I feel as a playwright that those people deserve a voice, too, a voice that isn't so articulate that they themselves can no longer identify with it.
Some authors, when starting a novel, imagine a place first. Others, a character starts taking shape in their head. I start with a hook, a situation, a 'what if.
Some authors, when starting a novel, imagine a place first. Others, a character starts taking shape in their head. I start with a hook, a situation, a 'what if.'
I worked on my voice for 'Sweet Dreams' but only to match my speaking voice to Patsy's actual singing voice. That was my way into that character.
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