A Quote by Rituparna Sengupta

'Begum Jaan' was such a very different zone for me. After the filming was complete, I got immersed in voice modulation. I had to shout my lungs out into the microphone and then dub for it to get that hoarseness in my voice.
I try to look after my voice. I am very aware that if I am going to be doing a voice over the next day or on the radio, not to go out to a really noisy place or shout.
In 'Begum Jaan,' a lot of people did not recognize me as my look was different. That is the big thing and it means you have gone so much into your character.
There are times when the voice of repining is completely drowned out by various louder voices: the voice of government, the voice of taste, the voice of celebrity, the voice of the real world, the voice of fear and force, the voice of gossip.
You don't get a film like 'Begum Jaan' everyday in your career.
I had zero connection to Bollywood or movies when I started out. I worked in theatre for eight years where luckily Makarand Deshpande mentored me, helped me to improve my body language and voice modulation.
Punk may have helped me find my voice and made me realise that I had the right to have one, but it was riot grrrl that helped me sustain that voice and shout a little louder.
I got good at trying to throw a voice on a character from the very beginning as opposed to like reading it and sitting with it and mulling over it and stuff like that just try to read what it is and then try to put a funny voice to it like as soon as possible and stuff like that. Once you get laughs with your voice then you can start thinking about, you know the physical characteristics and how they might walk or if they stick out their buck teeth or if they wear an afro and stuff like that. I think like finding the voice of the character helps to like build the wardrobe and everything else.
I've got these five-pound weights and a treadmill in the living room. I work out the other parts that have affected my voice: my diaphragm - doctors took mine out in surgery - and my lungs. I've got to build back my legs, too, so I can run across that stage. I've got a lot to do, but I'm going to get out, sing songs and tell the stories.
Use the voice that you were given. Shout what you believe in from the top of your lungs. Never let anyone quiet you.
I had a hole in my voice. It's an area in the voice where it's air. It's just - there's no - it's just very airy. And my classical teachers were just so frustrated with me because I would have these deep, low notes that were really strong, and the higher register was strong, but right in that middle area, it was really hard. It was like a passage. And many singers go through this and work it out. But I realized in jazz, I could just take advantage of that and take advantage of having a voice that was very different in different areas.
I was a boy soprano. I had a natural kind of voice and then trained it after my voice changed.
I've got quite a low voice, so it's not your typical musical theater voice, but I do love musicals; they're a very different experience.
Aunt Lovey used to tell me that if I wanted to be a writer, I needed a writer's voice. 'Read,' she'd say, 'and if you have a writer's voice, one day it will shout out, 'I can do that too!
I had to get the voice back, the precise pitch of Sid's voice and I'd forgotten that I'd pitched him higher than my regular voice, so that was a little difficult to begin with. It was especially hard because we started recording in the morning so I had to warm up a lot and my usual voice is a little more gravelly.
I tried out for 'The Voice,' and I also tried out for 'America's Got Talent,' and both them, like, reached out to me. I had, like, little singing video on YouTube, and they were like, 'Come out for an audition.' I did, and I got a callback for both of them, actually, and, uh, didn't get anything after that. I was so heartbroken. But look at me now!
After 'Mulk,' I figured it's your voice that people are connecting with. So then my voice became of prime importance to me for my films.
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