A Quote by Stefan Kapicic
Colossus' voice is not much different than mine, as Tim loved my natural color and range of voice, so we kept it and worked more on the Russian accent. The best note I received was to be authentic.
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Voice is one of the most elusive qualities in any story. We recognize it when we hear it, but it's hard consciously to create an authentic voice. Somehow voice seems to be the natural manifestation of all the narrative decisions we've made so far. We discover it more than we fabricate it.
A voice and an accent are two very different things. The voice of a man is how he speaks from his heart, right in the middle of him... And then you stick an accent on top of that.
The world is waiting to hear an authentic voice, a voice from God- not an echo of what others are doing and saying, but an authentic voice.
This approach to voice is designed to liberate the natural voice and thereby develop a vocal technique that serves the freedom of human expression. The basic assumption of the work is that everyone possesses a voice capable of expressing, through a two- to four-octave natural pitch range, whatever gamut of emotion, complexity of mood, and subtlety of thought he or she experiences.
I've actually, very rarely have I worked in my own voice. I've played, I think, Russian, American, Northern from the North of England. All sorts of different accents I've worked in.
In my career, I have done more than a thousand voice-overs in commercials, cartoons, and radio shows, so I'm very familiar of my voice capabilities and its range.
The voice is certainly important and you can hear if it's beautiful or not, it's the gods who decide; it's more a question of what you do with the voice, which is the mysterious element. It's the personality behind the voice which makes the artist. The voice is a gift of God, but if you're not able to use this gift, what's left? Nothing but a beautiful voice, without nuance or color.
So much of what I love about poetry lies in the vast possibilities of voice, the spectacular range of idiosyncratic flavors that can be embedded in a particular human voice reporting from the field. One beautiful axis of voice is the one that runs between vulnerability and detachment, between 'It hurts to be alive' and 'I can see a million miles from here.' A good poetic voice can do both at once.
There was about a two-year period at the end of the '60s, when I realized I was in the wrong place and entertaining the wrong people with the wrong material and that I was not being true to myself. I went through a metamorphosis into something more authentic for me, a more authentic stage voice and writing voice.
It's fun to use all of my range; there are so many different colors and textures that come out, revealing different parts of my voice. I know what my voice is capable of, and I try to fit it to each song, evoke a mood.
In animation, there's silly things I get to do with my voice. I get to have a wider range, so my voice gets to dance more than it does on camera.
I'm developing more stuff in my voice, more Nick Swardson. It's me as myself in a sense and kind of in my voice, no accent no affectation. I'm growing into my own persona.
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.
Garbage. It's a natural quality of huskiness in the midrange of my voice that I call 'garbage.' It's not a clear-toned announcer's voice. It's more like the voice of the guy next door.
I did use my own accent in a play once. It's a very freeing, liberating experience. Actors are often asked to adopt a different accent, and sometimes a different voice, so when that's taken away and you don't have to think about it, that's a lovely thing.
We cannot have peace on Earth until we learn to speak with one voice. That voice must be the voice of reason, the voice of compassion, the voice of love. It is the voice of divinity within us.
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