A Quote by Travis Fimmel
I have enough trouble just speaking normal Australian. On 'Vikings,' we had a great vocal coach who helped make all of us sound the same. But I'm very bad at accents, to be honest.
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My numbers and my stats were exactly the same. I was doing what the coaches wanted me to do. And what I had been doing up to that point was enough to get me a very well-paying contract with the Vikings. ... In my mind there was only one thing that had changed from the year before and the year I got cut: And that was I started speaking out in support of same-sex rights.
I had a vocal coach. It's a sad thing, but I had to hire someone so that I could get my Australian accent back.
I'm close to Coach Kingsbury. He really helped my game and helped me as a person a lot. He's a genuine good person and, at the same time, a very smart football coach.
My mother and my father had very, very strong Scots accents. We were Australian, and in those days when I was young, I spoke with a much more of an Australian accent than I have now. However I knew that if I went to England to become an actor, which I was determined to, I knew that I had to get rid of the Australian accent. We were colonials, we were Down Under somewhere, we were those little people Over There. But I was determined to become an Englishman. So I did.
It's one thing having a great song, but I think for me if you take it to the next level... say you had a guitar and a vocal, and the song was amazing but the vocalist wasn't that great and it just was a guitar and vocal acoustic track, switching that to something like an amazing voice singing the exact same song with the instrumentation being really nice and lush or unique in some way and interesting and diverse... I think it's all about the instrumentation and textures in the sound.
The first time I started listening to Irish music, I had a very strong connection. Strangely enough, there's a great many Japanese melodies and vocal styles that sound very much like Hungarian music. You start seeing all these cross-references and comparative, independent musical cultures.
The reason the first three Star Wars movies were so terrific, and the second three sucked so bad, is actually very simple. The first three were about rebels, shooting guns and driving fast, and speaking with American accents. The second three were about politicians, discussing treaties and holding court, and speaking with British accents.
If I had a formula for bypassing trouble, I wouldn't pass it around. Wouldn't be doing anybody a favor. Trouble creates a capacity to handle it. I don't say embrace trouble. That's as bad as treating it as an enemy. But I do say, meet it as a friend, for you'll see a lot of it and had better be on speaking terms with it.
The bad guys are the fun guys. The only people I have trouble with are the so-called normal types. Their language isn't very colorful, and they don't talk with any certain sound.
I had a coach that was not a great player, but he taught with kids and juniors so that by the time he was 50 he was great. He helped me make the top 5 in the world and yet he wasn't a great player himself.
It's important to be vocal, and to be fair, I've always had that in me, to be honest. One of the things my dad has always said to me is make sure you're vocal, and before the game, I always get a text off him telling me to do the things well and again, 'Be vocal, Dec.'
My parents didn't want us on the streets or in trouble, so they thought the best thing was to have us work. I saw how we had to, during bad times, stretch the dollar. And during good times, we couldn't spend it, because you never knew when the bad times were going to happen again. It gave me a great respect for how hard it is to make money.
When I was younger, I just liked the sound of different accents, and I used to just play around to see if I could do things. I hear accents like music, so that's what helps me to learn them.
People are very ready to criticize other people's accents. There's no correlation between accents and intelligence or accents and criminality, but people do make judgments.
We were too young to know better, and none of us were very aggressive people. It would have helped a lot if just one of us had been aggressive enough to say no.
The vocal arrangements are a big part of the formula for a Bad Religion song - layered harmonies and background vocals. So when I start to describe the elements of Bad Religion's sound, it starts to sound like a Christmas choir.
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