A Quote by Jane Horrocks
My own singing voice is not very good and I don't think that anybody really sings in their own voice.
Related Quotes
I love singing and I think I have a really nice voice, but I don't think I have an unbelievable singing voice. I think I have a great character voice.
If you go and watch a Coldplay show, Chris Martin used to be a little timid onstage, but now the success that the band has had really gives him a lot of confidence to really own it. Also, I really admire the way that Ben Gibbard sings live, he just stays on pitch. That is something that I try to do. I don't have the greatest voice in the world, so I just try to think real hard while I'm singing and just do a good job.
Hormone replacement therapy does not change or affect your voice. And I have no problem with my voice: I really like my singing voice, I don't feel any dysphoria with my talking voice.
On the show [the Voice] I obviously wasn't allowed [singing my own original music], because it's not that type of show. I think it's really cool that I get to do my own thing now.
In Paris, I was really singing for the sake of living. But eventually people said, 'Keep going; you've got a great voice,' and I started having confidence in my voice all of a sudden. That's when I started creating my own music.
I don't think anybody really loves the sound of their own voice, but the tweakability is huge.
John [Lennon] as a singer - the way he sings on "Twist and Shout" and the way he sings on "Strawberry Fields Forever" - is a very odd voice, in the sense that it seems to be celebrating but almost mourning at the same time. There's a quality of mourning to his voice, which is very enigmatic.
It's one point to build a singing voice, but giving someone his or her own voice back is something else all together different. Imagine not being able to communicate with your voice and then having it back! It's truly a mind-blowing experience to hear that happen.
The whole thing of singing on my own has been accidental and random. I sang a huge amount as a kid, and I was a boy soprano. I didn't do that much classical music; I did a little bit. I had a lovely voice. And then when my voice dropped, I didn't worry about it consciously because I wasn't that invested in my singing at the time.
I decided early on, very early, that the best role I could play is to speak in my own voice, assume my own voice and my own ideas. Even if you support a candidate who ultimately wins, what you say and do is seen through the filter of that candidate.
I was also very lucky to be able to work with talented people while I was learning. I didn't actually go to fashion school. I worked with Riccardo Tisci at Givenchy which was a really pivotal experience for me. He taught me a lot about being faithful to your own voice and to really believe in your own voice and that's made a big difference.
TV is all about learning to write in someone else's voice, so if you do it long enough without selling your own project, they assume you don't have your own voice; you're just a good mimic.
When I work on my own stuff - and I think this is true for anybody - but when you work on something that you just completely own, you are trying to stay as true to your own storytelling voice as you can.
I think I'm a good writer. I think I have my own voice, which is unique to everyone, everyone has their own voice; if they would just write from a vulnerable embarrassing place, it's going to be universal and it's going to be entertaining. Because everyone is the same and everyone is unique.
I think I'm a good writer. I think I have my own voice, which is unique to everyone - everyone has their own voice; if they would just write from a vulnerable embarrassing place, it's going to be universal, and it's going to be entertaining. Because everyone is the same, and everyone is unique.
The voice for 'Surly' is, of course, very close to my own voice, but it's informed a lot by this story, by the arc and the animation and working with the whole creative team on 'The Nut Job' in finding what really works.
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