A Quote by Lucy Alibar
To me the voice has always been the way to start any character. Once I find that, I'm good to go.
Related Quotes
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.
Well, I've always been a character actor, you know, and you always get your share of character actors who are bad guys. So it never surprises me. And if it's good writing, you can find your way into the part well enough.
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.
I find it an easy way into writing pieces is to think what the character's voice is like, and start from there.
With all the hurts they've been through, they find a loving way and a way to put their mind on something greater. That's what makes a good artist, a good singer: because you can hear the hurt in their voice, and you can hear the love in their voice.
I find that once you find the sound and voice of this character you're playing, everything else follows. It comes right out of the fingertips eventually - the physicality, the gestures, the walk - for me.
I'm a physical actor in that I start with a physical sketch of the character. I find it easier to find inspiration from the outside in. If I find the character's tensions and the way he carries himself or looks, that's going to affect how I talk. So that's how I start to create that person.
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 love accents, I would love to find more characters with a variety of vocal intonations. It creates a character. It’s like you're singing a song. Some people find their character through walking or movement — for me, voice is one of the ways I find parts of the character.
I love accents; I would love to find more characters with a variety of vocal intonations. It creates a character. It's like you're singing a song. Some people find their character through walking or movement - for me, voice is one of the ways I find parts of the character.
Yes, I am one of those people who feels that most of my work is adaptation of one sort or another. For me, it's a way to jump-start the engine. For example, some people use the technique of basing a character on a friend. They start writing with his or her voice, then at a certain point, the character takes off on his or her own. It probably no longer resembles the model, but it helped the author to get going. I find that's true of form, too. For every play I've written, I know what play I was trying to imitate. That helps me get going.
I remember someone once saying, "Pete, you know you really should take voice lessons." And I said, "Well, if I could find any voice teacher that could teach me to sing like Lead Belly I'd spend every cent to study under him." But every time you'd go to a voice teacher, he'd teach you to warble, as if you'd want to be an opera singer, and that's not what I'm interested in.
There were a lot of lessons of production to be learned. On the page, the biggest thing you learn on any TV show is how to write to your cast. You write the show at the beginning with certain voices in your head and you have a way that you think the characters will be, and then you have an actor go out there, and you start watching dailies and episodes. Then, you start realizing what they can do and what they can't do, what they're good at and what they're not so good at, how they say things and what fits in their mouth, and you start tailoring the voice of the show to your cast.
Once you watch any character for nine-and-half hours, be it good, bad or grey, you tend to attach yourself with it. You always feel for the character, even if he is a villain.
I start with an image, then I go from the image toward exploring the situation. Then I write a scene, and from the scene I find the character, from the character I find the larger plot. It's like deductive reasoning - I start with the smaller stuff and work backward.
Voices have always been my way into a character. I usually approach the voice first.
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