A Quote by Martin Henderson

When I arrived in L.A., I assumed I'd be able to put on the American accent. It proved difficult, so I had six months working with a dialect coach, and it's become a habit.
The accent got lost somewhere along the way. I'm a little embarrassed about it. When I arrived in LA I assumed I'd be able to put on the American accent. It proved difficult so I had six months working with a dialect coach and it's become a habit.
I had a dialect coach to get an American accent, and then another dialect coach to come off it a bit. There is something deep and mysterious in the voice when it isn't too high-pitched American.
Working on the accent helped, enormously. I will tell you that when I brought Michael a correct 'British' accent, one that my dialect coach was happy with, he hated it.
I thought I had a pretty good American accent but I had a few sessions with a voice coach over there and she was picking up on a few things. Possibly because I've got such a strong Northern accent, I emphasise the wrong part of words so the idea is to work on my American accent.
I went to a dialect coach and she told me that I had five problems; two were my Israeli accent and three were my New Jersey accent. I don't even want to know what I sounded like back then!
The riskiest thing I have done in my fifties is to do a Polish accent for a new film. I had a great time working on it and two wonderful people to guide me. A dialect coach that I have known for thirty years and a Polish actor.
If you are playing a Hispanic character who has to speak in dialect or in an accent, nail that dialect or accent. When I hear a character that's supposed to be Cuban speaking with a Mexican accent or vice versa, it grates on me and immediately pulls me out of the story.
I worked with an amazing dialect coach named Jill McCullough. We did Skype sessions while I was shooting "No Escape" in Thailand, actually. So three times a week I would have long, two-hour sessions with her just working on the nuance of the accent, which I had had a huge background in because I went to drama school in England for four years.
I had a really fantastic dialect coach that I worked very well with, and I was constantly surprised by the different intonations that the Russian dialect has.
I enjoy the physicality a little more, with Vinnie Paz [in Bleed for This] that was the most prep I've ever had to do for a film, that was a legit like 7 months of diet and working out. And then I was able to do like an accent, I was able to change myself physically, I was able to do a lot of the things that I'd always looked at actors and admired when they did that. So I was excited to do that.
When I joined AC Milan I didn't play for six months. But I was training under a great coach in Carlo Ancelotti. I can't stress how important those six months were - they changed my life.
I was surprised by some of my French colleagues who immediately assumed that because I spoke English with an American accent, that, therefore, you must be a supporter of whoever is the current president of the United States. There seems to be this widespread feeling that, 'Oh, American accent - therefore, you like cowboy boots.'
The American has no language, he has a dialect, slang, provincialism, accent and so forth
When I am playing a role far away from me with an accent that is not mine I always employ a dialect coach. I am almost always playing someone that has an accent that is not mine.
It's like a puzzle, putting together your individual accent and what you grew up with or what you heard. It must be insane to be a dialect coach, to balance all that out.
I guess I'd always mocked the American accent. I didn't consider it a respectable dialect, but I was told that it was.
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