A Quote by Juno Temple
I find standard American the hardest. It really fits in a different place in your mouth. Southern, I find the easiest. If you talk to a dialect coach and you get sort of technical, where an English person keeps their voice in their throat, a Southern person does the same, and it's got the same sort of music to talking.
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The fact is that at different stages of your life, and under the influence of different inspirations, you write different things. The point is not necessarily to find your voice, which grinds out the same sort of thing again and again, but to find a vehicle for people who are far more important than the author: the characters.
So many boys and girls talk the same way, listen to the same music, look the same. If I'm out, I'll notice the person who looks different before I notice the person who's, "really hot."
So many boys and girls talk the same way, listen to the same music, look the same. If I'm out, I'll notice the person who looks different before I notice the person who's, 'really hot.'
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.
We notice in others only those things that relate to ourselves. For example, you could find someone hilarious and brilliant, and I could find the same person idiotic and annoying. It's the same person doing the same thing, but because we are viewing them from our own unique perspectives, they mirror back to us something different.
The idea that you live your life in phases - I've never bought that. I feel like I'm the same person who sat in at the draft board in 1965, I'm the same person who joined a fraternity, I'm the same person who got an MFA at Bennington, and I'm the same person who founded Weather Underground. My values are still intact.
I think the hardest accent for me to do is what I end up trying a lot of times, and it's like some sort of a general American sound. So not Southern and not east-coast or west-coast, but just a general American sound that no one really speaks, actually.
Now, I don't know about my peers, but I get nervous - okay, I genuinely freak out - when an actor starts trying on a Southern accent. That's for Brits trying to find the easiest way to sound American.
When you're interviewing someone, even your mother - you have to sort of deal with you have to get some objective space from yourself and the person but you also have to find what's the best way to get the information from that person.
Maybe the example of Southern fiction writing has been so powerful that Southern poets have sort of keyed themselves to that.
You know, a lot of those angry sort of Southern man characters that I've been doing are based on different people I might've had as, like, a soccer coach or as a teacher.
It's an American thing, but it's particularly a southern thing, and its romanticization is hyper-Southern. And it's still irresistible to me, even in middle age. There's something that pulls me to that, but at the same time, I have this increasing awareness of how banal it really is - that evil is inherently banal.
If there are greater activities in Vesuvius or Pelee, then the southern coast of California and the areas between Salt Lake and the southern portions of Nevada, we may expect, within the three months following same, inundation by the earthquakes. But these are to be more in the Southern than the Northern Hemisphere.
I was too kind of brave and proud to want a dialect coach because I thought that showed weakness in my armor. But then you just learn it's a more efficient way of doing it. A dialect coach is really important because it takes a certain technical responsibility off your shoulders.
The authentic Gullah dialect is actually very clipped, and so it would sound almost Jamaican and be very odd to an American audience's ears. It's not the typical Southern dialect that we're used to.
I appoint the laziest person to do the hardest job as they'll find the easiest way to do it
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