Top 1200 Voice Acting Quotes & Sayings - Page 3

I find any sort of acting that doesn't have any humor in it is mind-numbingly boring. 'Serious acting' is the kind of acting that I don't ever respond to.

I was drawn into acting due to the fact that I could express myself better. I could use my voice - my entire body - not just my looks, height, and physical expressions.

Garbage. It's a natural quality of huskiness in the midrange of my voice that I call 'garbage.' It's not a clear-toned announcer's voice. It's more like the voice of the guy next door.

When you recognize that there is a voice in your head that pretends to be you and never stops speaking, you are awakening out of your unconscious identification with the stream of thinking. When you notice that voice, you realize that who you are is not the voice - the thinker - but the one who is aware of it.

The voice of the intelligence is soft and weak, said Freud. It is drowned out by the roar of fear. It is ignored by the voice of desire. It is contradicted by the voice of shame. It is hissed away by hate, and extinguished by anger. Most of all it is silenced by ignorance.

But I'm pretty lucky with my voice. When I first started touring I went to see a woman to give me some coaching on how not to lose my voice. And she was just saying really your voice is a muscle so if you're using it all the time you should actually come back from tour with a stronger voice than you left with. And that's really how I find it.

I very happily stand for the right of every man and woman in Pennsylvania to have their voice heard in elections. And when they do have their voice heard, it's nothing short of a privilege to welcome and respect that voice because this is a democracy, and that's what we do.

I feel much more physically connected to my voice, and I like the physicality of the voice, and how the voice can physically occupy a song.

Photography was so perfectly suited to my sensibility and situation, it gave me a voice, a kind of crazy, out-of-whack voice, at the beginning, but a voice. I could finally put into images bottled up feelings of absurdity and alienation - and also joy and delight.

What I've discovered is, really, acting is acting is acting. It's all the same. Seventy-five percent of the skills are the same in both media.

You can strengthen your leadership voice by finding what I call its Maximum Resonance Point and learning to pitch your voice there. That gives you the strongest voice and thus the one that people are most likely to want to follow.

When I was running away, I didn't have somebody there to help me run away. All I had was DMX's voice or Eminem's voice or Tupac's voice.

If someone goes, 'Can you be sassier?' I go, 'I can be my kind of sassier. I'm not gonna put a voice on. The voice I have is my voice.'

Discerning the will of God is a very tricky thing, partly because, you know, the little voice in my head can either be God's voice or it can be my own ego doing a magnificent impression of God's voice.

What has praise and fame to do with poetry? Was not writing poetry a secret transaction, a voice answering a voice? So that all this chatter and praise, and blame and meeting people who admired one and meeting people who did not admire one was as ill suited as could be to the thing itself- a voice answering a voice.

I had a very low voice for the character in the show. I said, "That's not actually my voice. That's the character's voice." I'm being such an actor.

Your acting will not be good until it is only yours. That's true of music, acting, anything creative. You work until finally nobody is acting like you.

Good acting is about reacting, not tryingto express something, but reacting to a situation as the character.I don't like acting acting.

It had a language. It's a very emotional language that only exists in India, that part of [inaudible] so we wanted to use that. I had two versions - one with my voice and one with the girl's voice. But he preferred the girl's voice and he preferred my voice with an [inaudible].

I love acting with kids, cause they're great acting partners. They're totally present. Even when they're acting, they're still available and you can crack them up or something weird will happen and they'll go with it.

I've auditioned for animation stuff for a long time; that's a tough field to crack into. I don't think I have the strongest voice. I don't have a theater-trained voice or a radio voice, but I think I make good character choices.

Ever since I was 16, I've had this lower register, what I thought was a very manly voice, and I was insecure about that. But once I started acting more, I realized it was an asset, and I didn't want to force myself to aim for the highest note possible.

I believe that poems are a score for performance by the reader, and that you become the speaking voice. You don't read or overhear the voice in the poem - you are the voice in the poem.

I have a great advantage: I write from the perspective of my own voice. I'm not copying anyone's voice. It's my voice. I have the advantage of being a writer of English as a second language.

The poetry I love is written with someone's voice and I believe its proper culmination is to be read with someone's voice. And the human voice in that sense is not electronically reproduced or amplified.

My abject hatred of actors and the acting world. I went to college as an actor, and halfway through, I switched to playwriting and directing. Then I spent a couple years working in publishing, doing some freelance journalism for The Village Voice and Musician magazine. I thought my life was going to be as a writer, but then I realized I missed performing, so I got into comedy. It was a nice combination of things I was sort of good at. I was a pretty good writer and a decent actor, but I didn't really like acting, and I didn't have the discipline to be a writer.

I always have a rule that acting is acting and truth is truth and you just go out there and you do it. But what happens in each medium is that you have other responsibilities. The acting remains the same, but each medium dictates assuming other halves to make the acting work.

The world is waiting to hear an authentic voice, a voice from God- not an echo of what others are doing and saying, but an authentic voice.

Voice acting is about the easiest thing to do. You roll out of bed, throw your clothes on that you had on the night before, you go into the studio, and nobody cares, just as long as you can speak.

I love acting. Modeling is fun, too, but I feel like there is more room to stretch yourself and open yourself up to new experiences with acting. That's why I got into acting in the first place.

I think of Gord Downie voice as Whitman-esque. He has a poetic voice that contains multitudes, both the suppleness of the instrument of his voice, and just the lyrical boundaries that he pushes, which are really always thrilling to me.

Mastery means responsibility, ability to respond in real time to the need of the moment. Intuitive or inspired living means not just passively hearing the voice, but acting on it.

This city can be kind of brutal, so you see your dreams from every different angle, but ultimately it's about acting and if you enjoy acting, you will always enjoy acting.

In high school, I did some musicals, but I never took acting until college. I was studying opera, classical voice, and a speech teacher asked me to audition for this play, and I got the lead.

Like Hemingway and Faulkner, but in an entirely different mode, Fitzgerald had that singular quality without which a writer is not really a writer at all, and that is a voice, a distinct and identifiable voice. This is really not the same thing as a style; a style can be emulated, a voice cannot, and the witty, rueful, elegaic voice gives his work its bright authenticity.

The lyrics are usually the last take. So after like five times, saying it over and over again, your voice starts to relax and you get into the groove of the record. Personally I don't raise my voice; my voice is usually lower, more casual.

Growing up I was told, 'Stop acting like a girl. Don't stand like that, don't act like that, deepen your voice.' But for me, it came naturally.

Voice is one of the most elusive qualities in any story. We recognize it when we hear it, but it's hard consciously to create an authentic voice. Somehow voice seems to be the natural manifestation of all the narrative decisions we've made so far. We discover it more than we fabricate it.

I always vaguely knew I wanted to perform, but I haven't got the greatest singing voice and my dancing isn't up to scratch. Acting was really the only alternative. My parents have been really supportive throughout.

We're always being told 'find your voice.' When I was younger, I never really knew what this meant. I used to worry a lot about voice, wondering if I had my own. But now I realize that the only way to find your voice is to use it. It's hardwired, built into you. Talk about the things you love. Your voice will follow.

Concurrently, while I was in school, while I was winning awards for acting, I was winning awards for singing, in high school. One of the reasons why I decided to continue on with the acting was the opera world is fraught with a very long process, and I did love the acting, as well. The acting took off sooner, and then you get involved with that.

I went to a lot of theatre schools, got a lot of training, did a lot of repertory where you do a different play every night. I took a lot of voice, movement, and acting classes.

I really knew how to speak - from my female voice, that "different voice" that Carol Gilligan so presciently described many years ago in her groundbreaking book. Because if we try to speak in a voice that isn't ours, we lose our power.

Ever since I was first read to, then started reading to myself, there has never been a line read that I didn't hear. As my eyes followed the sentence, a voice was saying it silently to me. It isn't my mother's voice, or the voice of any person I can identify, certainly not my own. It is human, but inward, and it is inwardly that I listen to it. It is to me the voice of the story or the poem itself.

They both listened silently to the water, which to them was not just water, but the voice of life, the voice of Being, the voice of perpetual Becoming.

With voice overs... you're not thinking about the camera. So your voice becomes this thing that you can manipulate. And depending on the character you're doing, it's all concentration on your voice.

For minority actors, developing our own projects has to be the eventual path. We have a lot of stories to tell and a really unique voice. But none of that is going to be heard as long as we're just the hired hands, acting.

When I was 18 and not sure whether I wanted to be an actor, I realised that a playwright has no voice without an actor. That's my reason for acting: to get that character as right as possible for my writer. And I have never changed my philosophy.

Many couples, many people, are not living with real human beings, but with their ghosts. Who has not followed for years the spell of a particular tone of voice, from voice to voice, as the fetishist follows a beautiful foot, scarcely seeing the woman herself? A voice, a mouth, an eye, all stemming from the original fountain of our first desire, directing it, enslaving us, until we choose to unravel the fatal web and free ourselves.

I've learnt that there's acting for film, acting for theatre, and acting for an audition.

I always wanted to be a singer, and so, when I was 5 years old, I started acting classes so I could be a better performer. I wanted to have a powerful voice so I could be heard.

In an encounter with divine reality, we do not hear a voice but acquire a voice, and the voice we acquire is our own.

Working with the brothers can put pressure on my voice, so I choose to do my own solo thing so I can save my voice. I couldn't do both now. The Neville Brothers is a funk band; they play loud, and I have a strong voice.

The artist, and particularly the poet, is always an anarchist in the best sense of the word. He must heed only the call that arises within him from three strong voices: the voice of death, with all its foreboding, the voice of love and the voice of art.

People find it hard to get their heads around nominating a computer-generated character, but every time you see Gollum on the screen, that's me who is acting up there - even if it is behind a mass of pixels - and it's my voice you hear.

There were times, I could say, later in the career, that I wished that my voice would be deeper for materials that I might've wanted to select to do. But that's the style of my voice. There's nothing I can do about the height of my voice. And so I learned to deal with it.

The masters of life know the way, for they listen to the voice within them, the voice of wisdom and simplicity, the voice that reasons beyond cleverness and knows beyond knowledge.

When the kirtan is harmonious with so many people, it’s a tumultuous beautiful sound. We can’t hear just one voice during the chorus; or rather we do hear one voice. But that one voice is actually the sound of everyone’s voice in harmony. That’s our offering to God. And why is it so pleasing to the Lord? Because we are all cooperating for a higher purpose. We are all united for the pleasure of the center, for the pleasure of Krishna, in spite of all our differences.

Shortly after I started working as a doctor, I decided to listen to the voice inside me before it was too late. It was now or never, so I decided to explore acting.

If that voice that you created that is most alive in the poem isn't carried throughout the whole poem, then I destroy where it's not there, and I reconstruct it so that that voice is the dominant voice in the poem.