Top 1200 Voice-Over Quotes & Sayings - Page 2

You have to listen to the one who calls you beloved. That has to be affirmed over and over again. That is prayer - listening to the voice of the one who calls you "the beloved."

I don't get my bliss by listening over and over to people in the street thinking, "Boy, is it that good?" Even though every time I hear it that's what I think. But I get it in human situations. There is this little voice that is going, "The reason you're able to enjoy your life now is that you made it in rock'n'roll and people are giving you free visas all over the place. Dude, you are being spoiled".

I hope that 'Gambit' doesn't take ten years, but it takes a little honing to get that tone and that voice exactly right. The character has such a specific voice in the comic, in the same way that Deadpool has a specific voice in the comic, that we want to make sure that we capture that voice on the page.

I've said multiple times, over and over and over and over and over and over and over and over again that I want to play for one team my whole career.

It really depends, but, generally speaking, just because of the mechanics of it, voice-over is easier because there is no hair, no makeup, no wardrobe, no fittings, no line memorizing. You don't have to me woken up in Russia at 6 in the morning and go film a scene. It's just easier on the body, the family life to do voice-overs.

To me music is the centre of the universe and the voice of the spirits and the voice of God and the voice of all the people who have lived and died...At least the ones I'm connected to.

It's tricky when you're doing a recording, because the only weapon you have is your voice and the delivery of that voice. You don't have a gesture or a facial expression, there are no costumes or set pieces. Everything needs to be present in the voice.

Feeling is the voice of the body; reasoning is the voice of the mind; conscience is the voice of the spirit.

I love doing voice-over. It's one of my favorite things.

I say over and over again that I am just standing on the shoulders of so many who have set this path for me, and they may not be seen or recognized or have been given an opportunity to have a voice, but I'm here representing all of those dancers. Dance Theatre of Harlem Virginia Johnson, Tai Jimenez, Lauren Anderson.

Nowadays, people in the entertainment industry can have a louder voice than politicians, and I think its important that they use that voice to say something positive or to give a voice to somebody thats had theirs taken away.

Instead of letting anxiety run you, try voicing it. Voice it in your comedy. Voice it in a script. Just voice it, and it'll help you release it.

I love doing voice-over. It's so fun.

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 love voice over! I just think it is amazing!

Either over neither, both over either/or, live-and-let-live over stand-or die, high spirits over low, energy over apathy, wit over dullness, jokes over homilies, good humor over jokes, good nature over bad, feeling over sentiment, truth over poetry, consciousness over explanations, tragedy over pathos, comedy over tragedy, entertainment over art, private over public, generosity over meanness, charity over murder, love over charity, irreplaceable over interchangeable, divergence over concurrence, principle over interest, people over principle.

Sometimes you have to listen to a CD over and over before you really get it, but as soon as I heard the first note of R&B artist Chrisette Michele's debut CD, I was blown away. Her voice is playful but pretty, light but strong - the woman's got soul.

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.

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.

I want to make the music that's not there anymore. I'm so passionate about the singing voice... What I'm trying to do actually with my album is show that it's my voice that's leading. It's my voice that's the instrument.

So much of what I love about poetry lies in the vast possibilities of voice, the spectacular range of idiosyncratic flavors that can be embedded in a particular human voice reporting from the field. One beautiful axis of voice is the one that runs between vulnerability and detachment, between 'It hurts to be alive' and 'I can see a million miles from here.' A good poetic voice can do both at once.

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.

Whitney Houston's voice was the very first voice I fell in love with. She was the voice that made me want to become a singer.

First of all, you have to understand that I'm like anybody else. When I hear my voice on a record I absolutely loathe my voice. I cannot stand my voice.

I'll meet listeners who tell me what a great voice I have. But I don't have a great voice for radio. My voice is the utterly normal voice, but sheer repetition has made them think it's OK. Mick Jagger once was asked, 'What makes a hit song? He said, 'Repetition.'

The history of your world is filled with the voice of the victor, the voice of power, although it was not always a voice of sanity, by any means.

I met Tom Baker doing a voice-over when David [Arabella's friend, David Tennant] wasn't at all well known. We were doing this voice-over together and I said to Tom, 'Oh, my friend's a really, really big Doctor Who fan,' and he replied, 'Wait!' He got his cheque book out and asked, 'What his name?' I said 'David Tennant'. He wrote, 'To David Tennant, seventeen pounds forty five', signed it and I asked him what it meant. He said, 'He'll know'

Ladies, use a loving voice, use a respectful voice, use a godly voice, but don't lose your voice.

There will be no more protests. No more dissension. No more violence. There will be only one voice. The voice of Ravinia. The voice of Halla. Your voice." "There goes freedom of speech," I said.

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.

I don't hear your words: your voice reverberates against my body like another kind of caress, another kind of penetration. I have no power over your voice. It comes straight from you into me. I could stuff my ears and it would find its way into my blood and make it rise.

I had to get the voice back, the precise pitch of Sid's voice and I'd forgotten that I'd pitched him higher than my regular voice, so that was a little difficult to begin with. It was especially hard because we started recording in the morning so I had to warm up a lot and my usual voice is a little more gravelly.

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 heighth of my voice. And so I learned to deal with it.

The cross stands as a mystery because it is foreign to everything we exalt- self over principle, power over meekness, the quick fix over the long haul, cover-up over confession, escapism over confrontation, conform over sacrifice, feeling over commitment, legality over justice, the body over the spirit, anger over forgiveness, man over God.

The first time we did it [voice-over], I was trying to use my face and my eyes more so and really portray that emotion, and that didn't matter. I realized you have to bring that emotion into the way you sound, and all those different layers have to be in your voice instead of the way you are wrinkling your eyebrows or whatever. I had to learn how to do that.

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.

I have a voice inside. A voice that I am forever trying to silence. A voice that calls me in when I want to be out, playing. A voice that is always sad. That is always terrified. That always wants to sit in the darkened room, away from noise and movement and colour - away from any experience that could prove to be challenging.

[Someone] said that what I described as the Buddhist voice - the life-denying voice of censure and guilt - sounded to him very much like a Catholic voice. This is, indeed, a mystery, and it intrigues me, too.

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.

Nowadays, people in the entertainment industry can have a louder voice than politicians, and I think it's important that they use that voice to say something positive or to give a voice to somebody that's had theirs taken away.

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.

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.

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.

I worked on my voice for Sweet Dreams, but only to match my speaking voice to Patsy's actual singing voice. That was my way into that character.

When there is a voice in a piece of music, we tend to focus on the voice. That is probably something from when we were babies and we depended on hearing our mother's voice.

Love is Enough Love is enough: though the world be a-waning, And the woods have no voice but the voice of complaining, Though the skies be too dark for dim eyes to discover The gold-cups and daisies fair blooming thereunder, Though the hills be held shadows, and the sea a dark wonder, And this day draw a veil over all deeds passed over, Yet their hands shall not tremble, their feet shall not falter: The void shall not weary, the fear shall not alter These lips and these eyes of the loved and the lover.

I don't like the term 'voice-over.

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.

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.

I know what it was like to not have a voice, so my daughter has a voice. I veto that voice when needed because at the end of the day I am the grown-up, but I hear her.

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.

My voice has changed dramatically over the years.

It’s tricky when you’re doing a recording, because the only weapon you have is your voice and the delivery of that voice. You don’t have a gesture or a facial expression, there are no costumes or set pieces. Everything needs to be present in the voice.

The voice of the intelligence 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 biased by hate and extinguished by anger. Most of all it is silenced by ignorance.

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.

I worked on my voice for 'Sweet Dreams' but only to match my speaking voice to Patsy's actual singing voice. That was my way into that character.

When I think about Oz, when he was a teenager, I'm just reminded of what an excellent blues voice he had. He had a large voice. When we did the Aynsley Dunbar song 'Warning' and 'Black Sabbath,' his voice is so right. It's really round, and it has that pain from within in his voice.

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.

The voice of the people may be said to be God's voice, the voice of the Panchayat.

Getting into the voice-over booth, there are no cameras and no inhibitions.