Voice Authenticity Quotes

'Troublemaker' is not an adaptation of 'Metro Girl' or 'Motor Mouth.' It is an original story. The hardest part was probably trying to keep the sound true to the novels. I always write in first person, and it was important to us that the readers of 'Metro' and 'Motor' be comfortable with the change over to a graphic novel.

One of the most challenging aspects of writing a memoir is finding your own voice, and you should be very careful about being influenced by someone else's voice.

One forgets too easily the difference between a man and his image, and that there is none between the sound of his voice on the screen and in real life.

I think it has as much to do with honoring my own voice as it does with feeling a responsibility to my readers or my daughters.

But when you are doing an animated voice, it has to have more energy than usual or it falls flat and doesn't work. For myself, I found that I had to put myself in the same physical or emotional state as Sid, in order to make that voice sound alive and authentic. So if there was a scene in which he was running, I would be running beforehand to sound out of breath. That's important because the audience can tell intuitively if it does not sound real.

I think it's important for scientists to speak in their own voices and not just be mediated by journalists or others speaking for them.

When you write for a show that's not yours, your job is to hear the voices of the characters and write as best you can for those voices.

The measure of our [the Voice of America] success will be the degree to which we are believed.

I loved the Disney films, and Sterling Holloway was one of their chief talents. He never had to put on a voice, and that's what Mike [Mitchell] and I encourage. I love the voices that have a unique texture, but it's their real voice.

I've been writing for people long enough to know that it has got to feel comfortable coming out of their mouths, especially when you're doing something that is first person and is so near and dear to you.

I had always done broader characters, but going to UCB and speaking to my own voice was important for auditioning for TV and film.

Believe in yourself and in your own voice, because there will be times in this business when you will be the only one who does. Take heart from the knowledge that an author with a strong voice will often have trouble at the start of his or her career because strong,distinctive voices sometimes make editors nervous. But in the end, only the strong survive.

If I wrote a play with four characters every single one of them would talk like me regardless of age or sex.

I think everyone's voice is unique. Although sometimes when you listen to the radio, it makes you wonder.

I tried writing adult romances, but it just didn't fit my voice.

The voice is a wild thing. It can't be bred in captivity.

Generally, nowadays, I'm using my own accent because casting directors want it; they like that.

The more cynical commentators on our careers would say that the northern accent has been the basis of our success. There's a certain authenticity to the voice - which isn't to my credit; I was just born there.

The Canadian voice is still too rustic.

Your voice is not your instrument. Your voice is the character that you build, your innermost feelings, the things that you want to say, and your instrument is the vehicle that you use to carry the message.

There are some different things I'm writing and developing, but I don't know where they'll go. They're fun stuff that I would be in and are written in my voice, for me.

The trick is not to get too fanatical about getting the accent too accurate because then that becomes a mask. What I try to do is just painting and sketching some of the sounds without obliterating my own voice.