Voice Transformation Quotes

I stopped smoking. When I stopped smoking, my voice changed... so drastically, I couldn't believe it myself.

Is it not first through the voice that one becomes animal?

When I was young, my voice was so strong, and I would annoy people because I had such a loud little voice. And then it changed, and I thought I wouldn't be able to sing again, because I thought you had to sing like Christina Aguilera to be a singer.

There are lots of wonderful actors doing animated films these days, but I prefer it when you can't recognise them - it means they've really become the character.

I loved the opportunity to just transform my voice. I loved the idea of doing impressions and mimicking and playing around with the spectrum of your own voice. That's what I enjoy most about doing voice-overs.

I think that if my voice for some reason changes - because your voice does change - then it's time for me not to sing.

Part 5 The Voice- Make that my voice

Voice comes to you through a spell, a trance. The best voices are not you... they're a little away from you.

I am in touch with a company that hopes to replicate my voice. However, they are not replicating my original voice - if they did that, I would sound like a man in his 20s, which would be very strange! They are actually trying to replicate the synthesizer that sits on my wheelchair.

I did speak out about celebrities because I thought it was appalling. I thought that if the cartoon became popular, it was only going to last as long as the career of the people who are in it. They didn't make up timeless voices. They used their own. They brought nothing to the table, in other words. There was no alchemy. That's why a cartoon was so alluring, was that a human being went into a place and created this supernatural sound, or whatever sound it was supposed to be that was totally unlike their own, and did it in multiples.

I did use my own accent in a play once. It's a very freeing, liberating experience. Actors are often asked to adopt a different accent, and sometimes a different voice, so when that's taken away and you don't have to think about it, that's a lovely thing.

The fun part about doing voiceovers and all that stuff is that you're not yourself; you're some other looking thing and sounding thing and whatever else.

I've been told that I'm good at impersonating people.

I find singing as somebody else very liberating, it just frees me up.

I'm always trying to switch voices and genres.

It was this thing I used to do, where I would get on the phone and put my voice in a man's voice like, 'Hey, you're talking to Tom.'

It's quite fun to mess with the human voice. It's quite special in the sense that the voice is the #1 instrument that we can connect with; it doesn't sound too alien. I think that's the key is to find the line between sounding human and sounding robotic. That's an area that I like to explore a lot.

There's a bit of a difference in the way he sounds. Samuel E. Wright lent his voice and personality to the animated film with his booming voice. I have a high-tenor voice. Instead, I have to figure out a way to convince the audience to come along with me and accept this new texture and tambour to the way Sebastian sounds. I have a great dialect coach.

I think I prefer singing in falsetto. I like the way it sounds. It doesn't sound like my natural voice. It sounds like a character.

I would take songs that I'd loved as a child and redo them in my mind for the new voice I had, the low voice.

One day in 1952, I woke up with a high voice.