Quotes About Expression

That's one thing you hear in my voice today. I could yodel from one octave to another octave. It always fascinated me.

I thought about trying to do a strip. I even tried to do it, but I felt I didn't have the voice. Even though I liked that form, I didn't think I thought in the form of the three panels.

I think that having a platform and having a voice to be seen by people beyond the classical ballet world has really been my power, I feel.

As an actor, you're trying to capture the nuances of real life, but voice work is almost over-acting.

With voice over work, you need to convey as much emotion as you can without making any physical movements, so it's hard. You've got to visualize everything.

I am an entertainer and would sing a song if I know my voice would do justice to it.

Listening to others does not mean you should sound like them; find your own voice by telling stories as authentically as possible.

You learn to rely on a few basic movements and use your voice to the greatest extent possible to convey your emotions. So there was a technical challenge there and a responsibility to create a character from behind the mask.

It took me a long time to find my own voice, even after I started making my own music.

Even now I doubt myself. I don't understand what people hear in my voice. I can't hear it myself, if you know what I mean.

I have always had problems with my voice, and the piano helped me believe the song could be bigger than my voice, and I could play with new melodies and things that I couldn't on guitar. It was easier to make the sound fuller and easier to get away with not being as good.

There are things you can say in the voice of a fictional character that you could not explore any other way.

To be good in playback, you need to modulate your voice and sing with an accent that can provide some freshness.

I have a really feminine voice, but I also feel quite powerful when I write. So my songs feel heavy, and that's how Banks sounds. It's a really short, powerful sound. It almost sounds masculine, and I like having that dichotomy.

I think people really like my voice, the way I sing, the things I put in a song.

Listeners instinctively detect that when we lower the usual pitch of our voice, we are sad, and when we raise it, we are angry or fearful.

I know I have a voice, and I want to use that voice as much as I can to bring things forward.

My voice is my own instrument that I use to rap.

But I must own that I also felt stirred by an unselfish desire to voice all the joys and sorrows, the hopes and ambitions, of the American Negro, in classic musical form.

I'm easy to imitate. All you need are the soft-boiled egg eyes and the bedroom voice.

You do have to be a bit careful with your voice. It is an instrument.

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.

It's very hard to come across as a passionate human being in print. People can't hear the inflections in your voice.

I was very bad at projecting my voice. I used to do this Gumby Flower Arranging sketch which involved shouting, and I could never do it right, and at one point my voice went completely.