My advice would be to write what is most personal and specific to your experience or your life. And your voice will emerge and because of its specificity, it will be universal.
The more money you spend, the more you need to make back, and the more pressure there is to appeal to everyone - which to the studio means that the specificity and uniqueness must be watered down. But I think mass audiences like things that are more specific and tend to have a voice, like 'Napoleon Dynamite' or 'Superbad.'
I saw Donald Trump give a spirited voice to those of us who don't like the status quo, and I see emerging in front of us the potential for what a unified Republican government can get you, which can be the solutions.
God spoke to me and called me to His Service. What form this service was to take the voice did not say.
We think we're saving time with microwaves, cell phones, beepers, computers and voice mail, but often these things help us create the illusion of getting somewhere - and they foster a chain of constant activity. We're really just squeezing extra activity into every minute that we gain.
As conservatives, we know the media is stacked against us. We know popular culture is often stacked against us. We know the narrative has been written without our voice despite our best efforts.
I don't particularly enjoy standing alone and recording my own voice or my own stuff. It's sometimes fun to do for demos and stuff, but I really enjoy the social act of recording records, because writing it is so lonely. And it has to be.
For my web series 'Get Your Life,' I wrote that and produced it and starred in it so that I could have a body of work that represents my voice as a writer and as a performer.
I would rather be without a state than without a voice.
Stay strong. Stand up. Have a voice.
I'm a fan boy when it comes to Michael Buble. He's just so good at 'it'. He's got a voice of this generation, but he's like a time capsule; he's got a voice that could have fit in anywhere over the last hundred years. It's stellar.
To sing along with Stevie Wonder, you had to make your voice do things it was not accustomed to doing.
War is so unjust and ugly that all who wage it must try to stifle the voice of conscience within themselves.
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.
When I was maybe 5 or 6 years old, the neighborhood girls would sit on the stoop and sing. I was known as the kid who had a good voice and no father.
I struggled to learn basic skills, get a grip on markets, find my own unique voice, create story lines and come up to speed with the industry. I struggled for ten years before having any success.
Giving voice to marginalised characters is extremely important to me. I want to explore the pain of disenfranchisement, the social strata and boundaries we create and how to make them more permeable.
I want to thank Vox Media, The Verge, Recode, the 'Wall Street Journal,' and CNBC for giving me a voice.
I always knew I couldn't sing, but I also knew I had a voice that isn't heard by many, and that I could learn how to stretch it and make songs sound good.
My uncle is so funny - Don Vito. He was always fat with the craziest voice. Dude, he barely speaks English; it's just full-blown jibber-jabber. It's so funny to watch on TV because you really need subtitles because you can't understand him.
