Given this voice, I know it does sound like I've come from money. But my dad was Canadian and my mum Hungarian, so it's not like I have some high-society, upper-class English background.
I just think that all of us in this room should have a voice in how the USA is represented. And he don't allow us our voice, that's all I'm saying.
I'm very lucky in the sense that I've got a voice that's distinctive. Not good, but distinctive. That's a very useful thing to have in this business. I'm glad on the one hand that I've got it, but I wish it was more powerful. I wish I had a greater range. I wish it was more accurate at times.
As a filmmaker, I really want to utilize the tools to carry the voice - my voice, and the voice of the characters.
And when I was born, I drew in the common air, and fell upon the earth, which is of like nature; and the first voice which I uttered was crying, as all others do.
I met Gerhard Richter and Alighiero Boetti when I was a teenager, and I was really inspired by them. When Boetti died, I realized I only vaguely remembered so many things he told me. It was such a pity. Had I only recorded his voice, he would still be with me, and I could listen to it from time to time.
But the mechanics of learning to 'throw your voice' are pretty simple. Anyone with a tongue, an upper palate, teeth, and a normal speaking voice can learn ventriloquism.
Ventriloquism kind of helped me find my voice. It's really helped me come out of my shell.
I don't know what makes a writer's voice. It's dozens of things. There are people who write who don't have it. They're tone-deaf, even though they're very fluent. It's an ability, like anything else, being a doctor or a veterinarian, or a musician.
I really liked Kishore Kumar. He had a virile man's voice, and he was truly versatile.
As a vocalist, I can scream, and I've got a really good singing voice, but I can't do the really heavy vocals.
My son is in a band, and he's a singer, and his vocals... they're screaming-growling stuff... and he's got a pretty reasonable voice. Yet he practices really hard to get the screaming-growling thing without losing that voice every five minutes. So I'm, like, 'Hats off to you.'
I'm not a singer. I double-track my vocals. I'm just not secure in my voice. I can't do single-track - I sound weird.
I took some voice lessons here and there as a teenager but nothing too serious. I started taking it more seriously when I was in Miss Saigon. I needed to improve my technique in order to survive doing that show as many time a week as I was doing it. It's not an easy show to sing, so I needed all the help I could get.
I started voice lessons when I was eight years old.
I've sung my whole life. I've taken lots of voice lessons and I love to sing. But I've never really sung professionally at all.
I took speech training. I took a few voice lessons in college.
I never really sang for anyone, apart from in the shower or with my best friend. I was shy. I didn't want to take voice lessons. I knew I could sing, but I just didn't tell anyone.
In high school, I started training, singing with choirs, and getting voice lessons and doing a lot of creative writing and decided that that's really what I wanted to pursue as a career, and that's what I was going to study.
I wanted to be Whitney Houston at first, and when I started taking voice lessons, my voice teacher kind of geared me more towards opera.
