Voice Quotes
Most Famous Voice Quotes of All Time!
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When I first arrived in WWE after having a somewhat high profile on-air role in WCW, it was WrestleMania season. In a way, I was perceived to be the voice of WCW after the Ted Turner/TBS buyout of Jim Crockett Promotions. That 'claim to fame' did not endear me to many WWE personnel.
We're doing exactly what the Republicans don't want: getting more people involved in our democracy. Giving more Americans a voice in their future.
Moving and motion tends to make things pop up. But things pop up for me, really, at just odd intervals or at random times that aren't really convenient, so I'm a big fan of the voice memo recorder on my phone. That's the only way I can remember things.
I take the work seriously. Which is why I always swing for the fences whenever I voice a character. But that said, I don't take myself all that seriously.
Rock and roll kind of screwed up my voice poetically. I found myself having this 'Beat' voice in my poems. It was like this self-fulfilled prophecy because everybody was calling me this rock poet, this Beat poet.
If I make a song where I'm happy, I sound completely mad - I think my voice is better-suited for sadder songs.
As for my voice, it cannot be categorised - and I like it that way, because I sing things that would be considered in the dramatic, mezzo or spinto range.
I always say the person who taught me how to sing indirectly because I listened to her all the time was Brandy. I fell in love with her voice when I was six years old. I always loved Brandy.
When I was 10 or 11 people started saying there was something special about my voice. But when I was 15 or 16 is when I really thought my hobby could become my career.
I'm so happy people are seeing the eclectic side of me. I'm really honored to be able to push my voice into different sounds. Otherwise it all gets a bit samey same.
The way I look at it, a footballer wouldn't play in flip-flops or dip their feet in acid and then expect to get to David Beckham's level. My voice is my living, so I'll be looking after it.
As for singing, my parents say I have a good voice, but then again, they have to say that.
I've worked with some teachers and coaches over the years, but I didn't really study theater or technique or voice or any of that stuff extensively.
I just knew: first-time female on ESPN, there's going to be some backlash, like any change. There's always going to be resistance. There are going to be people that hear a female voice or see a female figure and are completely against it.
I don't have that kind of voice, the big baritone or rousing tenor sound. My wheelhouse was in the frothier pieces. So my appreciation for those older musicals and revivals grew.
During the holiday season, we've asked everyone within the sound of my voice that if you're going to celebrate, celebrate in a responsible manner.
The American people on the ground need a clearer, stronger, Lyndon B. Johnson-type voice from their president. Obama has that voice. It has to be used.
When I was a kid, I wanted to emulate Mel Blanc, who is arguably one of the most legendary voiceover recording artists of our time. I used to watch all the cartoons where he would voice Daffy, Elmer Fudd and Porky the Pig. I knew one day I wanted to do that.
I've been this voice of a lot of upbeat dance tracks, but people don't really know me.
Join Labour to help change Labour. Help those of us willing to ask the difficult questions by adding your voice to the debate that's coming.
Why do I love Roald Dahl? His voice, more than anything. It's irreproducible. It's so musical, and it's funny even when it's not trying to be, which is most of the time.
I think my voice worked out fine, but it was a lot of work for me. And I was very self-conscious about it. I was a bit self-conscious about writing lyrics too.
It was difficult to find my way into 'I Am Abraham,' to feel confident enough to inhabit Lincoln's persona. I began with a prologue in a neutral voice, wrote of Lincoln at the White House with a sly young reporter quizzing him about his humble origins.
Some readers may be disturbed that I wrote 'The Secret Life of Emily Dickinson' in Emily's own voice. I wasn't trying to steal her thunder or her music. I simply wanted to imagine my way into the head and heart of Emily Dickinson.
The motivation part is all essential in keeping my voice, but there are the human factors of discipline.
To hear my mother say, 'Michael is dead,' to feel and hear the tone in her voice to say her child is dead, is nothing that anyone can ever imagine.
People ask me what it was like working with Jim Carrey. Well, I never really saw too much of him. I would talk to him on the set, but I was looking at a Grinch facade. It was his voice and all, but... Jim is amazing to watch in front of the camera. I learned a lot from him. He was also always very nice and generous to me.
By voting, we add our voice to the chorus that forms opinions and the basis for actions.
It took me five years to realize what I could do with my voice. No Auto-Tune - cut all that off.
I've never had vocal training. No one could ever say that they helped me carve what my voice has become. It's just been more of self-training: me just continuously going into the studio every night and trying out different beats.
It's strange: I've done so many things up until I did 'Obvious Child,' including writing children's books and making 'Marcel the Shell.' To me, the through-line is incredibly clear: it all comes from wanting to be connected to my own inner voice and not wanting to be on somebody else's agenda if that means that I can't be myself.
I've established a certain voice over my albums. It can be an obstacle, but in the end, I think it's a strength, because I can build upon that voice, which is ultimately very much mine.
Character is character and voice is voice, which translates nicely from writing novels to writing TV. But the process is different. You have a writer's room, people pitch you jokes and you collaborate.
I think that if a writer doesn't use her voice, be it in her writing or online or in real life, then what is the point of having one?
For my whole career, I've been a singer-slash-songwriter, even though I'm very thankfully known for my voice. Songwriting has always been a joy in my life, and to be recognized for it is extremely validating.
This is going to sound cheesy, but with acting there are so many tools. When you're on camera, you're using all of it. You're using the voice, you're using your body, you're using wardrobe, all of it, but it's funny, once you take all of those things away, you realize how much you rely on the physicality.
I love any kind of acting, so if I could focus on becoming the best actor I can strictly on my voice, I would love that.
When I was with Geffen Records, I weighed almost 400 pounds. The label told me that I had a great voice but wasn't marketable having a weight image.
At some level it's still hard for me to admit that my father died. I can talk about it and around it, but those two words. 'He died.' What can that possibly mean? That I won't get to hear his voice again?
I went to school. I went to Juilliard. You spend 13 hours a day on voice and speech. Now I realize why.
I was always singing around my house, and my parents thought they should put me into voice lessons just for fun.
Well, I don't know if this is true of everyone, but I have this relationship with my parents where, despite however mature or articulate or grown-up I think I've become, as soon as I go home, I turn into this petulant 13-year-old, especially with the tone of my voice.
Expressing political opinion can be a powerful way to establish a character's voice when writing fiction.
When I wrote The Virgin Suicides, I gave myself very strict rules about the narrative voice: the boys would only be able to report what they had seen or found or what had been told to them.
Something about her eyes or voice has always suggested the hint of a free spirit, trapped in a Peck and Peck cage, dreaming of making rude noises at public gatherings of Republicans.
When George W. Bush picked Dick Cheney, it was a reassuring sign that the Texas governor would have an experienced, prudent voice at his side.
The thing I admired most about Scott was his fearlessness. Of course his voice, lyrics, and stage presence have always had an effect on me as they have most STP fans. But it was his fearlessness that I admired the most.
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.
Words are beautiful but restricted. They're very masculine, with a compact frame. But voice is over the dark, the place where there's nothing to hang on: it comes from a part of yourself that simply knows, expresses itself, and is.
I don't really go on what people say so much; I go on their voice. I go on their energy at the time. I go on how close their arms are folded into their chest.
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.
Our vision is to allow users to search for content like movies, music, and songs with your voice or using gestures on the Kinect and sync that with your TV screen, phone, PC, or any other device.
Character and story are suggested by the voice in the words themselves.
For over 25 years, Lacy Clay has been a powerful voice for working families and a tireless advocate for the people of St. Louis. And throughout his long career in public service, I've considered Lacy a close personal friend.
I don't really get embarrassed a lot because I feel like life goes on. I mean, I fell on stage one time; like, I tripped one time. My voice cracked... That's pretty embarrassing.
For listeners, the song 'Kehne ko jashn-e-baharaa hai' looks a very easy number. In fact, it was a challenge to sing the song as I had to really suppress my voice and make it appear like a casual track.
I have always been complimented that my voice matches all actors like Shahid Kapoor, Ajay Devgn, Amitabh Bachchan, Hrithik Roshan.
When I had to sing 'Kajra re' for 'Bunty Aur Babli,' I thought that my voice will not match that of Amitabh Bachchan's.
I read 'The Young Landlords' and felt almost a chemical change. What I realized while reading that book was that I could write in my voice, use my tongue, my language, my style, and write a story.
I was making out with this woman, and my shirt was off, and she leaned over and, in a really cute, girly voice, went, 'Hey, fatty!'
Your voice is important - it gives away everything about you. The mouth is a muscle you have to work like you'd work at the gym.
Acting manifested as the primary focus over the years but now I am stirring the pot once again with my voice.
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.
A theory of creativity is actually just a metaphor. A pool of ideas, a well of memories, a voice.
I did the first proofreading of 'A Brief History of Time,' and when it came to writing my memoir, I consulted many scientific friends so that, contrary to what many critics supposed and were churlish enough to voice, I did actually write the scientific sections myself.
My own singing voice is not very good and I don't think that anybody really sings in their own voice.
I am always in much better shape when I am doing a Broadway show because you have the eight shows a week to kind of keep the body clean and perfect in a sense, you know? For instance, I always eat much better when I am in a show because you can't have dairy - for your voice.
We must organize. We must protest. We must cry out in a loud voice that America needs a raise. We must keep working until workers in this country don't have to struggle to make ends meet.
David Attenborough... has that wonderful, breathy voice, and he's always so fascinated by what he's seeing. There's nothing about him that I can't find attractive.
It was very hard to get any records, so the only source for us to really hear what was happening was listening to the Voice of America. We would be taping all the broadcast and then sharing the tapes and talking about it.
With a creature, there's no voice, so the eyes become the voice. When you get eye-to-eye contact, a real connection, it's limitless - and incredibly thrilling.
I have to have some of my voice because I have my own experiences that I lived through.
Shortly after this I was made a member of the boys' choir, it being found that I possessed a clear, strong soprano voice. I enjoyed the singing very much.
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.
What had brought me to New York in the autumn of 1972 was a letter of recommendation written by Norman Mailer, the author of 'The Naked and the Dead' and American literature's leading heavyweight contender, to Dan Wolf, the delphic editor of 'The Village Voice.'
Truman Capote was a pop figure, but it wasn't until he went on David Susskind's show and had that extraordinary voice and manner that everyone could imitate, that he really took off as a figure.
At 'The Village Voice,' there were all these fevers inside the offices, that would break out into full-scale rumbles between writers.
A voice and an accent are two very different things. The voice of a man is how he speaks from his heart, right in the middle of him... And then you stick an accent on top of that.
I do know Joe Lansdale has the most extraordinary voice you've ever heard in your life in terms of an accent that, when I started doing it, they had to go, 'Whoa, we need less.' But that's how he talks.
In an encounter with divine reality, we do not hear a voice but acquire a voice, and the voice we acquire is our own.
The fact that I'm often pushing my voice as hard as I can is from playing in nightclubs in Albuquerque where you don't have a good sound system.
But those two plays left me on fresh terms with language. I didn't always have to speak in my own voice.
You should hear the guy who dubs me in Japan. I like him the most. He has a high squeaky voice.
Using a first-person narrator is simply a matter of hearing the voice inside yourself.
I've always suffered from being labelled a horror writer - just because I didn't go to university, just because I still talk in my natural voice, just because I'm not as articulate as Martin Amis.
John the Baptist was supposed to point the way to the Christ. He was just the voice, not the Messiah. So everybody's calling has dignity to it and God seems to know better than we do what is in us that needs to be called forth.
A cabaret song has got to be written - for the middle voice, ideally - because you've got to hear the wit of the words. And a cabaret song gives the singer room to act, more even than an opera singer.
The Cabinet makes collective decision and when the Cabinet speaks it speaks with one voice.
Studios have been trying to get rid of the actor for a long time and now they can do it. They got animation. NO more actor, although for now they still have to borrow a voice or two. Anyway, I find it abhorrent.
I wrote 'Zeuglodon' on a whim. I found myself writing the voice of an 11-year-old girl. I don't know why.
I like 'Goodbye My Lover' because it's a really personal song and I recorded it in my landlady's bathroom in Los Angeles. She had a piano in there and for me listening back to it, it actually sounds like the voice I hear in my head. It's so close to what I can imagine.
'Top Gear' changed people's perceptions of me. I've had much more positive responses from my TV appearances than written articles. And I have the weirdest voice.
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