Best 4756 quotes in «voice quotes» category

It was Silver's voice, and before I had heard a dozen words, I would not have shown myself for all the world. I lay there, trembling and listening, in the extreme of fear and curiostiy, for, in those dozen words, I understood that the lives of all the honest men aboard depended on me alone.

It was the voice of mad seas, roaring immense,/ That shattered your infant breast, too soft, too human.

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.

It was when I was the age where you can, as they say, "hear voices" without worrying that something is wrong with you. I "heard voices" all the time as a small child.

I understood now. This voice, the one that had been trying to get my attention all this time, calling out to me, begging me to hear it - it wasn't Will's. It was mine.

I used to audition for musicals when I was in New York before I moved to L.A., but I couldn't quite hit a certain note, so I saw a teacher in L. A. who helped me get better at it. She showed me how to use a different part of my voice. You are never too old.

I used to do little sketches into my cassette tape recorder when I was a little boy. I would just turn it on and just start doing voices and characters. I just loved it.

I used to be really nervous when I sang. Like, when I was a kid starting young, 18 and 19, and my dad really had to sort of push me to start singing in front of people. Ever since I got out there and really started doing it, the only thing I've ever tried to do is just sort of is be myself, you know, never put on a voice. Sing naturally.

I used to do my Nelson Mandela voice to blag restaurant tables in Cape Town. It rarely worked. Now what a great city that is.

I used to always have a pretty high, little clear voice, but as I got older, I got a little cornbread in it.

I used to come here on my own sometimes... Id' stay down here for ages." Her voice was barely audible. "It's a good place for sadness.

I used to be a folk singer, but I was... dreadful. I had a voice like a goose farting in the fog.

I used to go into rooms of older executives and try to pitch talk show ideas and when I was writing as a journalist I would pitch ideas for my articles and I definitely understand that excitement of a pitch and what that is to be young and a woman and trying to make your voice heard.

I used to sing in the church choir. People would say it was unusual for such a small girl to have such a big voice. They would say, 'She sounds like she's grown.'

I usually hang around the room listening to a bit of last night's show. If there's one available, I go to the steam room every day for my voice. I spend half an hour there and then I eat, because I can't eat later than four o'clock. Then I go for a soundcheck. That's my day.

I usually find several ways to express myself: different moods, different days, different voices, different things, 'I'm lighthearted today, I'm gonna do this.'

I usually just say I'm a stand-up comedian, but I use looping machines to create ideas with my voice.

I've also learned to only write songs and melodies that really work for my voice and that I won't have issues doing live. Because you can get really, really comfortable in the comping process: out of five takes, maybe one of those high notes that you struggled to do, nailed it, and then live you're having that challenge of really having to recreate that.

I've always been a huge fan of theatre and performance. The idea of just the human voice and just this night. Live music is the same. They're doing it for you right now. It's an amazing thing. And if you perform a story properly, it can be a transporting, too.

I've always been passionate about human rights in general. I think anyone who knows me can attest to that. I really wasn't given a voice until very recently, but I've always spoken out about the bullshit that's going on since the beginning of having a platform.

I've always been interested in writing about people, including young children who are not able to speak for themselves. As in my novel 'Black Water,' I provide a voice for someone who has died and can't speak for herself.

I've always been inspired by female performers and artists who really surround who they are around their voice. For me, it's always been about the voice. I wanna hear someone just sit by a piano, on a stool, and just sing - and that's it!

I've always believed that the greatest actors are the ones that have the voices that are imitable.

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.

I've auditioned for roles that involved voice, but I don't like it. I feel like, I can't do this in front of you. It seems so separate - I don't share it with a lot of people. And I'm not into public performances.

I've always said that you can't be the new Mel Blanc by doing Mel Blanc's voice.

I've become more confident in who I am as an artist and as a person. I know what I want and am not afraid to voice it in the studio. Or in life. Take it or leave it!

I've become this voice for a millennial generation of feminism, which is awesome, but at the same time it's complicated. We all know I'm a girl, I'm a woman, but it's difficult to figure out how to talk about it and express how important it is without beating it with a hammer and having it be, "So you're a girl in music! So you're a girl in music!" Yes, I'm a girl in music - can we just talk about something else?

I've been doing silly voices since I was a child.

I've come to believe, on the journey of mine, that we have a still, small voice - and that voice does come from God. It's there to bring us comfort and to bring us guidance with everything.

I've been hearing-impaired, not quite since birth, but I've been wearing hearing aids since I was 13, so I'm very conscious of the difficulty of voice communication.

I've been singing for six years. I've been in and out of the studios with top producers, but it wasn't something I was ready to express to the public or to the press. I wasn't ready to come out. I wanted to perfect my voice and be 100 percent positive that I could come out right.

I've been working on something, just some jazz, relaxed stuff. It will be standard, just piano and voice. It started out as a fun project for me though, I'm still not sure about releasing it.

I've been watching 'American Idol' since its debut season in 2002. Back then, America hadn't yet evolved into a gladiatorial cybernation of bloggers, tweeters, and self-ordained voice coaches.

I've definitely gotten to work with female directors, and I feel lucky because of that. I just feel like more voices should be represented.

I've done a lot of radio in my life. I've done radio plays for the BBC when I was young so I was absolutely used to that style of work, of working with the voice. I have a very distinctive voice so it's always great for me because I open my mouth and everybody knows who it is.

I've developed a bit of a fascination with John Denver. I always thought he was kind of tacky and somewhat revolting and had a kind of simplistic weirdness, but on second listen, he actually did have an incredible voice, and the blatant naiveté of his work is straight-edge, in a way.

I've got a gig," Jim said. I sat up in my bed, wide-awake. A gig was good- I needed the money. "Half." "Third." "Half." "Thirty-five percent." Jim's voice hardened. "Half." The phone went silent as my former Guild partner mulled it over. "Okay, forty." I hung up.(...) The phone rang. I let it ring twice before I picked it up. "Fine." Jim's voice had a hint of a snarl in it. "Half.

I've finally learned to love my voice for its uniqueness.

I've got to put forward a very strong conservative voice, advocate for conservative values and advocate for principle in politics to restore faith in politics.

I've heard writers talk about "discovering a voice," but for me that wasn't a problem. There were so many voices that I didn't know where to start.

I've heard that sometimes farmers out in the field ... hear voices.

I’ve had the pleasure of hearing The Novelists perform live.  They are gifted songwriters and talented musicians with strong lead voices. This is a band with lots of heart & soul.

I've learnt to accept what has happened to my voice, I suppose, but I do wish it didn't sound quite so rough.

I've made the decision to adhere to three general truths when it comes to my novels: There will be a love-story element to the story, the novel will be set in eastern North Carolina, and the characters will be likeable. Then, I make each novel unique through differences in voice, perspective, age and personalities of the characters, and of course, plot.

I've never been good at being nostalgic, and I've never been able to focus on sound without having a voice that's very here-and-now.

I've never been in charge of my stories, they've always been in charge of me. As each new one has called to me, ordering me to give it voice and form and life, I've followed the advice I've shared with other writers over the years: jump off the cliff and build your wings on the way down.

I've never gone for having a great voice, for cultivating one. I'm still not doing it now.

I've never had my own accent in a film. It's something I schedule into my preparation. That's one of my favorite things, hearing all the voices.

I've only used my own voice about four times on film.