Accent Quotes - Page 12

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It's not a deliberate thing. It's not like I was rejecting the UK, which is what the papers said. It's just that when you spend a lot of time in your formative years around an accent, you're going to pick it up. I had been living in LA for a bit and that's what happened.

Some accents people - internationally - can't understand, also they come with baggage. London means a certain thing, Liverpool means a certain thing. Whereas with Welsh, he can be a middle-class man with working-class roots and still have an accent and it not be an issue.

I felt so out of place at the Miss India pageant. I had just come back from America, and I was told I needed to lose my American accent and learn the Queen's English, so I had to enunciate my vowels and speak well and eloquently. Giving up a New York accent is pretty hard.

When I first saw 'Broken' Matt Hardy, I thought to myself, 'Umm...' I actually said to Jeremy Borash 'Why is he talking like that? Is he trying to make an accent and it's coming out really bad?' And then it kind of grows on you and it's just funny as hell, at least for me.

I'm not really much of an actor, so when I started on 'The Daily Show,' I was just trying to adopt the faux authority of a newsperson. Having a British accent definitely gave me a sonic leg up on that because there is a faux authority to the British accent in and of itself.

In Cardiff, I've heard a number of accent mixes that weren't previously heard before such as Cardiff-Arabic and Cardiff-Hindi. This pattern is repeating itself in many urban communities across the U.K.; people are especially keen to develop a strong sense of local identity.

I'm aware now over the last 5 or 10 years that when you do an accent, you really have to kind of get down to the nitty gritty and go into the phonetics of it, if necessary. Find out not just the sounds but the rhythms and the music - or lack thereof - in a particular accent.

What can often happen when doing accents is that you go too far to one extreme, so it becomes a caricature. It's important to bring an accent back to a natural organic place so you're still speaking like you would speak, just the sound is different. But your rhythms are not.

If I go anywhere where there are people who vaguely look like me, there is always that feeling of, 'Actually I do look quite similar to everyone else.' At moments like that, I become very, very British. My accent gets more clipped, and I stride around as if I've got an empire.

I didn't really like my Sydney accent - nobody likes the sound of their own voice - and when I was a little younger tried to change my accent gradually. But I've only ever really lived in Sydney and Los Angeles, so I haven't been influenced by the accents of some far-off land.

It's funny because when you're a Welshman living in England, you always get the mickey taken out of you for being Welsh, and then when you go to Wales with an English accent because you were born in Bristol and grew up in Birmingham, they say you're English. You can never win.

A master performer like Bill Clinton never lost sight of the fact that as president he had to project confidence and power, but if he was speaking to a group of autoworkers he would adjust his accent and his words to fit the audience, and do the same for a group of executives.

I learned by watching my favorite shows. I would just rewind and say the words back, until they sounded right to me. I never studied the American accent, in terms of getting a teacher or taking phonetics classes. I've always been a good mimic. It really wasn't that hard for me.

I think why my content does so well with so many different types of people is because it speaks to everyone. I'll make a Soca music reference, I'll use a Tamil word, I'll do a Jamaican Patois accent. I know about all these people, and I'm not afraid to indulge in their culture.

I'm from New Orleans, Louisiana. It's not a black-and-white type of thing down there. It's a very cultural place. Everybody has the same accent. It's not like if you're white we can't hang with you or anything like that. So it's easy for us to call each other out on our things.

I thought I had a pretty good American accent but I had a few sessions with a voice coach over there and she was picking up on a few things. Possibly because I've got such a strong Northern accent, I emphasise the wrong part of words so the idea is to work on my American accent.

When I sing along with Britney Spears I will sing in an American accent. But eventually I found my own voice. My songs are so brutally honest, it would be alien to sing in any accent other than my own. Don't get me wrong - I can imitate singers. I can do bar mitzvahs and weddings.

I have had people come up to me in the street - one woman actually told me she hated my accent, she can't believe I'm on the telly and my accent is so annoying. I ended up laughing because I thought, 'this person doesn't know me but she felt she could come up and slate my accent.'

Most of us don't think forwarding a racist joke or speaking in an insulting 'comedic' accent is appropriate at the workplace. Unfortunately, for those raised in the toxic culture of conservatism, the sort of mentality that leads government employees to do those things is widespread.

I trained as a classical actor in London for three years. We did Tennessee Williams and dialect and accent classes; they were one of my favorite things to do each week. And we'd strip it down to the phonetics and listen to the sound. It was a really interesting way to look at it all.

Early on, people told me I was making Chinese people look bad. I've been living with this accent. I had already been doing standup for a while. I knew my voice already. I myself never wanted to make my accent the butt of the joke. I never want it to be, 'I'm laughing at your accent.'

When I have to switch back and forth, it's not hard to go from the American accent to speaking Spanish, but then speaking Spanish and going back into the American accent is hard. I practice it so much. I talk to myself in the mirror all the time. It's like speaking multiple languages.

Prior to going to college, I had a pretty strong accent, and that was one of the things I had to work on a lot. I went to North Carolina School of the Arts; my speech teacher... that was one of the things we really had to work on over the years, and thankfully I think it finally worked.

When I first went to acting school, they made me lose my accent, which is very upsetting for me. The first day of Shakespeare class, I remember the professor was like, 'Oh, boy. Oh no, no, no, no. No, no, no,' and sent me to a voice and speech class to get rid of the accent immediately.

I was 12 years old when I first moved to New York, and at that age, you're trying to find yourself. It was hard being so different from everyone I was around, and I felt that nobody could really understand me because everyone was American, and I was this little English girl with an accent.

Some of the Junior Boys' textures may be borrowed from synthpop but, formally, their songs would be impossible without twenty years of the rave discontinuum. And where synthpop was self-consciously European, the Junior Boys have pioneered an electronic Pop that speaks in a Canadian accent.

I grew up in Edinburgh, but my dad's from Glasgow, and my mum's from Chingford in Essex, and I spent time in Ireland, too, so I was always somebody who absorbed accents. I would come back from visits, very much to the annoyance of friends and family, with an accent based on where I'd been.

I've had tweets questioning whether I really did go to university because surely I would have lost my accent if I did; a letter suggesting, very politely, that I get correction therapy; and an email saying I should get back to my council estate and leave the serious work to the clever folk.

I came here from Romania when I was 12 years old. I had an accent. High school was tough a little bit for a few years. I wanted to fit in. I wanted to be liked. I wanted to be good-looking. I wanted to be popular. I spent a lot of time thinking, 'What are these people going to think of me?'

I speak pretty fluent American, though I do so with a strong British accent, and I love America: The scale and the variety of it are astonishing to someone not born there, and I'm convinced that its energy and generosity have somehow rubbed off on me and affected my writing. For the better.

'Diary of a Teenage Girl' was my first American movie. It was my first movie in an American accent. It's based on a graphic novel, which was written in 2002 by someone called Phoebe Gloeckner. It was turned into a play by Marielle Heller, who then wrote it as a screenplay for Sundance Labs.

I tend to lean toward a more minimal aesthetic, so when I use wallpapers in my interiors, I like for one or two prints to be the star of the show. I would recommend being careful in your use of strong prints so the room doesn't get too busy. Use one print that dominates and one as an accent.

It's my mission to get the New Zealand accent into a Hollywood show. I'm proud of the way we talk, and I'm here to represent it. Kiwis are everywhere: they're in every city of the world. I've checked. We have a voice... it's a bit of a funny one at times, but it's one that I want to promote.

My natural accent is American. I chose to speak with a U.K. accent when I was about to enter the final year at drama school in London. I was going to try to find a way to stay in the U.K. after I finished college and could not imagine trying to live and get work there with an American accent.

I love America. I eagerly became a citizen. I have no bitterness toward those casting directors who dismissed me because of my accent, nor toward the producers and directors who wanted to cast me but thought the audience wouldn't accept my accent. I think they're selling their audience short.

Yes, I'm blonde. When I started as an actor, because of the accent and my body and my personality, it was not what the stereotype of the Latina woman in Hollywood is, so they didn't know where to put me. The blond hair wasn't matching. The moment I put my hair dark, it was better for my work.

The American cinema in general always made stories about working-class people; the British rarely did. Any person with my working-class background would be a villain or a comic cipher, usually badly played, and with a rotten accent. There weren't a lot of guys in England for me to look up to.

I actually spoke to one of the heads of a studio, and he said I confuse middle America. Basically, when they see a black person, they see athlete, they see rapper, or they see criminal or something like that. And then when they hear a British accent, they hear posh, so they hear lawyer or doctor.

Something I realized when I moved to America: people get these general American accents, but when they get angry or upset or excited, their original accents come out. It's something I noticed with my manager, because he's from New York, and the first time he got angry, he suddenly had this accent.

When I first left drama school, I was too posh for the working-class parts and not posh enough for the upper-class roles. You know what England is like: the gradations of accent and how you're judged by them are still there. I discovered that to get a break you have to lie about where you're from.

In the South we experienced, you know, some black kids who gave us a hard time because - cause 'you talk white.' We didn't talk white. We talked fairly proper. Plus, we had a Midwestern accent, so we didn't have a Southern accent, either. So it wasn't really talking white; it was talking different.

I live in L.A. so I worry my kids aren't that connected to Britain, I suppose I don't want them to become American kids. We try to get back three or four times a year. When they go to school they speak with a British-American accent but when they come home to us they go back to their British accent.

I never would have guessed that I would get a job for the way I sound. I would get notes about how I should lose my accent, and part of me thinks, 'How dare you! This is who I am! Millions of people want to sound like me!' But it's sensitive, and I have tried to change it, with little to no success.

Up until the time I was cast in 'Star Trek,' the roles were pretty shallow - thin, stereotyped, one-dimensional roles. I knew this character was a breakthrough role, certainly for me as an individual actor but also for the image of an Asian character: no accent, a member of the elite leadership team.

I'd rather be thought as an international actress rather than a French one. Because I don't know what's coming up for me, my ambition is not to be typecast. So I'm working on my English accent, as well as my American one. I don't want to be like 'Okay, I'm French, and I want to succeed in Hollywood!'

If I'm not writing, I can download a newer album everybody's making a fuss about. But when I'm writing, I keep myself in my own zone - I worry about listening to new music that'll inform me too much. I'm the kind of person who goes to another country and starts speaking in an accent after three days.

In 1984, I starred in 'Greystoke: The Legend Of Tarzan,' my first movie. My lines ended up being dubbed by Glenn Close, supposedly because my accent was 'too southern'. It was completely humiliating at the time. I became a laughing stock. I'm amazed that I managed to pick myself up and dust myself off.

When I went into high school, I don't know why - because I've been performing since I was little - but I think it was just the pressure of being somewhere so different, and I already stood out because I had an accent, and everyone always wanted you to talk, that I kind of shied away from singing a bit.

I lived in America for a long time before I started working as an actor. Some actors show up on set and have never done an American accent before, so they rely on a slew of technical mechanisms. Part of what makes an accent is understanding why people speak that way - you have to understand the culture.

You can really have a no-holds-barred relationship to materials with mixed metals and colorful schemes or more controlled palettes that are more tonal or restricted to a single accent color or metal finish. There are really no rules, and that is what makes contemporary design so limitless and enjoyable.

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