Explore Quotes on Voice

My voice has changed dramatically over the years.

People can see you on TV sloshing paint around with big four-inch brushes, and I learned to talk to camera in a friendly voice, not talking down to people, just explaining what I was doing. People like Picasso, Van Gogh, and Rembrandt did not have a weekly TV programme where people could see them painting.

Freddie had this unbelievable power and stamina. He had range both in his voice and in style. It's hard to find someone that can do everything he could do.

To some extent, 'The Wall' is asking the question, 'Do you want a voice? And if you do, you better bloody well go out and get it because it's not going to be handed to you on a plate.'

When you're the voice who represents our music and our family, it's an amazing, and a huge, responsibility. I am able to not only be an ambassador for my own family but for everyone.

I think when someone is injured in your family, you want to speak to the individual and you want to hear their voice and you want to make sure they are OK.

I have got a big deep voice, and that comes in useful for villains.

I remember as a student going to Covent Garden, where they took out the stall seats and you hunkered down on the floor - I heard Pavarotti in Tosca there, and the experience of being in that same room with that astonishing voice has never left me.

I met my wife when we were both 19 or 20, at a music school where she was taking voice and piano lessons and I was doing classes in music theory and composition.

There has been throughout this country and throughout Europe really an attempt silence the conservative voice. We get identified, caricatured and then demonised and made to look as though we are some kind of sinister, fascist, racist kind of people.

They said my voice was terrible, nervous, and spotty and that I must go away and learn how to use it properly. I must admit I was rather agape, since I had never thought about making my voice better.

I have deliberately kept singing because I have to at my age. If I stopped for even a year my voice would slowly deteriorate until it's not there at all. That's a fact about getting to my age.

Unless you've been touched personally, it's difficult to see, but there are millions of people who have no voice whatsoever.

In film, you're always using your tools, your body, your voice, your emotions, but onstage, you use them in a different way.

If I don't get enough sleep, my brain gets fatigued, and the voice suffers. If I'm doing some retail work and trying to read and record legal copy, I start sounding like I had a few too many the night before.

With 'Fate's Right Hand,' I think I reached a level of completeness in forming and articulating ideas at around the same time I reached a place where I could match it with my singing voice. It was a kind of coming together.

I've said very openly that the first aspect of my artistry to arrive was writing. It took me a good number of years to find my voice.

It was early detection that saved my voice - and I imagine, my life.

I didn't think it sounded so much different than anyone else's voice until I got to the broadcasting school, and I raised my hand to ask a question of the school president, and he said, 'See me after class.' And the rest is history.

I think of myself as the eyes and ears and voice of the reader.

I had dinner with Marlene Dietrich in the early 1970s. I went to pick her up and she had someone with her, a dreadful man. He was writing a book about her, and he said to her, 'You're so cold when you perform,' and she said, 'You didn't listen to the voice.' She said the difficulty was to place the voice with the face.