Comedic Voice Quotes

People say that the best part about doing animation is that you don't have to dress up to go to work, but I don't believe that. I dress up to go to work. I dress up for an airplane. I think it's just focusing your skillset, focusing on your voice and the comedy.

When Joan Rivers walked through the curtain on 'The Tonight Show,' nobody in my house was allowed to utter a sound. Her gait was full of pep and purpose and her voice unmatched.

I had a moment where I realised I could do silly voices, that lots of people I knew couldn't do silly voices, and that thus I must be able to make money doing silly voices.

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.'

I can't stop my comedic voice.

If you watch the arcs of so many comedians, at some point, they just become themselves.

I got good at trying to throw a voice on a character from the very beginning as opposed to like reading it and sitting with it and mulling over it and stuff like that just try to read what it is and then try to put a funny voice to it like as soon as possible and stuff like that. Once you get laughs with your voice then you can start thinking about, you know the physical characteristics and how they might walk or if they stick out their buck teeth or if they wear an afro and stuff like that. I think like finding the voice of the character helps to like build the wardrobe and everything else.

I dare say that if most comedians today, the gifted ones, were to sit down and write, they'd learn more about their craft. But what happens is they get out there before they learn what their viewpoint is, if any.

I like seeing what the comedian thinks is funny, not just what they think I'll think is funny.

When you are honest in your comedy, you have to acknowledge the world that you're in. Through a comedic voice, you're talking about what needs to be talked about, whether it's race relations or politics or anything that's happening on a global or an American scale.

It would not occur to me to write a joke like, 'This would be great if I was more like Andrew Dice Clay.' It's not the voice I write in - which is largely an extension of the voice in my head that I think in.

I must have read every issue of 'Punch' published in the 20th century, and I think in the process I picked up the true voice of English humour - that amiable, fairly liberal, laconic voice which you find in something like 'Three Men in a Boat.'

I think it is a bit harder for women starting in comedy.

For the first six months of my stand-up career, I was talking like Danny Dyer. I was doing a lot of 'alright guvnors?' It wasn't true to who I was.

With all the outlets, if you have a strong comedic voice, there's a venue to do your thing. It's a bit of a meritocracy, where the best stuff rises to the top.

'The Choirboys' is very much a product of its mid-1970s time, especially in its two-dimensional portrayals of cop groupies Ora Lee and Carolina Moon, but the energy of Wambaugh's newfound, blackly comedic voice is a revelation, a trap-door opening into all facets of a policeman's world.

Prior to the 'Chappelle's Show,' you know, no one would even listen to me, in the frame of, 'Oh, he is trying to be funny.'

If a comedian has a strong following, and the branded segment feels different compared to what you typically do, people will know right away that it's not authentic to who you are as a comedian or performer. Brands need to keep that in mind.