I don't want to seem always to be criticizing your methods of voice production, Jeeves, I said, but I must inform you that that 'Well, sir' of yours is in many respects fully as unpleasant as your 'Indeed, sir?
My voice is my instrument. ... It is not in the throat, from where it appears to come. It is in my feet and how they touch the floor, in my legs and how they lift and sink with the rhythm of the song. It is in my hips and belly and lower back.
If you actually relax your vocal cords they actually work better.
I'm engaging my diaphragm as I'm speaking to you right now.
I also have to support my speaking voice by sitting in a way that engages the diaphragm in the way I would for singing.
I've started getting into quite a bit of voice work, definitely from 'Battlestar.'
I like voice-over in films, and most of my films have been voice-over films.
Seventy per cent humidity is ideal for vocal cords.
Start as early as you can. Make tapes of your characters.
From my earliest childhood, my attention was specially directed to the subject of acoustics, and specially to the subject of speech, and I was urged by my father to study everything relating to these subjects, as they would have an important bearing upon what was to be my professional work.
Saying certain letters without moving my mouth is tough... like B, P and W, you know.
I have a hands-off policy when it comes to my larynx.
I managed to get my copy of Ulysses through safely this time. I rather wish I had never read it. It gives me an inferiority complex. When I read a book like that and then come back to my own work, I feel like a eunuch who has taken a course in voice production.
If you've ever sang in falsetto, you know that your throat is between your voice and your mouth. In a standard voice, you sing from your belly. And when you sing in a falsetto, you're blocking that. It gives it a filter. It gives it a character. It's less revealing.
