Quotes About Emotions

I've always wanted my music to have that desperation, where you just want to strip your clothes off and run down the highway. I want the feeling where you don't really know what to do with yourself - in the vocals, in the production. Everything.

I don't think I'm a singer that likes to flex my vocals. I'll do some runs and a bunch of high notes, but that's it. I really pride myself and I really work on just trying to sing. Like emotions. Just using my voice, not doing anything extra.

It's just a lot of fun to be able to see your ideas come into fruition. And to see people translate the things that come out of my mind vocally. And to be able to produce vocals and give people my point of view musically. And to be able to sit in the crowd and see people sing the song that I wrote, it's an amazing feeling.

I loved Celine Dion. I loved Whitney Houston and these big powerhouse vocals.

It is the closest instrument to the human voice, and the things you can do on the cello... there are endless possibilities.

Musicians want to be the loud voice for so many quiet hearts.

The voice of passion is better than the voice of reason. The passionless cannot change history.

I don't really have the voice for love songs, do I?

When you go to the movie theater and the opening of this movie and you see the kids just cracking up with a character you are giving your voice to, you get goose bumps. It's so beautiful.

If you listen to people talk, when people actually talk, they talk in melodies. If they get angry, their voice rises, and it's more of a staccato thing. When they ask for something, they're real sweet. It's all music.

Let there be a door to thy mouth, that it may be shut when need arises, and let it be carefully barred, that none may rouse thy voice to anger, and thou pay back abuse with abuse.

The human voice is the organ of the soul.

I gave my voice to poetry.

I was raised in a family where none of us ever raised a voice, so there was no room to express feelings of rage or even unabashed joy - a little bashed joy, here or there, or being mildly disgruntled.

Man, you don't know how I felt that afternoon when I heard that voice and it was my own voice.

My father had the most amazing operatic voice, so I have a soft spot for that.

Do you know the solo at the end of 'Why Don't You Love Me Any More?' that sounds like a chainsaw breaking through? That is what I can't do with my voice. That's when you hear how painful this has been to me.

As an actor, you're trying to capture the nuances of real life, but voice work is almost over-acting.

You learn to rely on a few basic movements and use your voice to the greatest extent possible to convey your emotions. So there was a technical challenge there and a responsibility to create a character from behind the mask.

But I must own that I also felt stirred by an unselfish desire to voice all the joys and sorrows, the hopes and ambitions, of the American Negro, in classic musical form.

With voice overs... you're not thinking about the camera. So your voice becomes this thing that you can manipulate. And depending on the character you're doing, it's all concentration on your voice.

It's very hard to come across as a passionate human being in print. People can't hear the inflections in your voice.

I think when you're just counting on your voice, you actually need double the energy. I find myself acting out the scenes and being very physical while I'm recording because I think you can tell when someone is just sitting on a stool.

How you use your voice is really important, and it's really driven by context more than anything else, and your tone of voice will immediately begin to impact somebody's mood and immediately how their brain functions.