Quotes About Interpretation

Normally, if I would read in a script that there's mostly flashbacks and mostly voiceover, I would run as far away as possible.

The voiceover thing is very selfless. You go in there and they've hired you for your voice, but they know exactly what they want, and the writer's there and he knows exactly how it's supposed to be said. So you can't really argue with them, you just have to let them tell you what to do and then do it.

When I do a voiceover now, there are always a few people I've borrowed bits off, whether it's their hats or facial hair, who'll say: 'That's so funny; it's obviously based on this guy.' You think, 'It ain't: it's you.' Actors never think characters are based on them.

I am interested in levels of brain discourse. How articulate are the voices in your head? You know, there's a different voice for the phone, and a different voice if you're talking in bed. When you're starting off with a narrator, it's interesting to think, where is their voice coming from, what part of their brain?

The most powerful political voices are those with a different way of seeing and processing the world and the sounds that emanate from it.

As ballerinas, we don't use our voices. Our voice is the body and the movement quality.

Radio leaves much to the audience's imagination, allows the listeners to fill in so much, provided that the voices convey enough.

Voices have always been my way into a character. I usually approach the voice first.

It's an interesting and demanding art to do voices. I have been told so many times that I have a distinctive voice, but of course, I don't hear my own voice as others do, so I don't know.

The hardest part of ghost writing other people's stories is capturing their voices so that it isn't you talking, it's them.

When I play music, I realize that it filters emotions. I believe that peoples' voices are expressed in their emotions, and I try to do the same with my music.

A poem, necessarily, sits at a register that's different from our usual conversational voices. You have to listen more actively to get to the heart of what's being said, what you as a reader or listener are being asked to feel or notice.

I think reading an audiobook is a real skill - for one thing, you have to be able to do impressions and voices, which I cannot do - and it's just not a skill I have.

My writing is not just all facts and voices. I strive to create a text that works as a sign, pointing out undercurrents that lie beneath the facts.

I write these songs and I like the idea of letting the band interpret it as they will. This band is like any band; it's not just me. This isn't just a way for me to play my songs. There are four distinct artistic voices, and they deserve to be expressed.

Hopefully if you create something fine, people will relate to it, so you're communicating with people, and you're not in a void. On the other hand, because you're always creating and transforming, art always separates you - always.

I think there are some things I am unable to fully express with my visual work, and the music is what fills that void. At the same time, I don't think you can fully appreciate the music without the anchor of the visual work.

Reality is how we interpret it. Imagination and volition play a part in that interpretation. Which means that all reality is to some extent a fiction.

To me, songs come of their own volition - and with an open-ended philosophy.

Every man is a volume if you know how to read him.

When you start with a portrait and search for a pure form, a clear volume, through successive eliminations, you arrive inevitably at the egg. Likewise, starting with the egg and following the same process in reverse, one finishes with the portrait.

The Soft Machine's 'Volume Two' inspired me heavily. That record just feels like it was all done in the same breath. It's genius, and it's silly at times. But I love the fact that every time I listen to it, I listen from the beginning and want to play it out.

If a secret history of books could be written, and the author's private thoughts and meanings noted down alongside of his story, how many insipid volumes would become interesting, and dull tales excite the reader!

Whether I'm doing a routine where I want to move people, or if I want to feel moved myself, I definitely tap into those moments where it's not just dancing or movement. It might just be a hand gesture or just a slow look, or even just the way you slightly tip your head forward. These subtleties speak volumes.