Voice Quotes - Page 185

If you do not apologize to Lady Honoria,” Marcus said, his voice so mild as to be terrifying, “I will kill you.” There was a collective gasp, and Daisy faked a swoon, sliding elegantly into Iris, who promptly stepped aside and let her hit the floor. “Oh, come now,” Mr. Grimston said. “Surely it won’t come to pistols at dawn.” “I’m not talking about a duel,” Marcus said. “I mean I will kill you right here.

Tonight," he whispered, his voice hoarse and hot in her ear, "I will make you mine." -Simon to Daphne

Eloiseis getting married as well.” “Eloise?” Michael asked with some surprise. “Was she even being courted by anyone?” “No,” Francesca said, quickly flipping to the third sheet of her mother‟s letter. “It‟s someone she‟s never met.” “Well, I imagine she‟s met him now,” Michael said in a dry voice.

For me, the only ego that needs serving in putting together a film is the story's, the ego of the story and it's the piece itself that you want to bring out the voice of the piece. You're really serving that and that's the thing that you have a basic understanding of.

For me cinema is image, sound, and the faces and bodies and, yes, voices, of my actors, and sometimes the words that they are saying, but not only the words.

I want a part where I can use my own hair, my own voice, and maybe even be literate.

There's something wrong with the brakes." He didn't recognize his shaky, weak voice. He pumped them again. Nothing. "There's something wrong with the BRAKES?" "I don't think we have any." "We don't have any BRAKES?" "Bro, it doesn't help to repeat everything I say!" Jonah yelled.

If I ever think you are even considering leaving me again, no matter how good you reasons, I'll have you locked in your rooms and the doors barricaded, so help me God." He lifted her foot and began to dry it. Her voice shaking, Whitney asked, "Will you stay locked in there with me?" He raised her dainty foot to his jaw and tenderly laid his cheek against it, then turned his head and kissed it. "Yes," he whispered. -Clayton Westmoreland

How am I doing so far?" she asked, forcing a cheerful lightness into her voice. "You're doing very well," Nick's lazy voice mocked. "I'm half convinced that I'm invisible.

Don't do this to us." He warned, his voice hoarse with angry desperation as he realize he was losing her. "You're letting eleven years of mistrust color everything you've discovered I've done".

Royce's eyes narrowed in discouragement at the thoght of having to sing to jenny. his deep bariton voice would surely bring every hound for miles to yap and nip at his heels.

His gaze held hers, and his voice was tender and rough. “Love me, Elizabeth.” Elizabeth felt a tremor run through her entire body, but she looked at him without flinching. “I do.

It is essential for the good of criticism that both the critic and the public face the fact that a review is not the voice of God.

The first animation thing I did was the first Transformers, the one that was animated many years ago. And I had heard that Orson Welles was doing a voice on it.

Trace Adkins is such a great guy. Really is. And he's got that incredible voice - low, deep. He throws words around like "my dental coverage."

I got offered to do Ben 10. Sue Blu was the [voice] director of that, and I had worked with her - I think she was on Transformers as well. And she was so great.

It’s tricky when you’re doing a recording, because the only weapon you have is your voice and the delivery of that voice. You don’t have a gesture or a facial expression, there are no costumes or set pieces. Everything needs to be present in the voice.

Though I am never exactly "blocked" I do have difficult periods. I am led by a fascination with material - the challenge of presenting it in an original and engaging way. I have no problem imagining stories, characters, distinctive settings & themes - but the difficulty is choosing a voice & a language in which to present it.

To choose the ideal voice for a character is to give a character an ardent and vivid life, to allow him or her to speak, rather than speaking for them, in an older style of omniscient narration.

Sometimes I stumble upon a wonderfully irresistible to me voice, unexpectedly.

Shakespeare would seem to have been a person for whom the human voice/personality in all its splendid idiosyncrasy was absolutely enthralling.

If Shakespeare's great plays are variants of stories, even novels, you can see how each character is telling his story from his perspective; each is vying with the others for dominance, but in the end, in tragedy, most of these voices will die, to be replaced by the yet more vigorous voice of a younger generation.

This was before voice mail, recorded phone messages you can't escape. Life was easier then. You just didn't pick up the phone.

If I try to summon back his face, the sound of his voice, and the sensation in my stomach like a key turning in a lock when he touched me, I lose everything.

I've always been interested in writing about people, including young children who are not able to speak for themselves. As in my novel 'Black Water,' I provide a voice for someone who has died and can't speak for herself.