If I'm going to be honest with you, when I trained at school, I feel like I was training to be a chameleon. I want to be that versatile actor who can do anything - that's why you learn fifty different dialects, you do Shakespeare, you do commedia, you do it all so that if any job comes your way, you should be able to do it.
Everywhere the sky is blue. There are a multitude of cuisines and dishes. I think of them as the languages and dialects of food.
We need spies that look like their targets, CIA officers who speak the dialects terrorists use, and FBI agents who can speak to Muslim women who might be intimidated by men.
I just love dialects; they're really fun.
I have always loved the fluidity of language - delighting in dialects, dictionaries, slang and neologisms.
I'm from Connecticut, and we don't have any dialects. Well, I don't think we have any dialects, and yeah, it's very complex. That Rhode Island/Massachusetts New England region is arguably the hardest dialect to nail.
My whole deal when I do accents or dialects is I gotta fool the locals. If I fool the locals then I've done my job.
I've always had a penchant for dialects. I remember getting detention and being told, 'Have a think about where doing these funny voices might get you someday.'
I love learning about different dialects and I own all sorts of regional and time-period slang dictionaries. I often browse through relevant ones while writing a story. I also read a lot of diaries and oral histories.
Actors love mental disorders, dialects, and corsets. Give them one of the three and they're happy.