Top 45 Dialect Quotes

A Pike, in the California dialect, is a native of Missouri, Arkansas, Northern Texas, or Southern Illinois. The first emigrants that came over the plains were from Pike County, Missouri; but as the phrase, ‘a Pike County man,’ was altogether too long for this short life of ours, it was soon abbreviated into ‘a Pike.’

The one thing about internet language, people join it, and what quickly evolves is an ‘internet dialect,’ as it were.

I like playing with languages and dialects as we have so many in India. Adding a dialect just makes the dialogues more colorful.

I trained as a classical actor in London for three years. We did Tennessee Williams and dialect and accent classes; they were one of my favorite things to do each week. And we’d strip it down to the phonetics and listen to the sound. It was a really interesting way to look at it all.

You can have your own language. You can have your own dialect; you can have your own way of saying things, but if you don’t actually understand the way the language fits together, it’s chaos.

As someone who’s been doing a lot of classical theater recently, I loved the idea of getting to run around in Steven Alan, and not be in a corset and a wig, and not have a dialect, and get to be in a 90-minute play with no intermission, and get to do real comedy.

I had a dialect coach to get an American accent, and then another dialect coach to come off it a bit. There is something deep and mysterious in the voice when it isn’t too high-pitched American.

During the 2008 presidential campaign, Senate Majority Leader Harry Reid marveled at the electability of Barack Obama because, unlike previous black candidates, Mr. Obama was ‘light-skinned’ and lacked a ‘Negro dialect.’

Earlier, directors shied away from having a character speak in the Telangana dialect but not anymore.

I’m happy that I know how to speak ‘Southern.’ I spent a lot of time in Alabama throughout my life. I even lived there for part of junior high and high school, so I learned the true beauty and mastery of the Southern dialect. ‘Y’all’ is one of the greatest and most useful words ever invented.

I know how a Manipuri is different from a Mizo or someone from Shillong. It’s culturally very different… the food is also very different, and so is the language and dialect.

I did ‘Christmas Carol’ off and on through my teenage years, so I always had that dialect and that sound in my ear, which was so helpful. It became second nature.

I was excited to play Lil’ Kim and I wanted to do the role justice. I worked really hard on that role, whether it was performing the rhymes, studying the dialect, her swagger and her stage performances. I wanted people to see my range and stretch my wings as an actress.

The riskiest thing I have done in my fifties is to do a Polish accent for a new film. I had a great time working on it and two wonderful people to guide me. A dialect coach that I have known for thirty years and a Polish actor.

I had a wonderful, an incredible dialect coach, Brendan Gunn, from Belfast, who has worked with Brad Pitt and Daniel Day Lewis, and me.

I find standard American the hardest. It really fits in a different place in your mouth. Southern, I find the easiest. If you talk to a dialect coach and you get sort of technical, where an English person keeps their voice in their throat, a Southern person does the same, and it’s got the same sort of music to talking.

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.

No one writes dialect better than Flannery O’Connor. No one should even try.

What is jazz? It, It’s almost like asking, What is French? Jazz is a musical language. It’s a musical dialect that actually embodies the spirit of America.

I had a really fantastic dialect coach that I worked very well with, and I was constantly surprised by the different intonations that the Russian dialect has.

My parents genuinely loved Vienna, and in later years I learned from them why the city exerted a powerful hold on them and other Jews. My parents loved the dialect of Vienna, its cultural sophistication, and artistic values.

One of the interesting things about the ‘Decameron’ itself was it was written in the Florentine dialect as opposed to the Latin vernacular – and that was mainly to have it be a piece of literature for the people as supposed to some kind of highfalutin’ canon.

This African American Vernacular English shares most of its grammar and vocabulary with other dialects of English. But it is distinct in many ways, and it is more different from standard English than any other dialect spoken in continental North America.

I was obsessed with theatre and loving the work of Caryl Churchill, Edward Bond, Howard Brenton, and Howard Barker, people doing real formal experimentation. But ‘Road’ was the first time I’d read a play written in a very true Northern dialect that seemed to have that excitement running through it.

Behavior is mutable. It changes from place to place. It’s like accents, dialect – it varies from one area to another. But there are universal truths about what it means to be a human being. All the other stuff is like applique. Learning that was interesting to me and probably useful for becoming an actor.

If you are playing a Hispanic character who has to speak in dialect or in an accent, nail that dialect or accent. When I hear a character that’s supposed to be Cuban speaking with a Mexican accent or vice versa, it grates on me and immediately pulls me out of the story.

Dialect was my biggest fear. So, I spent a long time working with dialect coaches just trying to get American down. I think it’s very important and very easy to misinterpret.

Spell-check ruins my work. It fixes all my slang and dialect into standard English. So I’m caught in a tangle of technology that feels very foreign to me.

Bilingual films come with a certain inbuilt practical problem with respect to the setting of the story and the dialect.

There’s a big difference between when I’m Tom and when I’m Conchita. Conchita uses very proper German; Tom talks in an Austrian dialect. Conchita gets mad if she is kept waiting; Tom is lazy.

I think Shakespeare is like a dialect. If I heard a broad Scots accent, I’d probably struggle at first but then I’d start to look for words I recognise and I’d get the gist. I think Shakespeare is like that.

Working on the accent helped, enormously. I will tell you that when I brought Michael a correct ‘British’ accent, one that my dialect coach was happy with, he hated it.

‘Welcome…’ was a challenging role for me. Be it the look or the dialect, every bit of it was new and exciting.

One of the coolest ways to start building a character is the way he moves his mouth, what part of the mouth he puts his words into, how he expresses himself, and there’s a certain flavor you get with a dialect.

I have a dialect myself; it’s more pronounced, because I have studied theatre and been in England. It’s half-British, half-Indian.

I was born here and have been in love with the colloquial Telangana dialect ever since. I even wrote a play titled ‘Grahanam Pattina Ratri’ that was set in the heart of the region. It was well received across literary circles.

It was hard to do ‘Vikings.’ It was hard to do ‘Copper.’ Part of that was, like, there’s dialect and other things.

Readers in general are not fond of dialect, and I don’t blame them. I’ve read books myself that I’ve had to put down because sounding out every speech gave me a headache.

You can’t live in a dialect without tremendous work. Like any muscle, accents and voices and languages are all formed out of the muscles that we have in our mouths and faces and tongues.

There’s a famous slogan here in the Bavarian dialect, and we use it inside Bayern Munich. We say, ‘Mia san mia.’ Literally, it is, ‘We are we,’ but it means, ‘We are who we are.’ That’s not being very arrogant, but we are very confident about our ability to win the game. It is about a winning mentality.

When I am driving to an audition, I listen to the ‘Hamilton: The Musical’ soundtrack. It’s super inspiring, but also, if I kind of sing-slash-rap along to it, it helps me with my pronunciation and dialect.

I have an acting coach, a dialect coach, and just a great team around me.

Language-wise, my mom and dad’s dialect, they’re pretty obscure. It’s Chinese, but not your traditional Chinese, like Cantonese or Mandarin. It wasn’t something that I got to use very much growing up. We eventually just spoke English around the house.

When the public doesn’t understand me, it’s a battle. So when I choose words, I choose them for their musicality, rhythm, and sense, and I choose the right dialect to express that.

I sat staring, staring, staring – half lost, learning a new language or rather the same language in a different dialect. So still were the big woods where I sat, sound might not yet have been born.