“I had a really fantastic dialect coach that I worked very well with, a...” — Andrew Scott Quote

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.

The kind of actors I admire move through different characters and genres.

I have to write in sequence and only in sequence.

I want to keep everything balanced. That's why it's important not to have too much fanfare.

I never make a note of anything; I never even write a plot down.

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

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

If my role requires a certain kind of dialect, which I think I am not confident enough to do, I'd prefer a dubbing artist then. There shouldn't be a selfish motive, and it's always better to have a certain understanding between the director/producer and the actress.