Rick Lipton
Dialect Coach

Dialect Dialogue and Voice Coach

 

*Rick Lipton is a dialect coach has 20 years of experience, with thousands of actors from all over the globe.

*He specializes in American, British, international and foreign accents of English.

*For up-coming film, television or theatre projects in the US, the UK or the EU, please feel free to contact Rick via his agent, Sarah Upson.

 

CONTACT

Agent email: sarah.upson@voicecoach.tv
IMDB
Below you will find selected film and television dialect coaching credits, theatre credits, actors Rick has coached, accents and languages he has taught, some background information about him and an article on accents he wrote about British actors in American projects. New to this sight is some guidance for those seeking private accent sessions with Rick.

 

SELECTED FILM AND TELEVISION DIALECT COACHING

  • (2017) SPIDER-MAN: HOMECOMING dialect coach to Tom Holland and Abraham Attah / American Accents
    director: Jon Watts / Producers: Mitch Bell, Kevin Feige, Amy Pascal, Patty Whitcher / distributor: Sony Pictures
  • (2017) FLATLINERS pre-production dialect coach to James Norton / American Accent / distributor: Sony Pictures
  • (2017) BRIGHTON BEACH pre-production dialect coach to FKA Twigs / American Accent / dir. David Gutnik
  • (2017) BLACK MIRROR dialect coach / American Accent / distributor: Netflix
  • (2017) THE ALIENIST dialect coach / Upper Class NYC, NYC, Irish, Hungarian, German, Danish / distributor: TNT / Netflix
  • (2016) THE GIRL ON THE TRAIN dialect coach to Luke Evans / American Accent
    director: Tate Taylor / Producers: Celia D. Costas, Jared LeBoff, Scott Pilgrim, Marc Platt / distributor: Universal
  • (2016) THE CRUCIFIXION dialect coach to Sophie Cookson pre and post-production / American Accent
    director: Xavier Gens / Producers: Cristian Bostanescu, Leon Clarance, D.J. Gugenheim, Bill Johnson, Ara Keshishian, Jo Monk, Peter Safran, Jim Seibel, Laure Vaysse, Todd Williams / distributor: TBA
  • (2016) CONTAINMENT dialect coach to David Gyasi, and post-production dialect coach / American Accents
    director: David Nutter et al. / Showrunner: Julie Plec, Producers: Doug Orenstein, Cyrus Yavneh, Ani Arutyunyan / distributor: CW Channel
  • (2016) THE FOREST dialect coach pre-production, on-set, and post-production / American Accent
    director: Jason Zada / Producers: David S. Goyer, David Linde, Tory Metzger / distributor: Grammercy Pictures
  • (2016) FALLEN Post-Production Dialect Coach / American Accents
    director: Scott Hicks / Producers Claudia Bluemhuber, Mark Cardi, Gordon Gray, Kerry Heysen, Bill Johnson, Lauren Kate, Ted Malawer, Todd Y. Murata, Jim Seibel, Michael Stearns, Kevan Van Thompson / distributor: TBA
  • (2016) TARZAN dialect coach to Margot Robbie / American accent and Lingala language
    director: David Yates / producers: David Barron, Mike Richardson, Alan Riche, Jerry Weintraub, David Yates, Nik Korda / distributor: Warner Bros.
  • (2015) POINT BREAK dialect coach to Ray Winstone / American accent
    director: Ericson Core / producers: John Baldecchi, Michael De Luca, Broderick Johnson, Andrew Kosove, John McMurrick, Chris Taylor, Kurt Wimmer, David Valdes /  distributor: Warner Bros.
  • (2015) GREEN ROOM pre-production dialect coach to Callum Turner / dir. Jeremy Saulnier / American Accent / distributor: A24
  • (2014) INTERSTELLAR dialect coach to David Gyasi / American Accent
    director: Christopher Nolan / producers: Jordan Goldberg, Jake Myers, Christopher Nolan, Lynda Obst, Emma Thomas, Kip Thorne, Thomas Tull / distributor: Paramount
  • (2014) INTRUDERS dialect coach to John Simm / American accent
    directors: Daniel Stamm, Eduardo Sánchez / producers: John Martini, Rose Lam, Julie Gardner, Glen Morgan, Angie Stephenson, Jane Tranter / network: BBC America.
  • (2014) THE HUNGER GAMES: MOCKINGJAY dialect coach to Natalie Dormer / American accent
    director: Francis Lawrence / producers: Nina Jacobson, Jon Kilik / distributor: Lionsgate
  • (2014) UNBROKEN pre-production and on-set coaching / American accents
    director: Angelina Jolie / producers: Clayton Townsend, Matt Baer, Erwin Stoff / distributer: Universal Pictures
  • (2014) NEIGHBORS pre-production coaching with Craig Roberts / General American accent
    director: Nick Stoller / producers: Evan Goldberg, Seth Rogan, James Weaver / distributor: Universal Pictures
  • (2014) THE DARK CONTINENT pre-production and on-set coaching / Mid-Western and African American accents
    director: Tom Green / producers: James Richardson, Allan Niblo, Ben Pugh, Rory Aitken
  • (2014) EDGE OF TOMORROW casting, pre-production, on-set, ADR coaching / Appalachian and African American accents, Japanese English
    director: Doug Liman / producers: Erwin Stoff, Jeffery Silver, Gregory Jacobs, Tom Lassally, and Jason Hoffs / distributor: Warner Bros.
  • (2013) BEAUTIFUL CREATURES casting, pre-production, on-set and ADR coaching / South Carolina accents, Yoruba language
    director: Richard LaGravenese / producers: Erwin Stoff, David Valdes, Molly Smith, Andrew Kosove, Broderick Johnson, Brad Arensman / distributor: Warner Bros.
  • (2012-) ELEMENTARY dialect coach to Natalie Dormer / American accent
    director: Seith Mann / producers: Geoff Hemwall, Robert Doherty / network: CBS
  • (2008) JOLENE pre-production coaching with Rupert Friend / Louisiana accent
    director: Dan Ireland / production company: Next Turn Productions / distributer: Entertainment One
  • (2008) YELLOW HANDKERCHIEF pre-production coaching with Eddie Redmayne / Southern American accent
    director: Udayan Prasad / production company: Arthur Cohn Productions / distributer: Samuel Goldwyn Films
  • (2007) THE KILLING GENE pre-production, on-set, and ADR coaching / American and African American accents
    director: Tom Shankland / production company: Vertigo Films / distributer: Dimension Extreme
  • (2006) BILLY THE KID pre-production coach / American accents
    director: Tim Robinson / network: BBC
  • (2006) CUSTER’S LAST STAND pre-production coach / American accents
    director: Dave Stewart / network: BBC
  • (2006) THE GUNFIGHT AT THE OK CORALL pre-production coach / American accents
    director: Dave Stewart / network: BBC

 

SELECTED THEATRE DIALECT COACHING

  • (2013) THE COLOR PURPLE director: John Doyle /Georgia accents / Menier Chocolate Factory
  • (2013) MY FAIR LADY director: Mitch Sebastian /Period RP and London accents / Kilworth House Theatre
  • (2013) FIFTY WORDS director: Laurence Boswell / General American accents / Ustinov Studio / Theatre Royal Bath
  • (2013) THE TAILOR MADE MAN director: Claudio Macor / Trans-Atlantic, German and Polish accents / Arts Theatre / Stephen McGill Productions
  • (2012) 9 TO 5 director: Jeff Calhoun/ American and Texas accents / UK Tour / Ambassador Theatre Group
  • (2012) GLENGARRY GLEN ROSS director: Kate Wasserberg / Chicago accents / Clwyd Theatr Cymru
  • (2012) TOP HAT director: Matthew White / period Standard American, New York City, Italian / Tour and Aldwych Theatre / Kenny Wax Ltd.
  • (2012) ALL NEW PEOPLE director: Peter DuBois / American and RP accents / Tour and Duke of Yorks Theatre / ATG
  • (2012) SOUTH PACIFIC director: Bartlett Sher / Arkansas, Standard American, period NYC, Cleveland, Texas, French, Tonkinese English, Tonkinese French accents; French language / Barbican and Tour / Ambassador Theatre Group
  • (2011) CRAZY FOR YOU director: Tim Sheader / Standard American and period Nevada accents / Regent’s Park Open Air Theatre and Novello
  • (2011) LEGALLY BLONDE director: Jerry Mitchell / Boston, East Coast Standard, LA accents / Tour and Savoy Theatre productions / Ambassador Theatre Group
  • (2011) TERRIBLE ADVICE director: Frank Oz / American accents / Menier Chocolate Factory
  • (2011) COOL HAND LUKE director: Andrew Loudon / a mix of Georgia, Florida and Alabama accents / Aldwych Theatre / Novel Theatre
  • (2010/2011) BROKEN GLASS director: Iqbal Khan / Tricycle Theatre / period NYC accent / Vaudeville Theatre
  • (2010) ASPECTS OF LOVE director: Sir Trevor Nunn / RP accents / Menier Chocolate Factory
  • (2010) THE PRISONER OF SECOND AVENUE director: Terry Johnson / NYC accent / Vaudeville Theatre / Old Vic
  • (2009) THREE DAYS OF RAIN director: Jamie Lloyd / Standard American / Apollo Theatre CPM Limited

 

SELECTED ACTORS COACHED

Gillian Anderson, Dame Eileen Atkins, Ellie Bamber, Robert Bathurst, Daniel Brühl, Tom Burke,
Asa Butterfield, Santiago Cabrera, Natalie Casey, Noel Clarke, Sophie Cookson, Alan Cox,
Viola Davis, Peter Davison, Ben Daniels, Joe Dempsie, Zoey Deutch,
Natalie Dormer, Franz Drameh, Jennifer Ellison, Tom Ellis, Taron Egerton,
Luke Evans, Dakota Fanning, Rupert Friend, Josh Gad, Gareth Gates,
Domnhall Gleeson, Rupert Graves, David Gyasi, Kit Harington, Johnny Harris,
Tom Holland, Sam Keeley, Rhys Ifans, Jeremy Irons, Carla Juri,
Vanessa Kirby, Elisa Lasowski, Robert Lindsay, Faye Marsay, Kris Marshall, Chris Mason,
James McAvoy, Alastair McGowan, Ewan McGregor, Kim Medcalf, David Morrissey, Emily Mortimer,
James Norton, Jack O’Connell, Sophie Okonedo, Ann Ogbomo, Nicholas Pinnock,
Caroline Quentin, Jesse Plemons, Ray Quinn, Eddie Redmayne, Shane Ritchie,
Charlotte Riley, Margot Robbie, Craig Roberts, Emmy Rossum, Harry Shearer,
Sir Antony Sher, John Simm, Stellan Skarsgård, Gregg Sulkin, Claire Sweeney, Juno Temple,
Emma Thompson, Harriet Thorpe, Callum Turner, Harriet Walter,
Ashley Walters, FKA Twigs, James Wilby, Ray Winstone, Samantha Womak.

 

ACCENTS COACHED

NORTH AMERICA:
Standard USA (Mid-Atlantic, New England, New York, Mid-Western, Southern, Californian)

Inland North (Buffalo, Chicago, Cleveland)

Mid-Western (Ohio, Indiana, Missouri, Kansas)

Upland North (Minnesota)

New England (Boston, Down East Maine)

New York City (period, Jewish, Italian, Latino)

Mountain Southern (Kentucky, West Virginia, Tennessee, Arkansas)

East Coast Southern (Virginia Piedmont, South Carolina, Georgia)

Gulf States Southern (Texas, Louisiana, Mississippi, Alabama, Florida Cracker)

African American (NYC, Pittsburgh, Louisiana, Georgia, South Carolina, Chicago)

Western (California (LA), Nevada, Wyoming)

Canadian (Toronto, Newfoundland)

BRITISH ISLES:
England (Generations of RP: Contemporary–Conservative–Period, Estuary, London, Cornwall, Manchester, Liverpool, Accrington, York, Nottingham)

Northern Ireland (Belfast, Derry)

Scotland (Glasgow, Edinburgh, Outer Hebrides)

Wales (Cardiff)

Republic of Ireland (Dublin, Galway, Cork)

OTHER ENGLISH:
Croatian, Russian, German, Spanish, Mexican, Puerto Rican, French, Japanese, West Indian
 

LANGUAGES COACHED:
AFRICAN (Yoruba and Lingala)

EUROPEAN (French, German, Polish)

BACKGROUND INFORMATION

A native of Cleveland, Ohio, Rick has experience in all aspects of film and television dialect coaching, including auditions, pre-production, on-set, and ADR. He is known for his ability to teach convincing American accents to non-Americans. In film, television and theatre, he has worked with thousands of actors individually on 200+ projects since his training in 1996. Not only does Rick have knowledge of all native and foreign accents of English, he has the skills to approach any spoken or linguistic requirement of a script. Rick has dual American and British citizenship, with full work privileges in America, the UK and the European Union.


ACCENT ARTICLE

I was recently asked to write an article comparing the trailers for GRACEPOINT the American remake of WHITECHAPLE, and the trailer for SELFIE. I was supposed to criticize the actors’ accents and describe their faults. I felt uncomfortable with the task, and I decided to write an article to support them rather than take them to pieces. Needless to say, it wasn’t barbed enough to be published, but I thought I would share my thoughts with you here!

In order to compare the two trailers for these series, I think you have to look at the context of where they are in the shoot. First of all, a project evolves over time. There is the version of the script that attracts investment to get commissioned. Then, pre-production, it is then reworked to sharpen it up and get it ready to shoot. It goes through the film shoot with yet more revisions, and then it is then completely reworked with more dialogue added in the editing process. The script that gets commissioned gets numerous rewrites, sometimes 10+ revisions per episode, sometimes on a daily basis once the project is shooting. Some scenes are prepped over time with coaches, some are reworked on the day. Series are shot in blocks, with the first episodes being shot and edited, sometimes with a hiatus, and then the second block is shot. There can be lots of prep for the first block and none for the second. Plots can change, and the whole outcomes of characters can entirely shift from the pre-production phase. The teasers we just saw could have been assembled at any point of the production, with varying levels of prep time with the dialect coach. Sometimes it takes a week or two on the set for the actor to feel comfortable with the accent. The trailer may be assembled with footage that ultimately does not make the final cut of the show. By the time the edit is locked, the episode will have had ADR (automated dialogue replacement), and the dialect coach may be involved in fixing certain lines for accent. The PR department my have chosen segments with sound that will ultimately be changed by the time it goes on the air. What you see and hear in the trailer is not necessarily what you’re going to get.

Then there is the subject of what footage is chosen. I have been present for whole shoots, every spoken take, keeping a log for editorial of where to source a clean version of the accent. This is helpful because the takes that are good for acting may not be the best for accent. The camera might not even have been on the actor when they finally got the accent right. The dialogue editor can skilfully insert the right vowels even when the actor got it ‘wrong’ in the take that was chosen. The production has to commit to that level of accuracy but it is not uncommon. When it comes to the trailer, there may not be time for such a luxury. Ultimately, what sells a show is a high quality connection between the actor and the material. If an actor has to power down the acting to achieve the accent, there is little of value left. Of course a bad accent jars the audience, but a good accent is only a small part what makes a performance whole. The best performances have accents that no one notices. I think we are focusing on the accents because we know how David Tennant and Karen Gillan sound. So people delight in waiting for them to ‘slip up’.

So my feeling is that there are some bumps in the GRACEPOINT trailer, only a couple, and none of them are deal breakers. I looked at all of the comments (500+) and there were some negative comments about the accents, but there were an equal number in support of the accents. Most people love David Tennant and are excited to see him in the show. There are a lot of people wishing he used his native accent. Is it a forensic match with that town in northern California? I would say no more or less than is the norm in Hollywood. In many shows, when a family sits around the table, the mother, father, and children each come from different places, and it is something we just accept. If we take the family in Blue Bloods as an example, the grandfather is from Winnipeg, Canada, the father is from Detroit, the brothers are from Boston and LA, and it is set in NYC. These men work very well as a unit—and we buy into the world of the show that they create. That kind of forensic detail isn’t required. What shows need are actors with the charisma, and in that regard, the trailer works for David.

I think the SELFIE trailer has a couple of bumps in the road too, but none of them are deal breakers. The comments from that trailer are centered on the content of the show and feelings about attaching Karen Gillan to this project. But I think you cannot fault what we are hearing. I hear in the feedback a loathing of people who talk like her character, but that is the whole point of the show—someone who speaks and acts a certain way learning to speak and act in a new way, to good effect. In essence, the people who criticize her are not the kind of people who are interested in the journey of the show and won’t watch it anyway.

As a final thought, why would American shows want to cast non-American actors in leads and featured roles? As someone who spends his entire professional life working with British and international actors working in American roles, I think the reasons are obvious. They bring a completely different energy to a piece. If you need a character to be an outsider, one who feels ‘other’, sourcing your actor from Britain or abroad is a really good idea. Choosing an actor from Britain, the acting tradition, training and craft are world class if not set the global standard. London is the blockbuster capitol of the industry at the moment—the acting talent can and does support it.

These two actors are assets to these new series, and bring integrity and grounding to the proceedings. Could other actors play these roles: yes. But the creative teams on these shows chose these specific actors for the energy, quality, experience and fan base that they bring to the project. I think they do it very well indeed.

 

PRIVATE ACCENT ENQUIRES

Thank you very much for your interest in having sessions with Rick, and here are some thoughts moving forward. If you have already landed a role or you have a script in hand for an audition, please enquire here.

If you do not have a role or sides, it probably won’t be possible to get a slot. Once upon a time, Rick had a full-time client studio, and saw as many as 25 different individuals a week, many on an on-going basis for courses of lessons. That just isn’t possible anymore. If you’re looking for a course of lessons, general accent tuition, accent reduction/softening/neutralisation, or just plain voice training, though in the past all of these would have been fine, now there really isn’t time to fulfil those needs.  Another coach is probably a better option. For beginners working on the American accent, Rick teaches occasional workshops at the Actors Guild in groups. Those are the only classes he teaches. Your work and development is hugely important and deserves time and attention on your own terms and at your own pace. Rick would very much like to be available to everyone and really appreciates your time and interest.

Thanks for reading, good luck with everything, and hopefully it will be possible to be united on a project soon 🙂

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