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Voice overs needed for narration
LTK6307776012X
A recent update to a recent post - Looking for four (4) non-union narrators - one young male, one young female, one middle-aged male, one senior woman, to read for an audio tour recording.
Please respond ONLY if you are in NYC or NYC-surrounding areas. We pay narrators per hour of recording session.
Audio tour is for a museum exhibition of American artists living in Paris during the end of the 19th century. Character voices will read source material from the letters of these artists (samples of the script for each role attached).
Artists originated in the New England region, so we are looking for a natural read, with a slight New England, late 19th century lilt - which has hints of a British lilt as well. Budget range USD 100 - 249
Once again, please respond to this only if you are a non-union, and live in or around the NYC area.
Thanks.
Aug 08, 2006 16:34:36 (GMT -05:00) Eastern Time (US & Canada) Aug 15, 2006 00:00:00 (GMT -05:00) Eastern Time (US & Canada) No (click here to learn more about
)
Closed
41
36
0 direct invitation(s) have been sent by the voice seeker resulting in 0 audition(s) and/or proposal(s) so far.
Please respond ONLY if you are in NYC or NYC-surrounding areas. We pay narrators per hour of recording session.
Audio tour is for a museum exhibition of American artists living in Paris during the end of the 19th century. Character voices will read source material from the letters of these artists (samples of the script for each role attached).
Artists originated in the New England region, so we are looking for a natural read, with a slight New England, late 19th century lilt - which has hints of a British lilt as well. Budget range USD 100 - 249
Once again, please respond to this only if you are a non-union, and live in or around the NYC area.
Thanks.
Aug 08, 2006 16:34:36 (GMT -05:00) Eastern Time (US & Canada) Aug 15, 2006 00:00:00 (GMT -05:00) Eastern Time (US & Canada) No (click here to learn more about
)
Closed
41
36
0 direct invitation(s) have been sent by the voice seeker resulting in 0 audition(s) and/or proposal(s) so far.
Project Parameters
None
Flexible - USD 249
Commercials
English - North American
Not defined
Young Adult Female OR Young Adult Male OR Middle Age Female OR Middle Age Male OR Senior Female OR Senior Male
• ISDN AND
• Phone Patch AND
• Audio files must be delivered via FTP
There are no special pre-, post-, or production requirements for this project.
Not defined
Not defined
No
Not defined
• Phone Patch AND
• Audio files must be delivered via FTP
Script Details
Yes
CHARACTER VOICES
OLDER WOMAN
Cassatt 1913 (age 69) from an interview with the artist:
…Shortly before the war, that is, around 1868, I decided to become a painter. This also meant that I was deciding to leave for Europe. At the Academy School in Philadelphia one drew, after a fashion, from ancient copies and old plaster casts. There was no teaching. In any case, I believe that painting cannot be taught, and that it is not necessary to study with a master. Museums are all the teachers one needs.
Beaux 1933 (age 75)
The immense value, to the stude, in Paris, lies in the place itself…Everything is there. It is his own fault if he does not perceive…Spring in Paris; I ask only for language equivalent to one aspect of this miracle…The lilacs, rhododendrons, acacias, wre all out, perhaps lilies-of-the-valley. There had been a light shower. The exhalation reached my keen senses by way of Paris street and boulevard, yet unsullied, pristine, tender. How could it be? The answer is “Spring in Paris.” What else?
YOUNG WOMAN
Cassat 1872 (age 28) from a letter she wrote to friends from Spain:
My Dear Friends,
I am writing this in Mrs. Birneys room at the Hotel de Paris, I have moved, have fund a much cheaper hotel, kept by an Italian…I am making a sketch from the Velasquez at the gallery, and I am quite if not more enthusiastic than before. I sincerely think it is the most wonderful painting that ever was seen, this of the Spanish school….Now my dear friends both of you please do come, come and I will wait for you here and we will go to Seville together and I will return to Italy with you in March. Don’t mind about clothes or anything, for the people here are little more than barbarians.
YOUNG MAN
Eakins 1866 (age 22) in a letter to his mother:
Dear Mother,
I have been in Paris now nearly a week and as I have been going nearly all the time, I am getting well acquainted with it. They say that Boston has crooked street, but I guess the Paris ones are worse…The buildings of Paris are beautiful beyond description. Although I expected so much they have far exceeded those expectations. Paris is a city of palaces. To beautify things the sun came out yesterday and all that day and all today there has not been a cloud.
Alexander 1892 (age 35)
I am working here as I have never worked before….[In Paris everything] is in a higher place than in New York and the city is a constant delight to us…New York is a village beside it and an hour here is worth years there. People here know so much more.”
OLDER MAN
Tanner 1909 (age 50)
One evening while riding in a jiggling ill lighted omnibus in Paris, I was struck by the beauty of the effect around me. Inside, the figures dimly lighted with a rich cadmium; outside the cool night with here and there a touch of moonlight. I did not want to paint the interior of an omnibus—so “Judas Convenanting with the High Priest” is the result.
CHARACTER VOICES
OLDER WOMAN
Cassatt 1913 (age 69) from an interview with the artist:
…Shortly before the war, that is, around 1868, I decided to become a painter. This also meant that I was deciding to leave for Europe. At the Academy School in Philadelphia one drew, after a fashion, from ancient copies and old plaster casts. There was no teaching. In any case, I believe that painting cannot be taught, and that it is not necessary to study with a master. Museums are all the teachers one needs.
Beaux 1933 (age 75)
The immense value, to the stude, in Paris, lies in the place itself…Everything is there. It is his own fault if he does not perceive…Spring in Paris; I ask only for language equivalent to one aspect of this miracle…The lilacs, rhododendrons, acacias, wre all out, perhaps lilies-of-the-valley. There had been a light shower. The exhalation reached my keen senses by way of Paris street and boulevard, yet unsullied, pristine, tender. How could it be? The answer is “Spring in Paris.” What else?
YOUNG WOMAN
Cassat 1872 (age 28) from a letter she wrote to friends from Spain:
My Dear Friends,
I am writing this in Mrs. Birneys room at the Hotel de Paris, I have moved, have fund a much cheaper hotel, kept by an Italian…I am making a sketch from the Velasquez at the gallery, and I am quite if not more enthusiastic than before. I sincerely think it is the most wonderful painting that ever was seen, this of the Spanish school….Now my dear friends both of you please do come, come and I will wait for you here and we will go to Seville together and I will return to Italy with you in March. Don’t mind about clothes or anything, for the people here are little more than barbarians.
YOUNG MAN
Eakins 1866 (age 22) in a letter to his mother:
Dear Mother,
I have been in Paris now nearly a week and as I have been going nearly all the time, I am getting well acquainted with it. They say that Boston has crooked street, but I guess the Paris ones are worse…The buildings of Paris are beautiful beyond description. Although I expected so much they have far exceeded those expectations. Paris is a city of palaces. To beautify things the sun came out yesterday and all that day and all today there has not been a cloud.
Alexander 1892 (age 35)
I am working here as I have never worked before….[In Paris everything] is in a higher place than in New York and the city is a constant delight to us…New York is a village beside it and an hour here is worth years there. People here know so much more.”
OLDER MAN
Tanner 1909 (age 50)
One evening while riding in a jiggling ill lighted omnibus in Paris, I was struck by the beauty of the effect around me. Inside, the figures dimly lighted with a rich cadmium; outside the cool night with here and there a touch of moonlight. I did not want to paint the interior of an omnibus—so “Judas Convenanting with the High Priest” is the result.
OLDER WOMAN
Cassatt 1913 (age 69) from an interview with the artist:
…Shortly before the war, that is, around 1868, I decided to become a painter. This also meant that I was deciding to leave for Europe. At the Academy School in Philadelphia one drew, after a fashion, from ancient copies and old plaster casts. There was no teaching. In any case, I believe that painting cannot be taught, and that it is not necessary to study with a master. Museums are all the teachers one needs.
Beaux 1933 (age 75)
The immense value, to the stude, in Paris, lies in the place itself…Everything is there. It is his own fault if he does not perceive…Spring in Paris; I ask only for language equivalent to one aspect of this miracle…The lilacs, rhododendrons, acacias, wre all out, perhaps lilies-of-the-valley. There had been a light shower. The exhalation reached my keen senses by way of Paris street and boulevard, yet unsullied, pristine, tender. How could it be? The answer is “Spring in Paris.” What else?
YOUNG WOMAN
Cassat 1872 (age 28) from a letter she wrote to friends from Spain:
My Dear Friends,
I am writing this in Mrs. Birneys room at the Hotel de Paris, I have moved, have fund a much cheaper hotel, kept by an Italian…I am making a sketch from the Velasquez at the gallery, and I am quite if not more enthusiastic than before. I sincerely think it is the most wonderful painting that ever was seen, this of the Spanish school….Now my dear friends both of you please do come, come and I will wait for you here and we will go to Seville together and I will return to Italy with you in March. Don’t mind about clothes or anything, for the people here are little more than barbarians.
YOUNG MAN
Eakins 1866 (age 22) in a letter to his mother:
Dear Mother,
I have been in Paris now nearly a week and as I have been going nearly all the time, I am getting well acquainted with it. They say that Boston has crooked street, but I guess the Paris ones are worse…The buildings of Paris are beautiful beyond description. Although I expected so much they have far exceeded those expectations. Paris is a city of palaces. To beautify things the sun came out yesterday and all that day and all today there has not been a cloud.
Alexander 1892 (age 35)
I am working here as I have never worked before….[In Paris everything] is in a higher place than in New York and the city is a constant delight to us…New York is a village beside it and an hour here is worth years there. People here know so much more.”
OLDER MAN
Tanner 1909 (age 50)
One evening while riding in a jiggling ill lighted omnibus in Paris, I was struck by the beauty of the effect around me. Inside, the figures dimly lighted with a rich cadmium; outside the cool night with here and there a touch of moonlight. I did not want to paint the interior of an omnibus—so “Judas Convenanting with the High Priest” is the result.
CHARACTER VOICES
OLDER WOMAN
Cassatt 1913 (age 69) from an interview with the artist:
…Shortly before the war, that is, around 1868, I decided to become a painter. This also meant that I was deciding to leave for Europe. At the Academy School in Philadelphia one drew, after a fashion, from ancient copies and old plaster casts. There was no teaching. In any case, I believe that painting cannot be taught, and that it is not necessary to study with a master. Museums are all the teachers one needs.
Beaux 1933 (age 75)
The immense value, to the stude, in Paris, lies in the place itself…Everything is there. It is his own fault if he does not perceive…Spring in Paris; I ask only for language equivalent to one aspect of this miracle…The lilacs, rhododendrons, acacias, wre all out, perhaps lilies-of-the-valley. There had been a light shower. The exhalation reached my keen senses by way of Paris street and boulevard, yet unsullied, pristine, tender. How could it be? The answer is “Spring in Paris.” What else?
YOUNG WOMAN
Cassat 1872 (age 28) from a letter she wrote to friends from Spain:
My Dear Friends,
I am writing this in Mrs. Birneys room at the Hotel de Paris, I have moved, have fund a much cheaper hotel, kept by an Italian…I am making a sketch from the Velasquez at the gallery, and I am quite if not more enthusiastic than before. I sincerely think it is the most wonderful painting that ever was seen, this of the Spanish school….Now my dear friends both of you please do come, come and I will wait for you here and we will go to Seville together and I will return to Italy with you in March. Don’t mind about clothes or anything, for the people here are little more than barbarians.
YOUNG MAN
Eakins 1866 (age 22) in a letter to his mother:
Dear Mother,
I have been in Paris now nearly a week and as I have been going nearly all the time, I am getting well acquainted with it. They say that Boston has crooked street, but I guess the Paris ones are worse…The buildings of Paris are beautiful beyond description. Although I expected so much they have far exceeded those expectations. Paris is a city of palaces. To beautify things the sun came out yesterday and all that day and all today there has not been a cloud.
Alexander 1892 (age 35)
I am working here as I have never worked before….[In Paris everything] is in a higher place than in New York and the city is a constant delight to us…New York is a village beside it and an hour here is worth years there. People here know so much more.”
OLDER MAN
Tanner 1909 (age 50)
One evening while riding in a jiggling ill lighted omnibus in Paris, I was struck by the beauty of the effect around me. Inside, the figures dimly lighted with a rich cadmium; outside the cool night with here and there a touch of moonlight. I did not want to paint the interior of an omnibus—so “Judas Convenanting with the High Priest” is the result.
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