Art Museum Kiosk Videos

Job #1032

Job Posting Details

Job # 1032 Art Museum Kiosk Videos

Posted Date
Jan 26, 2006 @ 23:24
Respond By
Feb 1, 2006
Word Count
0
Budget
$100
Language
English
Gender
Male
Age Range
-
Category
-

Job Description

Thank you all for submitting your demos for my previous request. This new posting for the art museum kiosk videos focuses on the male "quote reading" for the video, which requires subtle voice acting. I'm looking for between 3 and 5 actors max.

Please feel free to submit a demo for any of the characters below. All middle-age unless noted.

Due to the volume of responses, I can only consider talent that replies with a demo recording from this script below at this time. If you have replied to my previous posting with a demo that includes a "quote reading", no need to respond again unless you want to showcase other voices.

I will post a separate job for the female quotes.

ART MUSEUM KIOSK VIDEOS, MALE QUOTES:

Washington Allston
Learned, continental via South Carolina circa 1840:

“Powers, a young sculptor from Cincinnati, is going to do great things in his art. He is now in Florence. He is no common man.”


Albert Laessle
Philadelphia circa 1920, down-to-earth and confident:

“I decided to model one in the act of strutting. I put Mr. Turkey in the barn, and then one morning, after I had tried all the wiles I knew to induce him to strut, I happened to open a window. Outside all the fowl in the barnyard were on dress parade. Mr. Turkey went to the window and looked out. You have no idea how human that bird became! No sooner did he see his comrades than up flew his tail, and he strutted all over the place. Of course, I thought it was chance. But I tried it again, with exactly that same result, so after that all I had to do was to pull the curtain and he’d pose for hours.”


Kenyon Cox
Urbane mid-westerner in love circa 1880:

“To Louise
My first love was a Florentine, long dead,
whose bust stands in the Louvre to be seen
Of men; my second was the smiling head
Of Taya, ancient Egypt’s witching queen.
Now, by good chance, I clasp the slender form
Of both in one, but living, loving, warm."


George Inness
New Jersey circa 1880 (writing letter):

“My dear Lizzie:
I have just been out to see the setting of the sun, strolling up the road and studying the solemn tones of the passing daylight. There is something peculiarly impressive in the effects of the far-stretching distance, the weather-worn gray of the buildings, and the general sense of solitariness which quite suits my present mood.”


Raving Critic
Pompous but impressed (San Francisco, 1881):

“His picture is not only correct in drawing and true in color, but is also full of that fresh slipperiness of fish which makes them hard to clutch and gives them a texture unknown to any creature living out of water.”


Edwin M. Stanton
Rotund and confident; Secretary of War under Lincoln:

“One of the most interesting and appropriate occasions that now occurs to me was the conference at which Lieut. General Grant laid before the President the plan of operations he proposed to adopt. This was at the War Department, and the group would embrace the three figures of the President, Secretary of War and General Grant. It would require no accessories but a roll or a map in the hands of the General.”


Hiram Powers
Mid-westerner; mocking, self-critical of his work in letter to close friend:

“She is an old-fashioned body, and not near so well formed and attractive in her person as are her granddaughters. She wears her hair in a natural and most primitive manner, drawn back from her temples and hanging loose behind, thus exposing that very ugly feature in women, the temples and her feet – oh murder! They are very broad and large! Did ever a body see such long toes! They have never been wedged into form by the pretty little shoes worn by her lovely descendants.


Opinion Letter in the Christian Advocate and Journal
Mid-1800s, self-righteous and proud:

“It is stated that this piece of indecent sculpture is to be purchased by the Smithsonian Institution and to be lodged in a hall worthy of it. We feverishly hope that none of the funds of the institution will be prostituted to such a purpose. As for the disposition of the statue, the only hall worthy of it would be one in which there were neither doors nor windows; and the sooner it is ‘lodged’ in such a place the better.”


Rip Van Winkle/Narrator
Hapless Knickerbocker/neutral voice of reason:

“He rubbed his eyes—it was a bright sunny morning. “Surely,” thought Rip, “I have not slept here all night.” He recalled the occurrences before he fell asleep. The strange man with a keg of liquor—the mountain ravine—the wild retreat among the rocks—the woe-begone party at ninepins—the flagon—“Oh! that flagon! that wicked flagon!” thought Rip—“what excuse shall I make to Dame Van Winkle!””


New York Times Reviewer
Circa 1872, flattering but honest:

“Mr. Booth has done good work this winter, and has materially strengthened his hold on the good-will of theater-goers. The chief feature of his season has been the production of ‘Julius Caeser.’ Mr. Booth has played all three of the principal parts in it. In Brutus he decidedly failed – not in a sense to hurt the success of the piece – for hardly anything that Mr. Booth could act would do that, but his Brutus was a distinct failure. His Cassius and his Marc Anthony, on the other hand, were extremely fine.”

John Quincy Adams
Former president, statesman in a private moment:

“To my Granddaughter Mary Louisa Adams:

Walk by that light! fix firm thy steadfast eye
On yon, celestial boundless realms on high;
And thither let thy faithful footsteps stand
So shall thy maker, and creation’s Lord
Thy pure and fervent constancy reward;
And thine shall be the joys that never end.

John Quincy Adams
10. May 1839”


Ernest Blumenschein
Straight-arrow patriarch of artists’ colony:

“No artist had ever recorded the New Mexico I was now seeing. I was getting my own impressions from nature uninfluenced by the art of any man. When I came to this valley, I saw whole paintings right before my eyes. Everywhere I looked I saw paintings perfectly organized, ready to paint."


Peter Paul Rubens
Lusty Dutch Master:

“I have taken a young wife of honest but middle-class family, although everyone tried to persuade me to make a Court marriage. But I chose one who would not blush to see me take my brushes in hand. And to tell the truth, it would have been hard for me to exchange the priceless treasure of liberty for the embraces of an old woman.”


Michael Lantz
Striaght-talkin’ New Yorker recalling his youth:

“I said, “These are going to be 15 feet high.” ... I almost died. Lee said to me “Well, now you’re going to find out if you’re a real sculptor.” ... He said, “You can do it.” So I was having trouble, and he came to the studio and he looked at it, and I said, “I don’t know, Mr. Lawrie, if I can ever do these things.” He said, “Yes, you can.” And from then on, I did it. But I was frightened. I was so frightened.”


Paul Manship
Hardworking idealist:

"At the time that this work was initiated, they gave me, they said, a free hand to design whatever sort of a statue I thought would fit the place best... Then I learned that not only was there this art committee, but there was also the owner to be considered... the Rockefeller family, Mr. John D. Jr. especially... So I started out making sketches, making drawings and getting ideas until after, I think, a dozen sketches or more, the present figure of Prometheus was brought into composition."


Albert Pinkham Ryder
Romantic:

“Adown the same river
A youth floats along
And the lifting waves shiver
As he echoes her song
Nearer still nearer
His frail bark doth glide
Will he shape his course to her
And remain by her side
Alas there is no rudder
To the ship that he sails
The maiden doth shudder
Blow seaward the gales”


Millard Sheets
Depression-era Californian:

"I had painted almost everything in the countryside and the hills and valleys of California. I became very interested and very excited about downtown Los Angeles. And a lot of people thought I was crazy. Because I painted down there continuously. I’d go right down and set up a big canvas right in the middle of the street. And had to tie it down with bricks to keep the wind from blowing it away. I’d been painting up and down Bunker Hill and all around the northern part of Spring and Broadway, when it was just really rough, colorful as the devil. Oh, I just loved it. I just used to all times of day, morning, noon, and night, go into those old tenement houses and sketch and draw and paint.

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