Voice-over (also known as off-camera or off-stage commentary) is a production technique where a voice that is not part of the narrative (non-diegetic) is used in a radio, television production, filmmaking, theatre, or other presentations. The voice-over may be spoken by someone who appears elsewhere in the production or by a specialist voice actor.
In Herman Melville's Moby-Dick (1956), Ishmael (Richard Basehart) narrates the story and sometimes comments on the action in voice-over, as does Joe Gillis (William Holden) in Sunset Boulevard (1950) and Eric Erickson (William Holden) in The Counterfeit Traitor (1962); adult Pip (John Mills) in Great Expectations (1946) and Michael York in a television remake (1974).
Voice-over technique is likewise used to give voices and personalities to animated characters. Among the most noteworthy and versatile voice actors include Mel Blanc, Daws Butler, Don Messick, Paul Frees, and June Foray.
In film, the film-maker places the sound of a human voice (or voices) over images shown on the screen that may or may not be related to the images being shown. Consequently, voice-overs are sometimes used to create ironic counterpoint. Also, sometimes they can be random voices not directly connected to the people seen on the screen. In works of fiction, the voice-over is often by a character reflecting back on his or her past, or by a person external to the story who usually has a more complete knowledge of the events in the film than the other characters.
Donald Leroy "Don" LaFontaine (August 26, 1940 – September 1, 2008) was an American voice actor famous for recording more than 5,000 film trailers and hundreds of thousands of television advertisements, network promotions, and video game trailers. His nicknames included "Thunder Throat" and "The Voice of God". He became identified with the phrase "In a world…", which has been used in movie trailers so frequently that it has become a cliché. He parodied his career several times, most recently in commercials for GEICO insurance and the Mega Millions lottery game.
LaFontaine was born August 26, 1940, in Duluth, Minnesota, to Alfred and Ruby LaFontaine. According to LaFontaine himself, his voice cracked at the age of 13 in the middle of a sentence, giving him the bass tones that would later bring him much fame and success. After graduating from high school, he enlisted in the United States Army, and worked as a recording engineer for the Army Band and Chorus.
LaFontaine continued to work as a recording engineer after discharge and began working at the National Recording Studios in New York City, where, in 1962, he had the opportunity to work with producer Floyd Peterson on radio spots for Dr. Strangelove. Peterson incorporated many of LaFontaine’s ideas for the spots and, in 1963, they went into business together producing advertising exclusively for the movie industry. LaFontaine claimed that it was this company that first came up with many of the famous movie trailer catch phrases, including his own future signature phrase, "in a world..."
Plot
Deadpoint is based on a true story about a young Iraqi soldier of thousands Iraqi men that is forced to join the army. It creates a torn between his country and his family. There's not time for regrets and he decides to take a lifetime act.
Plot
The film follows the story of a dog witnessing an important crime while sat in the back of a car. The next morning the radio asks in a news report if any one has seen a murder the night before. Unfortunately for the dog he is unable to do anything.
Plot
Over time, the people residing on Swampland began to take on new forms, their modified DNA altering their physiology to better suit their new environment. Generations passed and their original forms were forgotten; these humans had evolved into a new race: the Frogmen.If history (and genetics for that matter) shows us anything, it is that there is always variety.The genetic "success" of the Frogmen was also mirrored by the "achievements" of another group of human descent: the Cockroaches, otherwise known as the T-zhu Alliance. The brutal T-Hy poured out into the galaxy seeking new territories, resources, and the data crystals left by the original human explorers. The T-Hy's material driven hunger broke the peaceful lives of the Frogmen forcing them to take up arms in order to stop the T-Hy's insatiable ambitions. So began the MALO war.
Plot
A young Asian-American actress auditions for the role of Anna May Wong (the first Asian-American actress to gain success in Hollywood in the 1930s) for an upcoming biopic; only to discover the hardship she faces mirror that of the actress she wants to portray.
Keywords: actress, asian-american, audition, hollywood, may
Plot
"The Five Obstructions", a 100 min. theatre documentary directed by Lars von Trier and Jørgen Leth. An investigative journey into the phenomenon of "documentary", based on manifestos written by each director. About a filmmaker not only revisiting, but also recreating (not in a conventional sense) one of his first films, The Perfect Human / Det perfekte menneske (1967), a document on life in Denmark, containing the familiar Leth idiosyncrasies
Keywords: director, experimental-film, filmmaking, india, part-animation, reenactment, remake, third-world
Tony Manetti: He only stole things that began with the letter A; like A car or A Bus.
Plot
Shire is the subject of a perverse obsession by a Lesbian neighbor, Andrea, who not only is in lust with her but hires a rapist in order to get audio tapes of her moaning. Ashley turns pepping tom and watches Shire with a telescope as she begins an affair with Det. Cortese.
Keywords: new-york-city
Somebody loves Emily... too much
It does no good to lock the doors.
[Intro:]
[voice-over]
Yeah motherfuckers
Right back on your ass
Right about now we about to let you know that
Compton's in the motherfucking house
I got my niggas Dre and ? in this motherfucker
And my road dog KK
We gonna put niggas to sleep in the
Four-hundred three
Check
[Verse 1:]
[DJ Quik]
Yeah motherfucker right back up on your ass
I hid in the bushes and I crept up through the grass
What you running for bitch? You fake Irish faggot
You got a big booty Everlast let me tag it
Cause you look like a Roman but you try to clown
I kicked you in your ass that's why you jump around
So don't try to fuck with a Compton nigga
And I'mma tell you who's Daddy fuck with a trigga
Now Daddy is the nigga getting head from your Mommy
Daddy is the nigga with the gun like a tommy
Daddy is the nigga that you wanna be like
And Daddy is the nigga with your shit on his nikes
So don't be scared just be prepared
For when you dis a nigga that you won't be spared
Little white boy how the fuck you figure
No you can't fuck with a nigga
[Chorus 1:]
(You can't fuck with a nigga)
(Thinking you wanna fade me)
(Mark Killer)
(Fool you crazy)
(Can't fuck with a nigga)
(Motherfuckers just like you)
(You'd better step before I beat you with a switch)
(You can't fuck with a nigga)
(Thinking you wanna fade me)
(Mark Killer)
(Fool you crazy)
(You can't fuck with a nigga)
(Motherfuckers just like you)
(You'd better step before I beat you with a switch)
[Verse 2:]
[Hi-C]
Now there's a certain type of nigga that can make you sick
Motherfucking booty and ain't saying shit
But you have to start to stepping you ain't got no style
Your white is showing like Belinda Carlyle
And the only way that you can be cool
Is if you jump your ass in the pool
Mr. Everlast went up to the Hill
To steal a style from the brother B-real
Then these no-talent fools out here getting breaks
Who the fuck better make these wack-ass tapes
The homie said squash it and just let it slide
But I gotta shoot ëem down in the middle of the ride
I heard your head was big but I can still crush it
Every check you lay you know we have to flush it
Fuck it pass me the brew and let me swig a
Uhh it's the funky white nigga
[Chorus 2:]
(No you can't fuck with a nigga)
(Thinking you wanna fade me)
(Mark Killer)
(Fool you crazy)
(Can't fuck with a nigga)
(Motherfuckers just like you)
(You'd better step before I beat you with a switch)
(You can't fuck with a nigga)
(Thinking you wanna fade me)
(Mark Killer)
(Fool you crazy)
(No you can't fuck with a nigga)
(Motherfuckers just like you)
(You're a punk motherfucker with a
punk mother fucking crew)
[Verse 3: ]
[KK]
The black fool from the other side
Watch me when I who-ride
Creeping up on you from the blind side
Now here we go hoe yo niggas bring it on
Four dogs barking in a dawn
Hey watch em all catch all your homies when they fall
Nothing but bullet holes left in the wall
KA tripping never caught slipping
Throwing three fingers to the fools that's [censored]
Say nigga don't you know what's up?
Coming up on to get you fucked up
Knuckle or the belt-buckle which way you want it?
It really don't matter I'm a be all up on it
KK all the way from LA
Still the same nigga up to no good
I'm signing out D Quik and my nigga Hi-C
Yo you can't fuck with a G
[Chorus 3:]
(No you can't fuck with a nigga)
(Thinking you wanna fade me)
(Mark Killer)
(Fool you crazy)
(No you can't fuck with a nigga)
(Motherfuckers just like you)
(You'd better step before I beat you with a switch)
(You can't fuck with a nigga)
(Thinking you wanna fade me)
(Mark Killer)
(Fool you crazy)
(You can't fuck with a nigga)
(Motherfuckers just like you)
(You're a punk motherfucker with a
punk mother fucking crew)
(Voice over)
Now soon enough, someone's going to come along,
could be your husband, could be your wife,
hell, could be your best friend;
They're gonna come along and put a stick in your spokes,
and I want you to thank them.