Переведите следующие предложения из TEXT А на русский язык, определив функции глаголов “to be” и “to have”:
1. Director / producer and sometimes actor Sidney Pollack was the guest of the British Academy of Film and Television Arts.
2. It was when he was working in television as an acting coach that Burt Lancaster urged him to turn to directing.
3. I've never shot a script in the form in which I received it.
5. The screenplay for “Tootsie” was about an actor who dressed up as a woman to get a part.
7. For me to want to make a film it must have either a premise or a world that interests me.
9. Questioned about the problems of editing "Jeremiah Johnson" he agreed it was very difficult because most of the rushes had unchanging backgrounds of snow.
11. "Jeremiah Johnson" was set up under new management at Warner Bros, when there was anxiety about costly mistakes.
13. Taking a Western he had made in Mexico as a yard-stick, he arrived at a figure of $3.5 million which was agreed.
14. When the true budget of $5 million was worked out, Warners wanted to drop the project.
15. "But by this time several of us had had advances we couldn't afford to pay back,” remarked Pollack .
19. I've always made love stories. (вспомогательный глагол) It's the only thing that interests me and I won’t spend two years of my life on something that isn't a love story.
25. Ten years ago I would probably have been bored by shooting in that way and would have jazzed it up a bit.
26. Now I try to be simpler. But it’s harder.
30. Meryl Streep is to star as Karen with co-stars Robert Redford as her lover and Klaus Brandauer as her Swedish husband.
33. All principal shooting should be completed in 75 days.
Выписать из текста А по 10 существительных, глаголов, прилагательных и наречий и отметить их суффиксы.
выписать 20 кинотерминов
выписать 10 интернациональных слов
Упражнение 5. Письменно перевести текст А
Прочтите TEXT А, обращая внимание на функции глаголов “to be” и “to have” (в тексте выделены курсивом) и значения новых слов и словосочетаний (выделены жирным шрифтом). Переведите статью на русский язык.
How Pollack stays efficient by directing and producing
Director / producer and sometimes actor Sidney Pollack was the guest of the British Academy of Film and Television Arts on the evening of Monday, July 30 for a question and answer session chaired by Martin Schute, vice-chairman of the Council of Film.
The very entertaining and informative session began with the screening of a clip from Pollack's "Tootsie”. Pollack then gave a brief but illuminating run-down of his career with special reference to the events which led to his becoming a director after starting out as an actor . It was when he was working in television as an acting coach that Burt Lancaster urged him to turn to directing. Working in television on 20 shows a year Pollack got wonderful training that enabled him to move on to feature films for the cinema.
A highly appreciative audience of BAFTA members then laughed and applauded as Pollack witty replies to the questions posed by his fellow professionals.
How does he find his subjects?
"I've never shot a script in the form in which I received it. If it's not something I've developed myself there must be something in the material to which I respond.
"The screenplay for “Tootsie” was about an actor who dressed up as a woman to get a part. What I got interested in was the possibility of making a film which was a comedy but would be about a man who became a better man for having made contact with the feminine side of himself.
For me to want to make a film it must have either a premise or a world that interests me ... a sort of spinal chord that holds the theme together.”
Although Pollack may, and usually does, work on a screenplay with the writer, it is against his principles to take a screen credit.
Questioned about the problems of editing "Jeremiah Johnson" he agreed it was very difficult because most of the rushes had unchanging backgrounds of snow. " And when you're working in 15 feet of snow there's no take two ,” he replied.
"Jeremiah Johnson" was set up under new management at Warner Bros, when there was anxiety about costly mistakes. Pollack was asked for a budget before one had been worked out. Taking a Western he had made in Mexico as a yardstick, he arrived at a figure of $3.5 million which was agreed.
When the true budget of $5 million was worked out, Warners wanted to drop the project. "But by this time several of us had had advances we couldn't afford to pay back,” remarked Pollack .
Then Warner Bros. proposed to make a backlot version, although "Jeremiah Johnson" was a mountain picture set in the roughest part of North America.
"So I said, give me the $3.5 million and I'll make the picture, and I put up my salary, my house, my car . . . That's when I learned about producing. I was highly motivated to get my money and my property back!
Why does he produce the films he directs?
“Being my own producer is a little more work but it's more efficient because it saves time wasted on arguments.
Everybody in this business wants to get maximum control over the film because it all has to do with expressing your own point of view. You try to achieve the level of control where you can better express what you feel.
I’ve always made love stories. It's the only thing that interests me and I won’t spend two years of my life on something that isn't a love story. The relationship between one man and one woman is the microcosm for everything else that happens: politically, socially, morally. I can discuss war and peace just with two people. That's all that's necessary. They'll be surrounded by other things. For instance, “Three Days of Condor” is a thriller, but at the centre of it is a love story.”
Pollack summed up his development as a director as learning to work more simply. "There's nothing fancy in “Tootsie”. Ten years ago I would probably have been bored by shooting in that way and would have jazzed it up a bit. Now I try to be simpler. But it's harder."
Sidney Pollack's visit to BAFTA was fitted into the few days he spent in London casting and crewing for his next production "Out Of Africa", to be based on a factual book by Isak Denesen whose real (married) name was Karen Blixen.
It is a memoir of the writer's years in East Africa (years which included World War One) and of the two men in her life, her husband and her lover.
The screenplay is by Kurt Luedtke who was nominated for an Academy Award for his first screenplay, Pollack's "Absence Of Malice".
Meryl Streep is to star as Karen with co-stars Robert Redford as her lover and Klaus Brandauer as her Swedish husband.
Although the film will be shot entirely on location in Kenya, Pollack is making London his headquarters. He is engaging a British crew to avoid the cost of bringing 150 people all the way from the US and is casting British extras and supporting characters because, at the time of the book, 80% of the white population of East Africa came from the British Isles. Pollack expects to start shooting in Kenya on Jan. 10 next year, with some production filming in Sweden from early December when he can rely on snow. All principal shooting should be completed in 75 days.
(Majorie Bilbow. Screen International. August 25-Sept. 1984)
а) Present Indefinite:
b) Past Indefinite:
c) Future Indefinite:
d) с согласованием времен:
Найдите для каждого начала предложения в левой колонке его окончание в правой. Перепишите полученный текст, подчеркните сказуемое каждого предложения и укажите функции глаголов “to be” и “to have”. Переведите текст на русский язык.
1. Venice festival is... a) …Critic’s week.
2. Though outside Italy we call it b) ...damaging for the aesthetics of
a festival for... film;
3. The festival proves that cinema c) ...chosen for Venice can be seen
is alive and its poetic language both in the cinema Houses and on
4. Some years ago many film- d) ...accepted six Italian films for
makers were... the competition.
5. They had an idea that cinema e) …made high quality films this
an art was… f)... work hard to choose the best
6. Francis Ford Coppola came to domestic films.
the conclusion that electronics
was... g) ... very few American films on
7. Now the barriers between cin display during the festival.
ema and TV are down and
they are... h) … already arrived in Venice.
8. Many films that have been... i) …to be a success
9. There are… j)…helping each other instead of
10. Unfortunately Hollywood has fighting.
not... k) …afraid of new technologies.
11. The novelty of this year’s
Venice programme is... l)... an art exhibition and a
12. The greatest surprise of Ven holiday.
ice festival is that the selection committee has… m)... one of the most popular
13. The selection committee had events.
to... n)... not been lost.
14. Italians believe that the festi
val is... o)…losing out to electronics.
15. A lot of famous guests and jury members have…
Руководствуясь смыслом, вставьте в текст необходимые формы глаголов “to be” и “to have”. Не забудьте о правиле согласования времен.
When Belgian-born French film director Agnes Varda came out to the stage at the opening gala of 19th Moscow International Film Festival she _ warmly greeted by the audience.
A week before the festival, a retrospective of her work _ held at the Cinema Centre. It _ organized by Russian Film Museum. It gave Agnes Varda a new opportunity to meet Russian film-goers whom _ first met 20 years before. It was in 1962 when Russian spectators _ a chance to see her film “Cleo from 5 to 7”.
Varda said that she _ not going to become a film director. She _ working as a photographer and got interested in theatre and cinema. In 1954 with no cinematographic training she made her first film. The film _ edited by Alain Resnais. Collaborating with other authors of French New Wave, she established her reputation in French cinema with “Cleo from 5 to 7”. This film _ followed by such features as “Happiness” and “Vagabond’’.
Varda _ 67 years old now. Her new film will _ a documentary about her husband and French film director Jacques Demy. She said that she _shooting this film not to make publicity for her husband but to make it easier for the audience to understand his films.
She brought her latest feature “A Hundred and One Nights” to Moscow Festival. The film _ dedicated to the centenary of cinema. The main parts_ played by Michel Piccoli and Julie Gayet. The main character of “A Hundred and One Night” _ Mr. Cinema who _ 100 years old and _ losing his memory. The film shows the most important moments in the history of cinema. Varda said that she _a lot of problems with copyright when she _ releasing the film. There _ seven-second cuts from 40 different features. It took her two executive production managers half a year to solve all the copyright problems. The situation became even more difficult when she _ included well-known songs or parts of soundtracks as a tribute to the composers. Still she _ the winner, the film _ released.
Critics call Varda the grandmother of the French new wave. (When she _ young, she _ no idea she _ doing new wave. By the time she _ 25 years old Varda _ seen only six films in her life. At the age of 30 she read articles saying French films owed her everything. She said, she _ no wish to put herself into film history.
She _ sure, she loves making films and she thinks that her love of film-making
can _ clearly seen through her films. Varda says, that she _ a kind of fighting dinosaur. Though she is old, she is still making young cinema.
Here in Moscow her retrospective screenings at the Cinema centre _ so crowded, that people _ sitting on each other’s laps. While watching Russian audiences Varda said that the audience reaction to her films _ different from country to country. In Moscow her retrospective _welcomed in such a warm way that she _ sure that the Russians loved art and they loved to communicate with the artist.
Распределите данные ниже профессии по тем частям съемочной группы, к которым они относятся.
a) The set unit;
b) The director’s crew;
c) The cast;
d) The photography unit;
e) The sound unit;
f) The miscellaneous unit;
g) The producer's crew;
Объясните по-русски, чем занимаются представители следующих профессий:
a set decorator, the second assistant director, a dialogue coach, a production designer, a sound designer, a production manager, a star, a production secretary, a set dresser, a grip, a cinematographer, a boom operator, the third assistant director, the second unit director, a production recordist, a gaffer, a production assistant, the first assistant director, a camera operator, a graphic artist, the third man, an extra, a supporting player, a driver, an art director.
Подберите к следующим словам слова, наиболее близкие по значению:
1. a head a) a reply b) a back- ground с) a chairman d) a premise
2. to urge a) to make b) to enable c) urgent d) to train
3. to respond a) to revise b) to reply c) to receive d) to rely
4. to receive a) to take b) to give c) to get d) to send
5 to rely on a) to hope for b) to ask for c) to call for d) to fit into
6. a term a) a purpose b) a staff c) a period d) a liaison
7. a purpose a) a schedule b) a plan с) a scene d) an aim
8. footage a) a foot b) feet c) rushes d) a line
9. principal a) major b) visible c) attractive d) minor
10. to shape a) to push b) to adjust c) to arrange d) to label
11. ambient a) exposed b) various c) surround d) sonic
12. to vary a) to rig b) to insert c) to follow d) to change
13. a fellow professional a) non-professional b) highly professional c) a professional d) a colleague
14. an assembly phase a) a production phase b) a post-production c) a preparatory period d) a pre-production
Выберите антонимы к данным словам и словосочетаниям:
1. feminine_ a) beautiful b) developing с) male
2. to complete a) to finish___________ b) to start c) to lead
3. fancy a) ordinary b) appreciative c) anxiety
4. an input a) a coach b) an output с) a storyboard
5. an extra a) a fellow b) a stuntman c) a star
6. to include a) to prompt b) to take out c) to approve
7. to supervise a) to attract b) to run errands c) to avoid
8. an approval a) a support b) a messenger c) a disapproval
9. to conceal a) to join b) to show c) to insert
Укажите по одному лишнему слову, не относящемуся к данной тематической группе:
1. a) major b) main с) principal d) leading е) supporting
2. a) to require b) to demand c) to ask for d) to adjust e) to call for
3. a) to respond b) to pose c) to answer d) to reply e) to say back
4. a) an extra b) a star c) a minor player d) a stuntman e) a gaffer
5. a) a cinematographer b) a director of photography c) a camera-man d) a wrangler e) a DP
6. a) a boom operator b) a production recordist c) the third man d) a sound designer e) a stunt coordinator
7. a) a miscellaneous staff b) a make-up staff c) a hair-dresser d) an accountant e) a costume staff
8. a) a production manager b) production costs c) a producer d) an associated producer e) a production coordinator
Вставьте пропущенные слова в каждое предложение:
1. The director is first of all, responsible for _ the shooting and assembly phases. 2. The set unit _ by a production designer. 3. An art director _ the construction and painting of the sets. 4. The set decorator _ the sets for specific filming purposes. 5. The first assistant director plans out each day’s shooting _ and gives each shot for the director's. 6. The third assistant director serves as a _ for director and staff. 7. _ prompts performers their lines and speaks the lines of off-screen characters during shots of other performers. 8. The cast will include stars who can _ audiences. 9. Actors usually go through _, a procedure used to _ casting and to try out lighting, costume, make-up, and camera positions. 10. The first assistant director usually works with the extras and _ crowd scenes. 11. The camera operator _ the machine and usually has assistants who _ the camera, _ and _ focus, push a dolly, and so on. 12. A special-effects unit _ preparing and executing process shots, miniatures, matte work, computer-generated graphics, and other technical shots. 13. Shooting usually proceeds _ so the director and crew must _ each take. 14. During filming, one of the cinematographer’s staff holds _ up before the camera at the start of each shot.
Пропущенные слова: approval, to determine, out of continuity, runs, messenger, overseeing, supervises, a clapboard, the dialogue couch, a screen test, is headed, is charged with, adjust, off-screen characters, arranges, modifies, lines, load, label, schedule, attract, follow.
Реферат статьи The “philosophy” of Commercial Movie-Making
The “philosophy” of Commercial Movie-Making.
In order to understand the basis on which a movie is made and the style of film- making it is necessary to know what is really important in movie industry: its "philosophy" or "ideology”. That is what any film-maker should remember when he or she starts working.
1. The movies are a commercial enterprise and various segments of the industry require an adequate return on investment. Only this way the system of film-making can exist. However not every movie is expected to make a profit. Nevertheless, there must be some hope for an adequate return on investment if you want to get some money for making a film.
2. If the cost of production is very high, a movie simply cannot make an adequate return on the home market, especially in countries with small population. Then movies become an international business and the themes of the films should be also international.
3. In order to attract people, movies must be adapted to public tastes and the demands of the public.
4. Large audiences, necessary for the financial success of movies, can only be attracted by "entertainment." Entertainment can be achieved only with films which do not require too much serious thought and are not too similar to real-life situations.
5. The average movie-goer is rather young in his needs and interests. These needs and interests include: voyeurism, sadomasochism, sentimentality, humour and excitement. These needs can be fulfilled by sex, violence, romance, comedy, and adventure.
6. While following these needs and interests of the audience a filmmaker should mask the fact that they are not noble, so that the moviegoer is not embarrassed. Successful films always require a very special and often rare, combination of talent, taste and creativity.
7. Stars help the audience fulfill these various fantasy needs, and the star system is one of the basic systems of Hollywood cinema.
8. Movies are in competition with other forms of leisure activity (especially television) for the viewer's time and money. So movies must give the audience what those other forms cannot give. This competition with television is really difficult because television entertainment is free (you shouldn’t pay your money for it). The “uniqueness" of cinema is to be created by more sensational treatment of taboo subjects (sex and violence) than is possible at home; by casting popular stars who do not often show up on television; and by technological innovations (image size, 3-D, kinescope, special effects, and the like).
May be some of these “philosophic” ideas are not quite right and some of them are even false, but taken together they present a useful background for any film-maker, who wants his film to be a commercial success.
(Movies as Mass Communication)
Аннотация к тексту «Философия создание коммерческого фильма» (The “philosophy” of Commercial Movie-Making).