Producer and his team
УПРАЖНЕНИЕ 1. Выполните письменно задание 1 блока 4.
ЗАДАНИЕ 1. Проверьте свою способность разбираться в английских частях речи, повторив раздел «Части речи» в справочном пособии. Найдите выход из лабиринта английских слов, расположив их по указанным группам: n — (существительное), v — (глагол), adj — (прилагательное), adv — (наречие). Переведите их на русский язык.
Model
to create (v) — creator (n) — creation (n) — creative (adj) — creatively (adv)— создавать, создатель, создание, творческий творчески
творить творец творение
to photograph (v) – фотографировать, photography (n) – фотография, photographer (n) – фотограф,
producer (n) – производитель, режиссёр-постановщик, to produce (v) - производить, production (n) - производство, productive (adj) – производительный, productively (adv) – производительно,
direct (adj) – прямой, direction (n) – направление, to direct (v) - управлять, directory (n) – руководство, directive (adj) - направляющий, photographic (adj) – фотографический, director (n) – руководитель, режиссёр
УПРАЖНЕНИЕ 2. Выполните письменно задание 3 блока 4.
ЗАДАНИЕ 3. Переведите данные ниже предложения на русский язык, правильно выбрав из приведенных ниже скобок слова и сочетания, являющиеся грамматическим ключом к точному переводу причастных форм глагола «to shoot». Считается, что вы успешно прошли тестирование, если правильно перевели не менее 7 предложений (т.е. выполнили тест на 70—100%).
1. The film shot by Kurosava is a screen version of the tragedy «Macbeth».
2. The characters were in panic, the camera shooting disquietly (беспокойно), moving here and there (туда и сюда).
3. The film being shot, the cameraman used hand cranked camera (камера с ручным приводом).
4. The director watched the cameraman shooting the scene.
5. The film shot is based on the best-seller.
6. When shot on location the film is more vivid (яркий).
7. Shooting the film he concentrated on the dramatic conflict.
8. We can see everything very closely, close-ups being shot in many scenes of the film.
9. The cameras shooting the characters without make-up, the film created photographic and psychological effect.
10. The camera shooting as if (как будто) pulsating, it captures (схватывает) every reaction of the character's face.
УПРАЖНЕНИЕ 3. Выполните письменно задание 5 блока 4.
ЗАДАНИЕ 5. Проверьте свое знание слов и умение разбираться в кинопроцессе. Напишите по-русски и по-английски, что можно сказать о каждом из работников студии во время заключительного этапа работы над фильмом по следующему образцу (заполните пропуски окончаний Participle I):
Model
(assemble...) editor—
(record...) sound engineer –
(instruct...) director –
(supervise...) producer –
УПРАЖНЕНИЕ 4. Выполните письменно задание 6 блока 4.
ЗАДАНИЕ 6. Вам необходимо обозначить этапы или виды проделанной на киностудии работы. Сделайте это в виде надписей на русском и английском языках, заполнив пропуски окончаний Participle II в данных ниже образцах:
Model
(assemble...) film –
(approve...) first cut –
(scrap ...) sound track –
(synchronize...) film –
(built...) up film –
(connect...) sequences –
УПРАЖНЕНИЕ 5. Определите свои вкусы в области кино, используя следующие ниже речевые модели и блоки. Повторите таблицу Причастия, блок 4, задание 2:Participle I, Participle II. Переведите свои предложения на русский язык.
a) Model: to show family conflicts
I like films showing (или) I dislike films showing
family conflicts. family conflicts.
Мне нравятся фильмы, Мне не нравятся фильмы,
показывающие семейные показывающие семейные
конфликты. конфликты.
to create new and original plots
to use best-sellers
to concentrate on action
to show pessimistic (optimistic) view of life
to present unknown subjects,
to represent a new original treatment
to produce a screen adaptation —
b) Model: to make films — сделать фильмы
I like films made by... I hate films made by...
Мне нравятся фильмы, сделанные... Я ненавижу фильмы, сделанные...
to shoot (shot) a film;
to use a new, original, classical story;
to develop genres;
to create a new genre and treatment.
УПРАЖНЕНИЕ б. Выпишите из текста А блока 4 все формы причастий и переведите их на русский язык.
УПРАЖНЕНИЕ 7. Выполните письменно задание 8 блока 4.
ЗАДАНИЕ 8. Выпишите из текста (Text А) и переведите фразы, в которых отсутствует перевод слов на русский язык (в тексте пропуск обозначен тремя точками). Обратите внимание на употребление форм причастия, данных в таблице Participle в задании 2.
Model
Then they present their version Затем они показывают (представ
of the film assembled ляют) свой вариант смонтирован-
to the producer. ного фильма продюсеру.
УПРАЖНЕНИЕ 8. Выполните письменно задание 9 блока 4.
ЗАДАНИЕ 9. Опишите этапы монтажно-тонировочного периода при помощи конструкции when + Participle II которая переводится как «при (после) + существительное», используя данные ниже сочетания слов.
Model: to assemble the film
When assembled the После (при) монтажа(е)
filmis presented фильм показывают (пред-
to the producer. ставляют) продюсеру.
to edit the film,
to build (built) up the film from a series of shots (takes),
to cut the shots together,
to scrap the sound track,
to draw (drew, drawn) the shooting schedule,
to refine and adjust the production budget.
УПРАЖНЕНИЕ 9. Выполните письменно задание 10 блока 4.
ЗАДАНИЕ 10. Опираясь на примечания к тексту (Text А), представьте процесс озвучания фильма, используя конструкцию Complex Object with the Participle. Используйте данные ниже сочетания слов.
Model: to synchronize the dialogue
I saw actors synchronizing Я видел, как актеры
the dialogue. озвучивали диалог.
to record the dialogue, to record music, to record sound effects, to mix sound effects.
УПРАЖНЕНИЕ 10. Выполните письменно задание 11 блока 4.
ЗАДАНИЕ 11. Укажите последовательно элементы кинопроизводства в монтажно-тонировочном периоде, используя формы Participle II и данные ниже сочетания слов. Переведите их на русский язык.
Model: film — to build (built)) up
film built up from фильм, смонтированный из
a series of shots (takes) серии дублей.
sequence — to form;
sequence formed from the shots эпизоды сформированы из кадров
sequences — to cut (cut, cut);
film — to assemble;
the first cut — to present;
sound — to scrap;
dialogue, music, dance — to post-synchronize;
shooting schedule — to draw (drew, drawn) up;
information — to transfer into a call sheet;
movie budget — to divide into 2 parts.
УПРАЖНЕНИЕ 11. Выполните письменно задание 12 блока 4.
ЗАДАНИЕ 12. Используя элементы кинопроизводства, данные в задании 11, напишите по-английски реферат текста (Text А). Примените следующие обороты из текста:
the film enters the final stage фильм вступает в заключительную
стадию series of shots серия кадров
the shots make scenes кадры составляют сцены
to form sequences образовать эпизоды
equivalent of a chapter равная главе (книги)
continuous strip of a film непрерывный кусок пленки
the version of the film версия (вариант) фильма
music sequences музыкальные эпизоды
are married into a film монтируются в фильм
exact location точное обозначение натуры (натурных съемок)
to transfer information into перенести (перевести) информациюв
during film production во время производства фильма
a movie budget смета на фильм
costs related to затраты, относящиеся к
the order of shooting порядок съемок
objective film criticism объективная кинокритика
artistic developments художественные достижения
УПРАЖНЕНИЕ 12. Переведите на русский язык текст «Producer and his team», приведенный в задании 13.
ЗАДАНИЕ 13.
а) Пользуясь при необходимости словарем, переведите текст «Producer and his team». Повторите по таблице способы перевода Passive и Participle.
Producer and his team
The production of the film is started out and seen through to the projection booths of the cinema by the producer. The producer is the financial and administrative head of the organization. On a studio picture, the producer is hired as a temporary employee. And the studio as production company owns the picture. The producer hires the filmmakers and provides them with what they need. The producer is usually flanked by an executive producer, a line-producer and a production manager. The executive producer makes a deal with a studio and sees that the picture goes further into development. The production of the film begins if the script and the budget are approved by the film company. The line-producer sees that the picture stays on schedule. The financial and practical control of the production is carried out by the production manager. At the pre-production stage he arranges the film tests of actors and actresses. For this he has a studio crew — camera, lighting and sound operators.
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УПРАЖНЕНИЕ 13. Заполните письменно первую форму сметы, представленную в задании 15 (блок 4), начертив ее в своих тетрадях.
ЗАДАНИЕ 15. Представьте, что вы проходите стажировку в качестве продюсера (line-producer). Вам предложили 2 формы сметы к новому фильму. Заполните их своими расценками. Укажите название (title) фильма.
Sample Budget Recup
Title: The first business woman Production Company......................................
Above-the-line
100 Screenplay $12,000
200 Producer 14,000
300 Director 11,500
400 Cast 45,000 $82,500
Bellow the line
Production
500 Production staff 10,700
600 Extras 6,000
700 Set operations 30,800
800 Sets 15,000
900 Props 8,600
1000 Costumes 5,900
1100 Make-up and hairdressing 5,000
1200 Production equipment 20,000
1300 Location/studio 13,800
1400 Laboratory and film 28,000
1500 Tests 500
1600 Production miscellaneous 14,500 158,000
Post-production
1700 Editing 40,000
1800 Sound 15,000
1900 Music 26,000
2000 Titles and opticals 5,000
2100 Laboratory 12,000
2200 Sound mix 10,000 108,000
Other costs
2300 Insurance 20,000
24000 Miscellaneous 25,000 45,000
Total 393,500
10% Contingency 39,400
Grand total 432,900
Bikini Island
Acct. Category title Page Total
12-00 Script 1 3,700
13-00 Producer 1 9,000
14-00 Director 1 4,000
15-00 Talent 1 12,825
TOTAL ABOVE THE-LINE 29,525
20-00 Production staff 1 6,850
21-00 Art Dept/Set Design 2 4,900
22-00 Mechanical Special FX 3 750
26-00 Camera 3 11,650
27-00 Electrical 3 5,850
28-00 Set Operations/Grips 3 2,388
29-00 Sound (Production) 3 2,240
3Q-00 Wardrobe 4 1,900
31-00 Make-up and hairdressing 4 1,100
32-00 Locations 4 23,015
34-00 "Vehicles 5 2,100
35-00 Film and Lab (Production) 5 26,643
TOTAL PRODUCTION 88,373
40-00 Editing and Projection 6 9,550
41-00 Sound (Post) 6 29,000
42-00 Film and Lab (Post Prod.) 6 12,500
45-00 Titles/Stocks 6 3,000
46-00 Music 6 1,500
TOTAL POST-PRODUCTION 55,550
51-00 General Expenses 7 12,000
53-00 Insurance 7 6,500
TOTAL OTHER 28,500
Total Below-the-line 143,923
Total Above and
Below-the-line 173,448
GRAND TOTAL 317,371
УПРАЖНЕНИЕ 14. Используя выученную лексику, переведите на русский язык рекламу Международного фестиваля компьютерной графики и мультипликации (задание 16).
ЗАДАНИЕ 16. Переведите на английский язык для нашего института рекламу Международного фестиваля компьютерной графики и мультипликации.
Мы приветствуем (greet) всех гостей (guests) и участников (participants) Московского международного фестиваля компьютерной графики и мультипликации (Computer Graphics and Animation).
ВГИК с энтузиазмом готовит этот фестиваль. Мы собрали (collect) все лучшее в области (in the field of) современных видео-компьютерных технологий (video-computer technologies), программных и аппаратных средств мультимедиа (Software and hardware of multimedia), компьютерной графики и мультипликации. Специалисты из разных стран получили возможность (have got the chance) встретиться для обмена опытом (exchange of experience) и обсуждения лучших творческих работ отечественных и иностранных киношкол (home and foreign cinemaschools), институтов, кино-, видео- и компьютерных студий, телекомпаний (TVcompanies).
В фестивале примут участие ведущие мировые фирмы (world firms), разработчики (designers), поставщики (suppliers) оборудования (equipment) и программного обеспечения (software), специалисты из сферы рекламы (advertising) и маркетинга (marketing), прессы, кинематографа и телевидения (cinematography and television), представители научно-исследовательских и учебных заведений (scientific, research and training institutions), творческих союзов (creative unions), работники киноиндустрии и дизайна.
Мы надеемся, что фестиваль принесет радость и удачу, позволит найти новых партнеров (partners), установить (establish) новые контакты.
Желаем успеха!
УПРАЖНЕНИЕ 15. Выполните письменно задание 17 блока 4.
ЗАДАНИЕ 17. Известно, что многие режиссеры учились искусству кинорежиссуры у Сергея Эйзенштейна. Представьте, что вы рассказываете о новаторстве этого художника в области монтажа. На основе текста «Sergei Eisenstein's art of montage» и следующих ниже вопросов напишите по-английски план своего рассказа.
1. Where did S. Eisenstein discover his model for montage?
2. How did the Orientals combine two images?
3. Why is this combination possible?
4. Can you give an example of such combination?
УПРАЖНЕНИЕ 16. Выполните письменно задание 18 блока 4.
ЗАДАНИЕ 18. Вообразите, что вам представилась возможность взять интервью у режиссера-монтажера фильма «Кабаре». Прочитайте текст «The art of editing» и сделайте письменную заготовку предполагаемой беседы, восстановив пропущенные вопросы или ответы из данных ниже разговорных реплик:
The art of editing
David Bretherton (the editor of «Cabaret» directed by Bob Foss).
«We finished shooting in Germany. Basically, we shot all the interior sets. So I cut those things first, as I got them. Bob was concentrating on concept and performance and he didn't know what I was doing. When he saw my cut he was surprised that I knew how to cut film without him. So God: after all, isn't that my function? That's why I was on the set) I watched him in rehearsals. I heard how he told the actors what he wanted. And even though sometimes they didn't do it on film. I knew that I could do it on film, I knew that I could do it when I started editing the film.
I could get the reaction of Liza Minnelli to Maria Berenson's line, as the director wanted it. I used intercutting. For instance, the intercutting of dance with what was outside the cabaret — the dead dog. The dance wasn't stopped. But I cut the things with the dog into the musical number. And made the scene larger in scope.
УПРАЖНЕНИЕ 17. Прочтите биографию Ф.Ф. Копполы и информацию его фильме «Крестный отец» (задание 20). Напишите по-русски реферат данной статьи.
ЗАДАНИЕ 20.
а) Переведите на русский язык Текст В — биографию Френсиса Копполы и информацию о его фильме «Крестный отец».
Text В. Brands Ford Coppola: «The Godfather»
Part 1. Biographical note
Francis Ford Coppola was born on April 7, 1939 in Detroit, Michigan, where his parents, Carmine and Italin Coppola lived. His father, Carmine, was the conductor of several orchestras in Broadway. At the age of nine, Francis contracted polio and remained at home for a year. He occupied himself with a theatre of puppets. And in 1949, at the age of ten, he made his first films. They were home movies. «I starred in them and made some money with them as I showed them to the kids in the neighborhood» — wrote F.F. Coppola.
«I was about eighteen when I became a disciple of Eisenstein». Francis read everything about him and saw every one of his films. Francis Coppola obtained his high school diploma (he also attended a private school but ran away from it) from the Great Neck High School on Long Island. And in 1956 he entered Habstra College where he published his first story. But then, he became the central figure of the drama department and directed staging of some plays.
When Coppola enrolled at UCLA he made his first film (in 1961) and later he made other films. But he became famous when Paramount offered him the opportunity to direct «The Godfather».
Part 2. «TheGodfather»
«The Godfather» (USA, 1972) (Produced by: Albert S. Ruddy for Paramount. Screenplay: Mario Puzo and Francis Coppola, from the novel by Mario Puzo. Director: Francis Ford Coppola. Cast: Marlon Brando, Al Pacino and others. Oscars were awarded for Best Film, Best Actor (Marlon Brando) and Best Screenplay).
Albert S. Ruddy and Peter Bart tell the story of «The Godfather» from the standpoints of the producer and the studio executive.
Albert S. Ruddy: «Because the book «The Godfather» topped the bestseller list for almost sixty-five weeks, Paramount decided to make a movie».
Peter Bart: «In dollar-terms «The Godfather» is the most successful movie ever made. Paramount bought the rights to «The Godfather» and I was responsible for optioning the basic material. I worked on the screenplay with Mario Puzo. I also brought Al Ruddy as producer. Mario Puzo wrote our first-draft screenplay. The basic problem we faced was about the genre of the film. We could make a family chronicle or an action-gangster picture. It was the decision of all of us to make a big film, not just a Mafia picture.
Later Albert and I brought Francis Ford Coppola in as a director. I believe that directors should be cast like actors. Francis Coppola was perfect casting for «The Godfather». Objections? Little details like he didn't do successful pictures, he wasn't disciplined enough, not experienced enough.»
Albert S. Ruddy: «One of the biggest attractions that Francis Ford Coppola held for me was that he was a very gifted writer. So we hired him as a director and a writer who had to work with Puzo. Francis came on about five months before shooting started and he worked hard on the script. Mario Puzo's screenplay was very good. But it wasn't in perfect screenplay form. Francis Coppola brought it up to the shooting form. But the architecture of the script was settled by Mario when we worked together».
Peter Bart: «Francis and I stayed very close during the casting of the picture. But the decisions about casting were ultimately Francis's. And there were brilliant decisions».
Albert S. Ruddy: «For example, the initial idea was to do a small contemporary film. But when we invited Marlon Brando it became a mess of ideas and different elements. And the film became bigger and more expensive.» We tried to build a wall around Francis so that he could use his creative energies to the filmmaking and not be concerned with otherproblems. But the creative judgment was placed against the dollars we had to spend. And the movie was very tightly controlled as to how the money was spent.
When the production started the budget was locked at somewhere between $ 5.4 and $ 5.5 million. The film came in at $ 6,1 million but the film never slipped. You have the various departments. And if you lose, or start sliding at one department, it affects every other department. For instance, if the set you constructed is not staying up, then you can't proceed with set dressing; and everybody else is not working but is paid.
I worked at the various stages of the editing — from the first minute to the last minute. But, basically, the first assembly of the film was done by Francis. He did it in San Francisco where he lived with a wife and kids. Later we worked in Los Angeles together. When we finished our cut it ran two hours and fifty-five minutes. But Paramount wanted a two-hour-and-twenty-five minute film. We cut it down to two-twenty five.
In my opinion there is not another director in the world better than Francis Coppola. Francis Coppola is a bright person — as a writer, as a director, and as a producer.
УПРАЖНЕНИЕ 18. Напишите на русском языке три аннотации рецензий фильмов, приведенных в задании 21.
ЗАДАНИЕ 21. Ознакомившись с тремя нижеследующими рецензиями, напишите по-русски небольшую статью (1стр.) о некоторых тенденциях кинематографа второй половины XX века:
TEXT С. FILM REVIEWS «The Promised Heavens» (directed by Eldar Ryasanov)
Top of the late 1991 and 1992 box-office was «The Promised Heavens» by the champion of social satire for the past twenty years or more, Eldar Ryasanov, who started a cinema of glasnost in 1987 with «A Forgotten Melody for the Flute».
A kind of Russian «The Fisher King» Ryasanov's latest effort concerns the homeless in a changing post-perestroika state of chaos. It ends with a fantasy triumph as the social outcasts board an old train (echoes of the «train in revolution» of the 1920's). The train rises off the tracks and sails across the midnight skies away from the bullets of police and soldiers below.
This «sunset of communism «film was not praised by many Russian critics. But it shows that Ryasanov tries to come to grips with the spirit of the times.
«The Player»
(Script: Michael Tolkin. Direction: Robert Altaian. Photography: Jean Lepine. Editing: Geraldine Peroni. Music: Thomas Newman. Production Design: Stephen Altaian. Players: Tim Robins, Greta Scacchi, Fred Ward).
Michael Tolkin's script, based on his novel, holds a mirror to the movie business as practiced in today's society. The picture shows movie business as one of double-dealing and total lack of principle.
A sly, manipulative producer is in danger of replacement. He gets away with the murder of a screenwriter (played to perfection by Tim Robins, winner of the Best Actor Award at the Cannes Film Festival). Altaian, who took Cannes honours for the Best Director, brilliantly introduces us to the studio life and key characters. Altaian's stroke of genius is to cast a wide array of stars playing themselves (Buck Henry, Bruce Wilis, Julia Roberts).
Akira Kurosawa and his film «Rashomon»
«Rashomon» (Japan, 1951, 90 mm. DirectedbyAkiraKurosawa)
At the 1951 Film Festival at "Venice the Grand Prize—the Golden Lion — went to the Japanese film «Rashomon». In 1952 the same film gained the Oscar as the Best Foreign Film. Its maker was Akira Kurosawa — a somewhat westernized Japanese director. It was his twelfth film and he was aged 40.
The script of the film was adapted by Akira Kurosawa, from two short stories by Ryunosuke Akutagawa, the title story, «Rashomon», and «In a Grove». In both Kurosawa used the atmosphere of complete desolation.
The story is set during the eighth century on the site of Rashomon gate, of the old Japanese capital of Kyoto. Three men are sheltering themselves from the rain. They are discussing a terrible event. A merchant and his wife were travelling through the forest. They were attacked by a bandit. The wife was raped and the merchant was killed.
Composition. The film is composed from four different versions of the crime. They were told by the wife, her husband, the bandit and a woodcutter, a witness to the crime (as they see it). Kurosawa emphasized the triangular nature of the story through his composition. The characters are always in different compositional relationships to each other due to the combination of short, long, middle, close, and panoramic shots.
Theme: Several versions of one event contradict each other. Here Kurosawa's central theme is expressed: the world is illusion, you yourself make reality, you can break free from the reality, and you can live closer to the nature.
Script. In his autobiography Akira Kurosawa tells how three assistant directors of Daiei company complained to him that they could not understand the script. He wrote 30 years later:
«Humanbeings are unable to be honest with themselves. The script portrays such human beings. It shows that even the character who dies cannot give up his lies when he speaks to the living through a medium Egoism is a sin the human being carries with him from birth. The film is like a strange picture scroll that is unrolled and displayed by the ego. You say that you can't understand this script at all, but that is because the human heart is impossible to understand. If you focus on the impossibility of truly understanding human psychology and read the script one more time, I think you will grasp the point of it».
Контрольная работа создана для тех, кто изучает киноматограф. В контрольной работе множество специальных терминов, которые касаются кино и киноиндустрии.
