III. Analytical-synthesized search. Task 1. Read the following diary.

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Task 1. Read the following diary.

A. Mark all the words from the topical vocabulary in the text.

B. While reading the text decide whether making a film is wearing and tiring or thrilling and inspiring.

Overnight The previous day's filming is developed.

7.30 a.m. Location manager phones Bristol airport for weather check for our area.

8.00 a.m. The catering manager goes to the market to buy fresh supplies for 110 people.

8.30 a.m. Editor and assistant look at yesterday's rushes without sound to see if the material needs editing.

9.00 a.m. Editor phones film unit and tells them that part of sequence will have to be reshot. Production manager starts to change the schedule to include new shot. We need to call back three actors who have been released. Catering team is cleaning out costume, make-up and actors' rest-room caravans.

9.30 a.m. All call times are adjusted. The leading actors are collected from hotel by third assistant director.

10.00 a.m. Costume and make-up assistants arrive; they work on the fifty-two supporting artists. Item about our filming is broadcast on a local radio station.

10.30 a.m. Leading actors are called for make-up.

11.00 a.m. Director arrives on set and walks alone around the location to decide how to shoot scenes. Continuity girl checks all locations against the script. Regional TV news team arrives to film an item for the teatime local programme.

11.30 a.m. Director, director of photography and continuity girl walk the set to discuss the scenes. Props team check action props for the day.

12. 00 p.m. Director, producer, designer, camera operators, location manager, continuity girl, assistant directors all crush into sitting room to discuss the shooting for the day. Production manager then visits each department to spread information. Director talks to actors. Art Department checks all in order for the first shot, asking actors to costume.

12.30. p.m. Spectators of the day arrive. By the end of the day about 300 people will come to watch. The police erect barriers for crowd control. Lunch.

1.00 p.m. Filming starts and goes up till 4 p.m. BBC press officer interviews some actors. Producer coordinates all the press. Later he discusses the day's interviews with the actors and producer.

1.30 p.m. Refilling actors on set to rehearse. Director organises all the supporting actors into their places, spectators arrive. They are asked not to take flash photographs while shooting. Filming continues. Production accountant is preparing travel expenses for the supporting actors.

2.00 p.m. Still photographer has five minutes to do set-up photos of the leading actors. Film unit sets up for the next shot... Caterers wash up after lunch. Local radio interviews the leading actress.

3.00 p.m. Film unit moves to a new location. Make-up designers change the leading actress's hairdo for the new shot. Some of supporting actors change costume and make-up for evening filming. Caterers serve tea.

4.30 p.m. Main lamps for night shoot are rigged. Animals on set: two horses, two dogs, two mongrels. Rehearsals of carriage arriving. Final costume and make-up are checking. Filming of scene 1/14 starts. More spectators arrive.

6.30 p.m. One of supporting actors is allergic to horses and has a very bad asthma attack. Producer administers first aid and she is sent for medical treatment.

7.00 p.m. Filming continues until 11.30 p.m., still watched by crowds of spectators.

10.00 p.m. Location manager delivers flowers to each house on the main street to thank them for their cooperation.

11.30 p.m. Filming finishes. Actors get out of costume and make-up. Hot snacks and drinks are served as people work. Horses are loaded into boxes for return journeys. Carriages start journey home. Dogs return to kennels. Camera equipment is checked and packed. Prop master hands out call sheets for the next filming day.

12.00 midnight Make-up and costume designers pack up and store everything for next filming day. Night security takes over.

C. Discuss the following point.

· Is making a film a form of art or a kind of entertainment? Comment on your answer.

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Task 2. You are going to read a magazine article about a woman who works for the film industry.

A. Be sure that you know all the highlighted words from this text. Try to remember and use them in your speech.

B. While reading the following article decide how Fiona Bartlett started her career of a scout for a film company..

MY KIND OF LIFE

Fiona Bartlett is a talent scout for a film company.

It is her job to find the right faces for the right film. She has spent the last month selecting the final cast for a new soap opera for teenagers.

1. _____

I studied Theatre Arts at university and had intended to end up working as a stage manager in a theatre. However, during one summer holiday I did some voluntary work with a children's theatre group and I met a number of casting agents - people whose job it is to look for children to take part in any new production. They do this by holding auditions - which are rather like interviews -where they can assess a child's acting ability.

2. _____

It was fascinating sitting in on the auditions. Children whom I thought were brilliant, who could sing and dance and had such confidence were not always the ones who got the parts. The casting agents would explain that one of the things they were looking for was how photogenic the child would appear in front of the camera, so each audition is videoed and watched on a monitor at the same time as the child is performing live.

3. _____

Three people usually sat in on each audition and the director - made the final decision. The schedule was always very tight and auditions were held in a different place each day for a period of up to two weeks at a time. So they were constantly on the move and might audition up to a hundred young - hopefuls in one day. I spent two days accompanying children to these auditions, and it was that experience that attracted me to the profession.

4. _____

However, when I first left university I worked as a personal assistant to the Production Manager of a children's animation and cartoon company. It was my job to look after his diary, arrange meetings, book actors and musicians for recording sessions and so on and in that way I met hundreds of different people. Then one day I heard that a TV company was looking for a casting agent and I applied for and got the job.

5. _____

I was prepared for the hard work and the travel but one thing that I was completely unprepared for was the emotional strain of the job. You arrive at the hall where the auditions are being held to be greeted by hundreds of young people all desperate to be chosen. And sometimes, however good they are, they are simply not right for the part, so you end up disappointing the vast majority of these kids.

6. _____

Obviously they've all worked and rehearsed enormously hard to get as far as the first audition. Most of them are accompanied by their teachers or a parent, they may have travelled miles to reach the place on time and spent money on fares and new clothes and so on. And they've got probably no more than five minutes to show us what they can do. Some of them are so nervous they just freeze, others are over-confident and burst into tears when you have to tell them they are not what you're looking for.

7. _____

In an ideal world you'd like to be able to offer everyone a job. But it is a very competitive world and if you can't survive these knocks early on when you're still a teenager, the chances are you've picked the wrong profession. But if you believe in yourself and you can cope with these setbacks, it is worth auditioning over and over again. Sometimes people wait years before they get through an audition and there are no guarantees that you'll succeed in this business.

8. _____

But on the positive side there's enormous job satisfaction to be gained from choosing the right actors for a new production. I know that all the hours I've spent this last month will have been worth it when the first episode of this new soap is broadcast, and perhaps some of these new young faces will go on to become big names in the years ahead.

C. Choose the most suitable heading from the list for each part of the article. There is one extra heading which you do not need to use.

a) Initial career move

b) The purpose of an audition

c) Huge effort to attend auditions

d) Determination is essential

e) Looking good on the screen

f) Choosing an alternative career

g) Chance of stardom in future

h) Turning down promising actors

i) The pressures in holding auditions

D. Discuss the following.

· What are the functions of a casting agent?

· Is the profession of this woman wearing and tiring or gratifying and brining satisfaction? Give your arguments.

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Task 3. Read the text attentively and be ready with the following.

A. Be sure that you know all the highlighted words from this text. Try to remember and use them in your speech.

B. While reading the text decide the role of setting, light, make-up, special effects in the success of a film.

STUNTS AND MAKE-UP

Thrills, shocks, speed, danger and transformation. They're all an important part of cinema's appeal — especially for young audiences. But how are a movie's most exciting moments created?

Special effects

One of the most famous special effects in early cinema was created by Willis O'Brien. He was the man who brought King Kong to life. Advertised as "The Eighth Wonder Of The World". Kong was an enormous gorilla. But to O'Brien he was more than that — he was also an enormous problem. How could audiences be made to believe in Kong's size without building a 20-metre model? There were two solutions. First, O'Brien built a small King Kong skeleton and covered it in rubber, cotton and rabbit fur. Less than 1-metre tall this is the "monster" which appeared in everything but close-ups. It was filmed one frame at a time and moved between each photograph like a 3D cartoon character. As for size it looked huge because everything else was scaled-down — skyscrapers, trees...even Fay Wray (the actress who played Kong's human prisoner) was replaced by a 10-centimetre model in some shots.

Then O'Brien built a full-size version of the gorilla's head and shoulders. This was used for close-up scenes. There was also a full-size hand in which Kong could hold the real Fay Wray.

Together, these models amazed audiences and made King Kong the most famous monster in cinema history.

Industrial light and magic

Many of today's most exciting special effects are filmed at "Industrial Light And Magic". Producer George Lucas built ILM in California during the 70s. At that time he wanted to develop new effects for his "Star Wars" series. The results were successful. So successful that they made ILM the world's top special effects studio. Here are just two of the effects developed there in the past ten years.

Go-motion. Do you remember the "space-bikes" chase in "Return Of The Jedi"? That was filmed in go-motion. It's a technique, which makes special effects models (cars, space-ships, robots, etc) look faster and more realistic. How? By (a) filming them one frame at a time (b) exposing each frame to light for a second (rather than 1/4 of a second as for normal film). When it's projected at 24 frames per second, the result looks smooth, quick and very real.

Compositing. In compositing different kinds of image are combined. For example it's possible to film: (a) models at TNR (b) actors in London (c) animation in Tokyo — and then mix all three images together. This is how some of the complex, special effects in the Indiana Jones films are made.

Stunts

Film stars are expensive. If they break an arm or a leg, production has to stop and that can cost a movie company millions. To avoid this, the dangerous scenes in films are usually done by "stunt" artists. These are the brave, highly-trained men and women who fall off high buildings, run through fires, fight sharks, jump out of moving cars.

Before the 70s, their names never appeared on film credits. Studios preferred audiences to believe that everything was done by the stars themselves. Now, though, the important, difficult work, which stunt artists do is recognized.

These days, modern technology makes their lives easier than in the past. There are special air bags, for example, which make "falls" less dangerous. Explosions and fires are easier to control, too. But nevertheless, stunting is still risky and deaths are not unknown. So...next time you gasp at a movie star's bravery on the screen, remember who you're really watching.

Make-up

Like stunt men and women, make-up artists weren't fully recognized in the film world until recently. In fact the Academy Award or "Oscar" category for make-up was only created in 1982. Which seems strange when you think what an important role make-up plays. Without it, some famous films couldn't even have been made.

For example:

• Citizen Kane (where Orson Welles aged over 50 years).

• The Company of Wolves (where some of the characters actually turned into wolves in front of the camera).

• Greystoke (where make-up turned human actors into chimpanzees).

But perhaps the best-known recent example of make-up was in "The Elephant Man". It consisted of 15 different sections and took eight weeks to plan. It also took a long-time to put on. Make-up artist, Chris Tucker, and actor, John Hurt, began work at 4 a.m. each morning so that shooting could begin at midday.

C. Reread the text and discuss the following points.

· What is an important part of cinema`s appeal? Is it similar to everybody?

· Don`t you think that W. O`Brien is one of a great number of film-makers who “cheats” people creating illusion?

· What special effects are familiar to you? Give examples.

· What are the advantages and the disadvantages of using stuntmen?

· Don`t you think that it is not fair to “cheat” people using stuntmen instead of actors?

· In which film you have seen were the best special effects, work of stuntmen (men and women), make-up? Why?

· Is it necessary to show people the way a film has been made? If yes, what for? When is it better to see it – before or after watching an original film?

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Task 4. Read the text and be ready with the following.

A. Make up a list of unknown words which you may use in your speech.

B. Before reading the text find information about Steven Spielberg and be ready to share with your group mates.

JURASSIC PARK

On a visit to a film studio in Los Angeles, I saw a fleet of dinosaurs being built to star in Steven Spielberg’s movie, Jurassic Park. In building these dinosaurs, the creators are striving at perfection. They want these creatures to move so naturally that people who see the film will think they are really living animals. Of the five main dinosaur characters, the Velociraptors look the most evil. They hunt in groups and appear to be very intelligent. They have cold eyes and their open mouths and big teeth make them likely to scare anyone who sees them in Jurassic Park.

Velociraptors may appear to have been intelligent, but were dinosaurs really clever? I put the question to Dale Russell, who works in the Canadian Museum of Nature, and who has been studying this for years. Russell has actually built a model of what he thinks a dinosaur would look like today, if they had not died out. He has called this creature the Troodon. It is about as big as a wild cat and the model looks like a cross between a lizard and a human.

Russell also believes that dinosaurs such as the Troodon would have continued to develop if they had not died out. Features such as walking on two feet instead of four, developing larger brains and manual skills would have continued to evolve through ages. Russell thinks that if the Troodon have survived, they would have developed brains the size of humans by now. But many scientists have argued that a bigger brain does not make creatures more intelligent. They have agreed with Russell, though, that Velociraptors in Jurassic Park were about as intelligent as chickens!

Unlike the story of Jurassic Park, in which dinosaurs become a threat to civilization, Russell believes that they would be too stupid and slow to create a problem in the modern world. Human beings would be able to defeat them, and even the plants they eat would have developed defence systems such as thorns and poisonous substances. The modern world would simply overpower them. But because dinosaurs died out such a long time ago, we can only guess at how these creatures would cope today.

C. Choose the appropriate Russian equivalent for the following English phrases and sentences.

1. They want these creatures move so naturally…

a) они хотят двигать эти существа так естественно…

b) они хотят, чтобы эти существа двигались настолько естественно…

c) они так хотят, чтобы эти существа двигались естественно…

2. … their open mouths and big teeth make them likely to scare anyone who sees them in Jurassic park.

a) … их открытые рты и большие зубы заставляют их пугать каждого, кто увидит их в Парке Юрского периода.

b) … их открытые рты и большие зубы делают их похожими и испугают любого, кто увидит их в Парке Юрского периода.

c) … их открытые рты и большие зубы вероятно испугают любого, кто увидит их в Парке Юрского периода.

3. Russell had actually built a model…

a) В действительности Рассел построил модель…

b) В сущности Рассел построил модель…

c) Рассел даже построил модель…

4. Velociraptors may appear to have been intelligent, but were dinosaurs really clever?

a) Велосирапторы могут показаться сообразительными, но были ли динозавры на самом деле умными?

b) Велосирапторы могут оказаться сообразительными, но были ли динозавры на самом деле умными?

c) Может оказаться, что велосирапторы были сообразительными, но были ли все динозавры умными?

5. But many scientists have argued that a bigger brain does not make creatures more intelligent.

a) Но многие ученые спорят, что больший объем мозга не делает существа более умными.

b) Но многие ученые приводят доводы в пользу того, что больший объем мозга не делает существа более умными.

c) Но многие ученые возражают против того, что больший объем мозга не делает существа более умными.

6. They have agreed with Russell, though, that Velociraptors in Jurassic Park were about as intelligent as chickens!

a) Несмотря на это они согласны с Расселом, что велосирапторы были примерно так же умны, как и цыплята.

b) Хотя они согласны с Расселом, что велосирапторы были не умнее цыплят.

c) Они все же согласны с Расселом, что велосирапторы не были умнее цыплят.

7. Russell believes that they would be too stupid and slow to create a problem in the modern world.

a) Рассел считает, что они были бы слишком глупыми и медлительными, чтобы стать проблемой для сегодняшнего мира.

b) Рассел считает, что они будут слишком глупыми и медлительными и не создадут проблему для сегодняшнего мира.

c) Рассел считает, что они также были бы глупыми и медлительными и были бы проблемой для сегодняшнего мира.

D. Mark the following statement as true or false. If they are false - correct them.

1. On a visit to a film studio in Las Vegas, I saw a fleet of dinosaurs from Jurassic park. 2. Of the dozen main dinosaur characters, the Velociraptors look the most evil. 3. Dale Russell, who works in the Canadian Museum of Nature, has been studying Velociraptors for years. 4. The model of a dinosaur is about as big as a human being and the model looks like a cross between a lizard and a man. 5. If dinosaurs hadn’t died out, human beings wouldn’t have being able to defeat them.

D. Discuss the following points about the text.

· What goal did the creators of dinosaurs follow while making the models for the film?

· Why did Velociraptors appear to be the most evil among all other dinosaurs?

· What question about the dinosaurs bothers the narrator?

· What opinion do other scientists have on this question?

· Do you agree that “modern world would simply overpower” the dinosaurs?

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Task 5. Listen to the recording on a disk. You will hear two people discussing a film course they have been on.

A. Listen to the conversation and decide what they agree about film industry.

1. People are well paid for not much work.

2. People have to accept idleness at times.

3. People enjoy working in a fun industry.

B. Discuss the following.

· Would you like to be on the same film course? Comment on your decision.

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Task 6.

A. Look at the photograph. Answer the questions.

1 Who do you think the man and woman are?

2 Where do you think they are?

3 What film do you think was being made?

4 What do you think is happening?

B. Read to the interview (part 1-2) with Dagmara and check your answers to the questions.

1.

Interviewer: So how did you get involved in the film, Dagmara?

Dagmara: Well, as you probably know, a lot of the film “Schindler's List”was shot in Krakow, in Poland, which is where I live. And before the actual shooting of the film started, the film company had an office in Krakow and I got a job there translating documents and parts of the script - things like that - I was a university student at the time.

Interviewer: But how did you get the job as Spielberg's interpreter in the film?

Dagmara: It's a funny story. I didn't think I would ever get to meet Spielberg or any of the actors. But then, just before the shooting started, there was a big party in one of the hotels in Krakow and I was invited. At first, I wasn't going to go - I was tired after working all day, and I didn't think I had anything suitable to wear. But in the end, I borrowed a jacket from a friend and I went. But when I arrived at the party, the producer - who was Polish - came up to me and said, “Dagmara, you're going to interpret for Steven Spielberg. You have to translate his opening speech, because the girl who was going to do it couldn't come.”

Interviewer: How did you feel about that?

Dagmara: I couldn't believe it! I was just a student -I had noexperience of interpreting - and now I was going to have to speak in front of hundreds of people. I was nervous so I drank a couple glasses of champagne to give myself courage. But when I started speaking, I was 50 nervous that I confused the dates of the Second World War - but luckily I managed to get to the end without making any more mistakes. And afterwards, during the party, Spielberg came up to speak to me to say thank you - he was really nice to me and said he was impressed by the way I had interpreted. And then he said, “I'd like you to be my interpreter for the whole film.” I couldn't believe it. I had to pinch myself to believe that this was happening to me.

2.

Interviewer: So what exactly did you have to do?

Dagmara: I had to go to the film set every day. A car came every day to pick me up from my house -1 felt really important! And then what I had to do was to translate Spielberg's instructions to the Polish actors, as well as the extras. I had to make them understand what he wanted. It was really exciting - sometimes I felt as if I was a director myself.

Interviewer: Was it a difficult job?

Dagmara: Sometimes it was really difficult. The worst thing was when we kept having to shoot a scene again and again because Spielberg thought it wasn't exactly right. Some scenes were repeated as many as 16 times - and then sometimes I would think that maybe it was my fault - that I hadn't translated properly what he wanted, so I'd get really nervous. I remember one scene where we just couldn't get it right and Spielberg started shouting at me because he was stressed. But in the end we got it right and then he apologized, and I cried a little, because I was also very stressed - and after that it was all right again.

Interviewer: So, was Spielberg difficult to work with?

Dagmara: Not at all. I mean he was very demanding - I had to do my best every day -but he was really nice to me. I felt he treated me like a daughter. For instance, he was always making sure that I wasn't cold -it was freezing on the set most of the time - and he would make sure I had a warm coat and gloves and things. It was hard work but it was fascinating -an amazing experience.

Interviewer: What did you think of the finished film?

Dagmara: I believe that “Schindler's List”is truly a great movie, a masterpiece. I think the actors were brilliant,- especially Liam Neeson and Ben Kingsley - and I love the way it was shot in black and white, with colour in just one scene. But, as you can imagine, I can't be very objective about it - 1 mean, I lived through nearly every scene. And when I watch it - and I've seen it a lot of times - I always remember exactly where I was at that moment. I can't help thinking, “Oh there I am, hiding under the bed, or standing behind that door.”

B. Read again the first part and answer these questions.

1. Where does Dagmara live? 2. What was she doing before the shooting of the film started? 3. Was that her real job? 4. Where did she meet Spielberg? 5. What did she have to do there? Why? 6. How well did she do it? 7. What happened afterwards?

C. Now reread the second part of the interview and make notes under the headings below. Be ready to discuss them.

1. What she had to do during the film. 2. The most difficult thing about the job. 3. The worst moment. 4. What it was like to work with Spielberg. 5. Her opinion of the film. 6. How she feels when she watches the film.

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Task 7. Read the following conversation and be ready to retell it in a form of a story.

THE SPECIAL EFFECTS PEOPLE

Bryan Schulz and some of his friends are visiting a famous special effects studio just north of San Francisco. Ken Smith, who works there, is showing them around.

KenIn the model shop here, we build exact models of things like cars or spaceships. And in the monster shop over there, we make all kinds of monsters and strange animals. Look at this one here!

Bryan: Wow! How does it move?

Ken: We use two different methods. With the older method we photograph the monster, then move it a little, then photograph it again, and so on. Then, when we run the film at the usual speed, the monster seems to move. With the more modern method we use computer-controlled models. We get a more realistic effect with them.

Jolene: What about the fantastic backgrounds for some movies? How do you make them?

Ken: Sometimes we paint the backgrounds — and sometimes we make models. And then we use the blue screen method to put the pictures together.

Grog: That's easy.

Ken: Perhaps. But you'd be surprised how much work we put into all this. Sometimes we spend six to eight months on a three or four minute scene.

Bryan: Six to eight months! That sure is a long time!

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