Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Прослушайте запись дважды. Пример ответа: 1 7. According to Paul, the animation industry today … 1) can be an attractive career for artists. 2) is becoming more and more universal. 3) isn’t a good career choice anymore.

Presenter: Hello, everybody, and here we are with our daily programme, 'Five Minutes with a Star'. Today we are happy to have here Paul Brown, a world-famous animation artist who has recently published his autobiography, and he has also launched his own website, where you can see some of his most personal works. Hello, Paul. Paul: Good afternoon, everyone. Thank you for inviting me here today. Presenter: Let's start with your childhood, Paul. What can you tell us about it? Paul: Well, I grew up in Birmingham in the UK and I think I was born with a pencil in my hand. Ever since I can remember, I've been drawing. My dad and mum always supported both me and my brother in doing what we liked the most. Nevertheless, they wanted us to have an education and to study and to go to the university in case we failed as artists. Presenter: Did you go to an art school then? Paul: I was more of a self-taught artist, but as soon as I started as an illustrator, I wanted to go and study animation techniques in an art school. I really believe it's never late to learn, and I keep learning each day to improve my skills. Presenter: What goes through your mind when you're designing? And what is the method you use when starting a project? Paul: The process can be longer or shorter. When you become a professional artist, you have to devote yourself to art and give clients the best work possible, but without missing the points that we must supply what the client is looking for. I'm an artist who starts a commitment right away, focusing on it full time, if possible, and not counting the hours, days or months. The most important thing is imagination and creativity, always trying to think outside the box. Presenter: What type of tools or media do you use? Paul: I would like to say that I use multiple tools as much as I can — pencils, markers, gouache, watercolours and acrylics. I started with pencils and markers, so I can say I have excelled in using them. I do have to improve my computer skills, but my brother Geordie is very good at it and supports me in the studio. Presenter: What projects have you worked on in the past, and what are you working on at the moment? Paul: I have worked on around 25 feature films, including 'Balto', 'Prince of Egypt', 'Kung Fu Panda', 'Pirates'. My studio is currently working on a few different projects, another feature film, a short film and a musical with puppets, but I can't really say more due to non-disclosure agreements. Presenter: What's your point of view about the animation industry today? Paul: The industry is becoming more and more specialised, with many departments, but I do encourage young artists to work in visual development. That department is in charge of finding the look, and that is an incredibly creative and lovely career to go for. Presenter: Who are the artists who inspire you the most today? Paul: Oh, I admire so many artists. My friends and colleagues in animation, Carter Goodrich and Uli Meyer, and many, many more. I'm sorry I can't mention all of them at once. The classic illustrators are also a great inspiration. The comic strip and Disney artists etc. I mean all those great artists from the 50s, the 60s and the 70s. I can't think of a favourite design as I love lots of their works and I will never come close to that. I have learnt lots of things from them but the most important thing is to be able to be critical of yourself. You should be open to showing your artwork to other people, because their first impression is always very important. Don't be shy and, if necessary, start over. Presenter: Thank you very much, Paul. It has been very interesting talking to you. Paul: Thank you.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Прослушайте запись дважды. Пример ответа: 1 8. Speaking about the artists of the 50s, Paul says that he … 1) will never be as good as they were. 2) doesn’t even remember their names. 3) could be good friends with them.

Presenter: Hello, everybody, and here we are with our daily programme, 'Five Minutes with a Star'. Today we are happy to have here Paul Brown, a world-famous animation artist who has recently published his autobiography, and he has also launched his own website, where you can see some of his most personal works. Hello, Paul. Paul: Good afternoon, everyone. Thank you for inviting me here today. Presenter: Let's start with your childhood, Paul. What can you tell us about it? Paul: Well, I grew up in Birmingham in the UK and I think I was born with a pencil in my hand. Ever since I can remember, I've been drawing. My dad and mum always supported both me and my brother in doing what we liked the most. Nevertheless, they wanted us to have an education and to study and to go to the university in case we failed as artists. Presenter: Did you go to an art school then? Paul: I was more of a self-taught artist, but as soon as I started as an illustrator, I wanted to go and study animation techniques in an art school. I really believe it's never late to learn, and I keep learning each day to improve my skills. Presenter: What goes through your mind when you're designing? And what is the method you use when starting a project? Paul: The process can be longer or shorter. When you become a professional artist, you have to devote yourself to art and give clients the best work possible, but without missing the points that we must supply what the client is looking for. I'm an artist who starts a commitment right away, focusing on it full time, if possible, and not counting the hours, days or months. The most important thing is imagination and creativity, always trying to think outside the box. Presenter: What type of tools or media do you use? Paul: I would like to say that I use multiple tools as much as I can — pencils, markers, gouache, watercolours and acrylics. I started with pencils and markers, so I can say I have excelled in using them. I do have to improve my computer skills, but my brother Geordie is very good at it and supports me in the studio. Presenter: What projects have you worked on in the past, and what are you working on at the moment? Paul: I have worked on around 25 feature films, including 'Balto', 'Prince of Egypt', 'Kung Fu Panda', 'Pirates'. My studio is currently working on a few different projects, another feature film, a short film and a musical with puppets, but I can't really say more due to non-disclosure agreements. Presenter: What's your point of view about the animation industry today? Paul: The industry is becoming more and more specialised, with many departments, but I do encourage young artists to work in visual development. That department is in charge of finding the look, and that is an incredibly creative and lovely career to go for. Presenter: Who are the artists who inspire you the most today? Paul: Oh, I admire so many artists. My friends and colleagues in animation, Carter Goodrich and Uli Meyer, and many, many more. I'm sorry I can't mention all of them at once. The classic illustrators are also a great inspiration. The comic strip and Disney artists etc. I mean all those great artists from the 50s, the 60s and the 70s. I can't think of a favourite design as I love lots of their works and I will never come close to that. I have learnt lots of things from them but the most important thing is to be able to be critical of yourself. You should be open to showing your artwork to other people, because their first impression is always very important. Don't be shy and, if necessary, start over. Presenter: Thank you very much, Paul. It has been very interesting talking to you. Paul: Thank you.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Прослушайте запись дважды. Пример ответа: 1 9. Paul advises artists to … 1) remain modest. 2) ignore the criticism. 3) be self-critical.

Presenter: Hello, everybody, and here we are with our daily programme, 'Five Minutes with a Star'. Today we are happy to have here Paul Brown, a world-famous animation artist who has recently published his autobiography, and he has also launched his own website, where you can see some of his most personal works. Hello, Paul. Paul: Good afternoon, everyone. Thank you for inviting me here today. Presenter: Let's start with your childhood, Paul. What can you tell us about it? Paul: Well, I grew up in Birmingham in the UK and I think I was born with a pencil in my hand. Ever since I can remember, I've been drawing. My dad and mum always supported both me and my brother in doing what we liked the most. Nevertheless, they wanted us to have an education and to study and to go to the university in case we failed as artists. Presenter: Did you go to an art school then? Paul: I was more of a self-taught artist, but as soon as I started as an illustrator, I wanted to go and study animation techniques in an art school. I really believe it's never late to learn, and I keep learning each day to improve my skills. Presenter: What goes through your mind when you're designing? And what is the method you use when starting a project? Paul: The process can be longer or shorter. When you become a professional artist, you have to devote yourself to art and give clients the best work possible, but without missing the points that we must supply what the client is looking for. I'm an artist who starts a commitment right away, focusing on it full time, if possible, and not counting the hours, days or months. The most important thing is imagination and creativity, always trying to think outside the box. Presenter: What type of tools or media do you use? Paul: I would like to say that I use multiple tools as much as I can — pencils, markers, gouache, watercolours and acrylics. I started with pencils and markers, so I can say I have excelled in using them. I do have to improve my computer skills, but my brother Geordie is very good at it and supports me in the studio. Presenter: What projects have you worked on in the past, and what are you working on at the moment? Paul: I have worked on around 25 feature films, including 'Balto', 'Prince of Egypt', 'Kung Fu Panda', 'Pirates'. My studio is currently working on a few different projects, another feature film, a short film and a musical with puppets, but I can't really say more due to non-disclosure agreements. Presenter: What's your point of view about the animation industry today? Paul: The industry is becoming more and more specialised, with many departments, but I do encourage young artists to work in visual development. That department is in charge of finding the look, and that is an incredibly creative and lovely career to go for. Presenter: Who are the artists who inspire you the most today? Paul: Oh, I admire so many artists. My friends and colleagues in animation, Carter Goodrich and Uli Meyer, and many, many more. I'm sorry I can't mention all of them at once. The classic illustrators are also a great inspiration. The comic strip and Disney artists etc. I mean all those great artists from the 50s, the 60s and the 70s. I can't think of a favourite design as I love lots of their works and I will never come close to that. I have learnt lots of things from them but the most important thing is to be able to be critical of yourself. You should be open to showing your artwork to other people, because their first impression is always very important. Don't be shy and, if necessary, start over. Presenter: Thank you very much, Paul. It has been very interesting talking to you. Paul: Thank you.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Прослушайте запись дважды. Пример ответа: 1 3. Which of the following is NOT true about Eric James? 1) He’s won numerous prizes. 2) He’s covered various topics. 3) He wants to start his own school.

Presenter: Hello, everybody, and welcome to our weekly program, 'The Writer's Workshop'. Today in our studio, we have Eric James, a famous Washington Post reporter and writer. Hello, Eric. Eric: Good afternoon. Thank you for inviting me here today. Presenter: Could you please tell us a little about yourself and your achievements? Eric: Sure. As the Washington Post reporter, I've covered several presidential campaigns and chronicled some presidents' lives inside the White House. I won the 2014 Pulitzer Prize for Explanatory Reporting. I then gave up writing about politics and became a sports writer. For the Post, too. I've won multiple awards for news and feature writing. And I'm co-founder of a program that pairs professional journalists with low-income high school juniors and seniors to help them become great writers. Presenter: How do you start writing an article? Eric: When I write, I always want to know exactly how a story will end. I find that I write toward that ending, like a destination on a map, and if I don't know the ending of a story, I get lost along the way. Presenter: What is your next step then? Eric: I also try to define who's the main character in the story right from the start — somebody active, whose efforts are going to drive a lot of action. I also try to define a pair of opposing characters. There must be a pair of characters with a lot of tension between them, as this tension will help to move the story forward. Presenter: Your physical descriptions are outstanding. How do you manage to create them so vividly? Eric: I think all narrative stories rise and fall on small, observed details. The goal with these stories is to make readers feel like they are in the same room with the characters, and it is the details that make people feel real. I spend a lot of time with the subjects of my stories to get the details right. I might not notice something on the first day, or the third or the fifth, but maybe I will notice it the second or third week. Some of those hours are quiet, and there is nothing to do but look around and pay attention to the details that bring scenes to life. Presenter: How do you feel about critical remarks about your work? Eric: Any negative opinion is, after all, just a reaction to your work, emotional, intellectual or otherwise, which is pretty great. The worst thing that can happen to a writer is that readers welcome his or her work with indifference. As writers, I think we should aim at eliciting intense, memorable reactions on our readers, regardless of whether they are positive or negative. The nature of those reactions is, to a great extent, beyond my control, and therefore none of my business. Presenter: What is it like being a writer? Eric: Writing requires a great deal of patience, determination, and the weird desire to project a world of your own making. Writing also requires a particular and pleasurable kind of solitude that can veer quickly into loneliness. So, you can see how the writing is, in some ways, self-medication. When I've spent too much time alone, writing can pull me out of that. And when I've had enough of being around people, I know it's time to go back to the writing desk. I'm a recent father, though, so this last year has really put that creative theory to the test in the best way possible. My time isn't my own anymore, not the way it once was. So I'm getting better at doing a little bit here and a little bit there and seeing where it all lands at the end of the week. Presenter: Thank you very much, Eric. It has been very interesting talking to you. Eric: Thank you.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Прослушайте запись дважды. Пример ответа: 1 4. The programme Eric runs is aimed at … 1) rich schoolchildren. 2) teens from poor families. 3) professional journalists.

Presenter: Hello, everybody, and welcome to our weekly program, 'The Writer's Workshop'. Today in our studio, we have Eric James, a famous Washington Post reporter and writer. Hello, Eric. Eric: Good afternoon. Thank you for inviting me here today. Presenter: Could you please tell us a little about yourself and your achievements? Eric: Sure. As the Washington Post reporter, I've covered several presidential campaigns and chronicled some presidents' lives inside the White House. I won the 2014 Pulitzer Prize for Explanatory Reporting. I then gave up writing about politics and became a sports writer. For the Post, too. I've won multiple awards for news and feature writing. And I'm co-founder of a program that pairs professional journalists with low-income high school juniors and seniors to help them become great writers. Presenter: How do you start writing an article? Eric: When I write, I always want to know exactly how a story will end. I find that I write toward that ending, like a destination on a map, and if I don't know the ending of a story, I get lost along the way. Presenter: What is your next step then? Eric: I also try to define who's the main character in the story right from the start — somebody active, whose efforts are going to drive a lot of action. I also try to define a pair of opposing characters. There must be a pair of characters with a lot of tension between them, as this tension will help to move the story forward. Presenter: Your physical descriptions are outstanding. How do you manage to create them so vividly? Eric: I think all narrative stories rise and fall on small, observed details. The goal with these stories is to make readers feel like they are in the same room with the characters, and it is the details that make people feel real. I spend a lot of time with the subjects of my stories to get the details right. I might not notice something on the first day, or the third or the fifth, but maybe I will notice it the second or third week. Some of those hours are quiet, and there is nothing to do but look around and pay attention to the details that bring scenes to life. Presenter: How do you feel about critical remarks about your work? Eric: Any negative opinion is, after all, just a reaction to your work, emotional, intellectual or otherwise, which is pretty great. The worst thing that can happen to a writer is that readers welcome his or her work with indifference. As writers, I think we should aim at eliciting intense, memorable reactions on our readers, regardless of whether they are positive or negative. The nature of those reactions is, to a great extent, beyond my control, and therefore none of my business. Presenter: What is it like being a writer? Eric: Writing requires a great deal of patience, determination, and the weird desire to project a world of your own making. Writing also requires a particular and pleasurable kind of solitude that can veer quickly into loneliness. So, you can see how the writing is, in some ways, self-medication. When I've spent too much time alone, writing can pull me out of that. And when I've had enough of being around people, I know it's time to go back to the writing desk. I'm a recent father, though, so this last year has really put that creative theory to the test in the best way possible. My time isn't my own anymore, not the way it once was. So I'm getting better at doing a little bit here and a little bit there and seeing where it all lands at the end of the week. Presenter: Thank you very much, Eric. It has been very interesting talking to you. Eric: Thank you.