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. How does Anna stand out from other young singers? 1) She wears unique clothes. 2) She is not sophisticated. 3) She is a fresher.

Presenter: Hello everybody and welcome to our daily programme 'Stardom'. Today in our studio we have Anna North, a talented young singer. Hello Anna. Anna: Hello. It's so nice being here. Thank you for inviting me. Presenter: So, Anna, our listeners would really love to learn more about you. Where do you come from? Anna: I come from a small town in Norway. It's not really special, but it has got amazing nature. It's close to the biggest lake in Norway. It's the city beside Lillehammer, so it's always been that Lillehammer is better than it. It's really safe and a really good environment. You could walk to school. I've had a safe and good youth. Presenter: So you were happy there? Anna: Yes, I was. In general, I've been really lucky with my family and everything. At the same time, that might also be why I wasn't daring. When you don't have anything to challenge you and everything is good, sometimes it can get too easy. You need to challenge yourself and try. You can't always be comfortable because then you won't grow as a person. Presenter: Right now you prefer to live in Oslo, right? Anna: Well, I moved to Oslo when I was 21 and I've been working there, studying there, for quite a while now. I really like Oslo. It's not too big and not too small. It's big enough to meet new people. There are a lot of people travelling there, and there's a lot of culture and music. Everyone should travel to Oslo. Presenter: Your forthcoming debut album is due in September. Are you excited about that? Anna: Of course. It's been quite challenging in many ways, because an album is hard work. I started the process back in December, and we already had a lot of demos before that, but we tried to make three demos a week, and then we chose what we thought was the best. It seems like some songs you can't force them, they just have to happen. We were supposed to release the album in June, now, to make the festivals, but you can't force creativity. Presenter: Did you enjoy making it? Anna: It was really fun because you learn. So, however it goes from here, it's amazing to have been able to make an album and that people listen to it. It's always been a huge dream. Music has always been a big part of me, but you never think you can do that. You never think you're good enough. I never ever thought I would make an album. Presenter: What's the album called? Anna: The album is actually called 'Lovers' because I usually talk to the fans. I don't like to say fans because it sounds weird. Or people who listen to our music as lovers because we're lovers and we share love of music. It's not pointing to lovers as a couple but it is meant to be some people, a group of people just sharing love and sharing music. Presenter: I see. Do you think your Scandinavian origin influenced your creative side? Anna: I think that people, when they think about Norway, they see this cold place. The same music could have come from another place, but since it is Norway, people make it a thing. I actually feel like some of our songs are quite warm, in a way, and have a really warm feeling to the production. Presenter: In what way are you different from other young artists? Anna: Nowadays, because there are so many artists out there, you have to stick out. Everything I do, like clothes, is important to me, the aesthetic around everything. I like minimalism and a lot of air. I'm really into simple as simple is kind of the key word. Simple is always right. Presenter: Thank you, Anna. It has been a real pleasure talking with you today.

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. What is NOT true about John Silver according to the text? 1) He has worked for the best film studios. 2) He educates university students only. 3) He has developed his own course.

Presenter: Good afternoon, everybody. Welcome to our weekly programme 'Five Minutes with a Star'. Today in our studio we have John Silver, a Hollywood's premier story consultant, who has worked as a story consultant and script doctor for Disney Studios, Sony Pictures, Fox and HBO. He has taught his 22-step great script writing and genre classes to over 40,000 students worldwide. He will teach us the ropes of his job, I'm sure. Hello, John. John: Good afternoon. It's a pleasure being here. Presenter: What's the best advice you can give aspiring writers to help them develop their own unique voice and style? John: Voice and style are among the most misunderstood of all elements in storytelling. They aren't simply a unique way of talking and writing. They come from content. Successful content comes from having an original story idea that is structurally well told, and this combination is extremely rare. Presenter: So, is this question really about the writing process? John: Exactly. Telling your story with a unique voice and style comes near the end of the process. The beginning of the process has to do with coming up with an original story idea, and that involves using story techniques that show you the elements of the idea that are totally unique to you. The next part of the process is a story structurally well told. This involves all the techniques that go into character, plot and story world. If you master all of these techniques, you'll write with a voice and style that is unmistakably yours. Presenter: When a writer has an idea for a screenplay, what questions should they be asking themselves before writing? John: The idea stage is the single most dangerous moment for a writer because you have almost nothing to go on. This is where craft and technique come to the rescue. Nine out of ten ideas should never be written as screenplays. They are simply too full of structural problems you can never fix, no matter how good you are at story. Presenter: Is it the stage where many writers break down? John: One of the biggest mistakes first-time writers make is that when they come up with a story idea, they get so excited they immediately start writing script pages. They get 15 to 25 pages in and then hit a dead end from which they cannot escape. Instead, they should start by looking for the structural problems that are embedded within the idea and focus on the probable main character and whether the idea can sustain a plot that is complex enough to generate up to 120 pages of story. Presenter: So how do you know that a story you want to turn into a screenplay or novel can carry an entire movie or book? John: There are many factors that determine a good story. When you are first considering whether a story idea will work as a novel or screenplay, look especially at two structural elements which you can see right in the premise line, the desire line and the opposition. The hero's goal provides the spine of the story and it must extend all the way to the end of the story. So make sure the goal is difficult to achieve and will require the hero to take a lot of complex actions to reach it. When considering the probable opposition in the story, make sure you can identify one character as the main opponent who wants to prevent the hero from reaching his or her goal. Then see if you can think of other characters who also oppose the hero's desire, but for different reasons and use different strategies than the main opponent. Presenter: Thank you very much, John.

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. In John’s opinion, what do voice and style of a writer depend on? 1) Talking. 2) Writing. 3) Content.

Presenter: Good afternoon, everybody. Welcome to our weekly programme 'Five Minutes with a Star'. Today in our studio we have John Silver, a Hollywood's premier story consultant, who has worked as a story consultant and script doctor for Disney Studios, Sony Pictures, Fox and HBO. He has taught his 22-step great script writing and genre classes to over 40,000 students worldwide. He will teach us the ropes of his job, I'm sure. Hello, John. John: Good afternoon. It's a pleasure being here. Presenter: What's the best advice you can give aspiring writers to help them develop their own unique voice and style? John: Voice and style are among the most misunderstood of all elements in storytelling. They aren't simply a unique way of talking and writing. They come from content. Successful content comes from having an original story idea that is structurally well told, and this combination is extremely rare. Presenter: So, is this question really about the writing process? John: Exactly. Telling your story with a unique voice and style comes near the end of the process. The beginning of the process has to do with coming up with an original story idea, and that involves using story techniques that show you the elements of the idea that are totally unique to you. The next part of the process is a story structurally well told. This involves all the techniques that go into character, plot and story world. If you master all of these techniques, you'll write with a voice and style that is unmistakably yours. Presenter: When a writer has an idea for a screenplay, what questions should they be asking themselves before writing? John: The idea stage is the single most dangerous moment for a writer because you have almost nothing to go on. This is where craft and technique come to the rescue. Nine out of ten ideas should never be written as screenplays. They are simply too full of structural problems you can never fix, no matter how good you are at story. Presenter: Is it the stage where many writers break down? John: One of the biggest mistakes first-time writers make is that when they come up with a story idea, they get so excited they immediately start writing script pages. They get 15 to 25 pages in and then hit a dead end from which they cannot escape. Instead, they should start by looking for the structural problems that are embedded within the idea and focus on the probable main character and whether the idea can sustain a plot that is complex enough to generate up to 120 pages of story. Presenter: So how do you know that a story you want to turn into a screenplay or novel can carry an entire movie or book? John: There are many factors that determine a good story. When you are first considering whether a story idea will work as a novel or screenplay, look especially at two structural elements which you can see right in the premise line, the desire line and the opposition. The hero's goal provides the spine of the story and it must extend all the way to the end of the story. So make sure the goal is difficult to achieve and will require the hero to take a lot of complex actions to reach it. When considering the probable opposition in the story, make sure you can identify one character as the main opponent who wants to prevent the hero from reaching his or her goal. Then see if you can think of other characters who also oppose the hero's desire, but for different reasons and use different strategies than the main opponent. Presenter: Thank you very much, John.

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 5. When do voice and style come to a writer? 1) At the beginning of the process. 2) In the middle of the process. 3) At the end of the process.

Presenter: Good afternoon, everybody. Welcome to our weekly programme 'Five Minutes with a Star'. Today in our studio we have John Silver, a Hollywood's premier story consultant, who has worked as a story consultant and script doctor for Disney Studios, Sony Pictures, Fox and HBO. He has taught his 22-step great script writing and genre classes to over 40,000 students worldwide. He will teach us the ropes of his job, I'm sure. Hello, John. John: Good afternoon. It's a pleasure being here. Presenter: What's the best advice you can give aspiring writers to help them develop their own unique voice and style? John: Voice and style are among the most misunderstood of all elements in storytelling. They aren't simply a unique way of talking and writing. They come from content. Successful content comes from having an original story idea that is structurally well told, and this combination is extremely rare. Presenter: So, is this question really about the writing process? John: Exactly. Telling your story with a unique voice and style comes near the end of the process. The beginning of the process has to do with coming up with an original story idea, and that involves using story techniques that show you the elements of the idea that are totally unique to you. The next part of the process is a story structurally well told. This involves all the techniques that go into character, plot and story world. If you master all of these techniques, you'll write with a voice and style that is unmistakably yours. Presenter: When a writer has an idea for a screenplay, what questions should they be asking themselves before writing? John: The idea stage is the single most dangerous moment for a writer because you have almost nothing to go on. This is where craft and technique come to the rescue. Nine out of ten ideas should never be written as screenplays. They are simply too full of structural problems you can never fix, no matter how good you are at story. Presenter: Is it the stage where many writers break down? John: One of the biggest mistakes first-time writers make is that when they come up with a story idea, they get so excited they immediately start writing script pages. They get 15 to 25 pages in and then hit a dead end from which they cannot escape. Instead, they should start by looking for the structural problems that are embedded within the idea and focus on the probable main character and whether the idea can sustain a plot that is complex enough to generate up to 120 pages of story. Presenter: So how do you know that a story you want to turn into a screenplay or novel can carry an entire movie or book? John: There are many factors that determine a good story. When you are first considering whether a story idea will work as a novel or screenplay, look especially at two structural elements which you can see right in the premise line, the desire line and the opposition. The hero's goal provides the spine of the story and it must extend all the way to the end of the story. So make sure the goal is difficult to achieve and will require the hero to take a lot of complex actions to reach it. When considering the probable opposition in the story, make sure you can identify one character as the main opponent who wants to prevent the hero from reaching his or her goal. Then see if you can think of other characters who also oppose the hero's desire, but for different reasons and use different strategies than the main opponent. Presenter: Thank you very much, John.

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 6. Why can’t most story ideas be turned into screenplays? 1) Their stories aren’t good enough. 2) They are too dangerous for a writer. 3) They have issues with structure.

Presenter: Good afternoon, everybody. Welcome to our weekly programme 'Five Minutes with a Star'. Today in our studio we have John Silver, a Hollywood's premier story consultant, who has worked as a story consultant and script doctor for Disney Studios, Sony Pictures, Fox and HBO. He has taught his 22-step great script writing and genre classes to over 40,000 students worldwide. He will teach us the ropes of his job, I'm sure. Hello, John. John: Good afternoon. It's a pleasure being here. Presenter: What's the best advice you can give aspiring writers to help them develop their own unique voice and style? John: Voice and style are among the most misunderstood of all elements in storytelling. They aren't simply a unique way of talking and writing. They come from content. Successful content comes from having an original story idea that is structurally well told, and this combination is extremely rare. Presenter: So, is this question really about the writing process? John: Exactly. Telling your story with a unique voice and style comes near the end of the process. The beginning of the process has to do with coming up with an original story idea, and that involves using story techniques that show you the elements of the idea that are totally unique to you. The next part of the process is a story structurally well told. This involves all the techniques that go into character, plot and story world. If you master all of these techniques, you'll write with a voice and style that is unmistakably yours. Presenter: When a writer has an idea for a screenplay, what questions should they be asking themselves before writing? John: The idea stage is the single most dangerous moment for a writer because you have almost nothing to go on. This is where craft and technique come to the rescue. Nine out of ten ideas should never be written as screenplays. They are simply too full of structural problems you can never fix, no matter how good you are at story. Presenter: Is it the stage where many writers break down? John: One of the biggest mistakes first-time writers make is that when they come up with a story idea, they get so excited they immediately start writing script pages. They get 15 to 25 pages in and then hit a dead end from which they cannot escape. Instead, they should start by looking for the structural problems that are embedded within the idea and focus on the probable main character and whether the idea can sustain a plot that is complex enough to generate up to 120 pages of story. Presenter: So how do you know that a story you want to turn into a screenplay or novel can carry an entire movie or book? John: There are many factors that determine a good story. When you are first considering whether a story idea will work as a novel or screenplay, look especially at two structural elements which you can see right in the premise line, the desire line and the opposition. The hero's goal provides the spine of the story and it must extend all the way to the end of the story. So make sure the goal is difficult to achieve and will require the hero to take a lot of complex actions to reach it. When considering the probable opposition in the story, make sure you can identify one character as the main opponent who wants to prevent the hero from reaching his or her goal. Then see if you can think of other characters who also oppose the hero's desire, but for different reasons and use different strategies than the main opponent. Presenter: Thank you very much, John.