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. What does John point out as the most typical mistake of beginning scriptwriters? 1) Jumping at writing the script. 2) Writing only 15 pages a day. 3) Focusing on structural problems.

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 8. According to John, the hero’s goal in a story … 1) must go throughout the whole story. 2) should be easy enough to achieve. 3) may motivate the readers of the story.

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 9. What does John say about the hero’s opponents in a story? 1) There can be only one opponent in any story. 2) Minor opponents should differ from the main one. 3) The opponents must have the same goal as the hero.

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 3. Which of the following is NOT one of Karen’s jobs? 1) A screenwriter. 2) An educator. 3) A script advisor.

Presenter: Hello everybody. Today in our studio we have Karen Jones, the world-famous film producer and script consultant. Hello Karen. Karen: Good afternoon. Thank you for inviting me. It's a real pleasure being here. Presenter: Your workshops on screenwriting are visited by hundreds of scriptwriters annually. Karen: Yes, because every screenwriter's goal is to have their project bought by a production company or studio and get a green light to have it produced. Presenter: Can you tell us what red light moments are and give us a few examples? Karen: Red light moments can happen whenever there is a change of personnel at the top, or because the studio, network or production company is undergoing a merger or an economic restructuring. When a new head of production comes in, they may have a totally different outlook on what is needed to move the company ahead. Usually, it is a thinning out of projects which may not fit into the new regime's programme. Presenter: You work a lot from home. What is your favourite room in your home? Karen: I do believe it's important to have a place where you can unwind, find peace and relax, even if it's for a few minutes. In the winter, I love curling up on a comfy sofa in my family room next to our fireplace, with my cat snuggled up next to me. If the weather is nice, I love reading and relaxing in our patio. On one side of our backyard, my husband planted beautiful Japanese maples next to a small stone temple. On the other side of the patio is a soothing, European-style fountain surrounded by azaleas and other flowering plants. Presenter: Do you have any special quotes or sayings that you keep visible in your work environment to help inspire, motivate and encourage you? Karen: There are so many quotes that I find inspirational, but here are two of them that come from rather diverse sources. The first one is: 'When the power of love overcomes the love of power, the world will know peace', by Hendrix. And the other one is 'You are braver than you believe, stronger than you seem, and smarter than you think', by Winnie the Pooh. Presenter: What are some of your current and future projects that you can share with us? Karen: I'll be doing a talk on family entertainment for the Torrance Children's Book Authors at their local Borders store on August the 24th. On August the 25th, I have the pleasure of co-teaching a special class on TV careers with my dear colleague Ellen Sandler at the Writers' Store in Burbank. This fall, I'll be teaching a workshop in France for the Marseille Festival du Web. In late January, I'll be travelling to India to the International Film Festival to do a three-day workshop. Presenter: What do you think attendees will find most useful? Karen: Writers who attend will certainly gain a fuller, more expansive outlook on the complete process of screenwriting, with information, advice and suggestions from more than a dozen industry specialists, whose clients include several award-winning writers, producers and agents. Presenter: Tell us why screenwriters should attend any writing conferences. Karen: In between the panels, the organisers usually arrange for everyone to have an informal dinner from several of LA's famous gourmet food trucks. It's a great unstructured opportunity to talk with authors as well as fellow screenwriters and directors. What a fantastic way to build and expand that screenwriting community I just mentioned. I'm looking forward to answering authors' questions. Presenter: Thank you very much, Karen.

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. According to Karen, what can create a problem for a scriptwriter? 1) New top managers in a film company. 2) Conflicts with the studio staff. 3) An economic crisis in the country.

Presenter: Hello everybody. Today in our studio we have Karen Jones, the world-famous film producer and script consultant. Hello Karen. Karen: Good afternoon. Thank you for inviting me. It's a real pleasure being here. Presenter: Your workshops on screenwriting are visited by hundreds of scriptwriters annually. Karen: Yes, because every screenwriter's goal is to have their project bought by a production company or studio and get a green light to have it produced. Presenter: Can you tell us what red light moments are and give us a few examples? Karen: Red light moments can happen whenever there is a change of personnel at the top, or because the studio, network or production company is undergoing a merger or an economic restructuring. When a new head of production comes in, they may have a totally different outlook on what is needed to move the company ahead. Usually, it is a thinning out of projects which may not fit into the new regime's programme. Presenter: You work a lot from home. What is your favourite room in your home? Karen: I do believe it's important to have a place where you can unwind, find peace and relax, even if it's for a few minutes. In the winter, I love curling up on a comfy sofa in my family room next to our fireplace, with my cat snuggled up next to me. If the weather is nice, I love reading and relaxing in our patio. On one side of our backyard, my husband planted beautiful Japanese maples next to a small stone temple. On the other side of the patio is a soothing, European-style fountain surrounded by azaleas and other flowering plants. Presenter: Do you have any special quotes or sayings that you keep visible in your work environment to help inspire, motivate and encourage you? Karen: There are so many quotes that I find inspirational, but here are two of them that come from rather diverse sources. The first one is: 'When the power of love overcomes the love of power, the world will know peace', by Hendrix. And the other one is 'You are braver than you believe, stronger than you seem, and smarter than you think', by Winnie the Pooh. Presenter: What are some of your current and future projects that you can share with us? Karen: I'll be doing a talk on family entertainment for the Torrance Children's Book Authors at their local Borders store on August the 24th. On August the 25th, I have the pleasure of co-teaching a special class on TV careers with my dear colleague Ellen Sandler at the Writers' Store in Burbank. This fall, I'll be teaching a workshop in France for the Marseille Festival du Web. In late January, I'll be travelling to India to the International Film Festival to do a three-day workshop. Presenter: What do you think attendees will find most useful? Karen: Writers who attend will certainly gain a fuller, more expansive outlook on the complete process of screenwriting, with information, advice and suggestions from more than a dozen industry specialists, whose clients include several award-winning writers, producers and agents. Presenter: Tell us why screenwriters should attend any writing conferences. Karen: In between the panels, the organisers usually arrange for everyone to have an informal dinner from several of LA's famous gourmet food trucks. It's a great unstructured opportunity to talk with authors as well as fellow screenwriters and directors. What a fantastic way to build and expand that screenwriting community I just mentioned. I'm looking forward to answering authors' questions. Presenter: Thank you very much, Karen.