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. Which of the following is TRUE about Peter at work? 1) He is ready to build up his team. 2) He never invites any freelancers. 3) He has a low opinion of TV in general.

Presenter: Hello, everybody. Today we continue our series of radio programmes about successful people. How can you become successful in the modern world? Peter Green knows that. He is one of the most successful TV and film scriptwriters in the USA. Hello, Peter. Peter: Good afternoon. Thank you for inviting me here today. Presenter: So, Peter, as far as I know, your parents were not very well off. How did a young kid from Minneapolis end up being the scriptwriter and executive producer of Hollywood blockbusters? Peter: Well, I had an intense desire to be successful, even though, to be honest, I had no idea what any of this entailed. I always had a fascination for the movies and television. I was teaching English to junior high school students in Minneapolis and was in my mid-twenties when I decided I wanted to try writing for TV. It was an exciting time for television. Saturday Night Live was the newest show, and there seemed to be a lot of opportunities. I was so naive and ignorant. I came to Los Angeles not knowing anyone or anything, never had written anything. I still thought if I didn't do it, then I would never have the chance to do it. So, I immersed myself in the learning process. I took extension courses, I studied other scripts, and just sat down and wrote. Presenter: Did it take you long to get noticed? Peter: In fact, I wrote 25 screenplays before I got my first job. I sent a spec script to Remington Steel. Lots of people say, don't send spec scripts of the show you want to pitch to, but sometimes it does pay to break the rules. They not only accepted that spec script, they eventually hired me to be on the staff. Presenter: Do you remember your first day in a film studio? Peter: I remember going to the set on my first day and the crew was readying a huge billboard for an actor to climb up. I turned to him and asked if he was excited to do it and he replied matter-of-factly, if it's in the script, I'll do it. Then I realised it's in the script because I wrote it that way. It was absolutely thrilling to see and hear that first script come alive on television. Even when it's a last-minute change in a script that's requested for the film and we stay up late at night, get it down, send it up to San Francisco and meet the next evening to watch it on the screen, that level of thrill has never left me. Presenter: So you gave up teaching. Do you ever miss the classroom? Peter: The teaching profession left its mark on me. The staffers call me Teacher Man because every single day for the last 15 years, I feel I've been the teacher to staff writers. I'm very good at what I do. Lots of writer-producers are just writers with another title, without the necessary management skills it takes to work with writers. Learning how to manage junior high school kids was great training in managing, teaching, inspiring a writing team. Presenter: What is your philosophy? Peter: I believe in raising people up to do the level of work they can do. I feel strongly that the best writing today is on television. We do nearly everything in-house, with just a few guest freelancers that we know. It's been very gratifying to give a number of people breaks on the show. I really enjoy my job. TV is a highly collaborative medium. We have six writers on the current show, and we team up on every script. It's faster that way, easier to bounce ideas off one another. And, that's the way I love to work. Commuting is tough, but for now, I can honestly say about my work, I love it. Presenter: Thank you for talking with us today, Peter. Peter: 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. What does Peter dislike about his present job? 1) Having to work very quickly. 2) Having too many colleagues. 3) Having to travel to and from work.

Presenter: Hello, everybody. Today we continue our series of radio programmes about successful people. How can you become successful in the modern world? Peter Green knows that. He is one of the most successful TV and film scriptwriters in the USA. Hello, Peter. Peter: Good afternoon. Thank you for inviting me here today. Presenter: So, Peter, as far as I know, your parents were not very well off. How did a young kid from Minneapolis end up being the scriptwriter and executive producer of Hollywood blockbusters? Peter: Well, I had an intense desire to be successful, even though, to be honest, I had no idea what any of this entailed. I always had a fascination for the movies and television. I was teaching English to junior high school students in Minneapolis and was in my mid-twenties when I decided I wanted to try writing for TV. It was an exciting time for television. Saturday Night Live was the newest show, and there seemed to be a lot of opportunities. I was so naive and ignorant. I came to Los Angeles not knowing anyone or anything, never had written anything. I still thought if I didn't do it, then I would never have the chance to do it. So, I immersed myself in the learning process. I took extension courses, I studied other scripts, and just sat down and wrote. Presenter: Did it take you long to get noticed? Peter: In fact, I wrote 25 screenplays before I got my first job. I sent a spec script to Remington Steel. Lots of people say, don't send spec scripts of the show you want to pitch to, but sometimes it does pay to break the rules. They not only accepted that spec script, they eventually hired me to be on the staff. Presenter: Do you remember your first day in a film studio? Peter: I remember going to the set on my first day and the crew was readying a huge billboard for an actor to climb up. I turned to him and asked if he was excited to do it and he replied matter-of-factly, if it's in the script, I'll do it. Then I realised it's in the script because I wrote it that way. It was absolutely thrilling to see and hear that first script come alive on television. Even when it's a last-minute change in a script that's requested for the film and we stay up late at night, get it down, send it up to San Francisco and meet the next evening to watch it on the screen, that level of thrill has never left me. Presenter: So you gave up teaching. Do you ever miss the classroom? Peter: The teaching profession left its mark on me. The staffers call me Teacher Man because every single day for the last 15 years, I feel I've been the teacher to staff writers. I'm very good at what I do. Lots of writer-producers are just writers with another title, without the necessary management skills it takes to work with writers. Learning how to manage junior high school kids was great training in managing, teaching, inspiring a writing team. Presenter: What is your philosophy? Peter: I believe in raising people up to do the level of work they can do. I feel strongly that the best writing today is on television. We do nearly everything in-house, with just a few guest freelancers that we know. It's been very gratifying to give a number of people breaks on the show. I really enjoy my job. TV is a highly collaborative medium. We have six writers on the current show, and we team up on every script. It's faster that way, easier to bounce ideas off one another. And, that's the way I love to work. Commuting is tough, but for now, I can honestly say about my work, I love it. Presenter: Thank you for talking with us today, Peter. Peter: 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. What do we learn about Leona Brown at the beginning of the interview? 1) She’s won many literary awards. 2) She’s published two novels so far. 3) She keeps writing fiction.

Presenter: Hello, everybody, and welcome to our weekly programme 'The Writer's Workshop'. Today in our studio, we have Leona Brown, a prize-winning short fiction writer. Hello, Leona. Leona: Good afternoon. Thank you for inviting me here today. Presenter: Will you please tell us a bit about your literary achievements? Leona: Of course. So far, I've written a novel and some collections of interlocking stories. My novel is basically a story about finding hope. I'm currently working on two other novels and a collection of essays. Presenter: Some literary critics think your novel 'A Good Person' is a love story. What would you say to that? Leona: Well, a lot of the action in the story happens off the page. The scenes seem to focus instead on the interactions and moments that happen in the wake of that off-page drama. I know some readers were particularly struck at how the story avoided certain storylines. For example, the drama that's built on the main hero's relationship is an important part of the story, but it remains secondary to what's going on with another main character, Sylvia. Another writer might have made it a much bigger part of the story. What will all of them do? This question is present, but it's kept to a lower register. So, there is a developing romance that gets folded into all the other stuff going on in the story. As a result, one could call this a love story, but that wouldn't feel quite right, I don't think. Presenter: When you were working on this story, what was your sense of what kind of story it was? Leona: I never did think of this as a love story. My process in developing a story or an essay is almost always exploratory for the first few drafts, and that was the case with this one even more than usual. It began with memories of a time and a place that I wanted to explore for meetings. I had quite a lot of it drafted before I figured out that its true subject was the drama going on inside Sylvia, a drama she's only partly aware of. Once I'd decided what the story was about, I rewrote it several, in fact, many times, hoping to make all the parts of it work together to make that drama felt. Presenter: So, Sylvia is your main character in this novel, isn't she? Leona: Yes. I'd say this is a story about Sylvia. The drama I was most interested in delving into was happening inside her. She's trying on different versions of herself and hasn't yet come to realize that life is serious business. She's reaching for some idea of cool and, naively, she half thinks she's already achieved it, but she's yet to take a deep look at anything in her life. I love her, and I forgive her faults, because she's young and a slow learner. Presenter: What can you tell us about your working process? Leona: In my opinion, stories are constructed through language, not memory. I write at the level of the sentence. I sit there, looking at the doors and windows a sentence has opened for the sentence that can follow, and so on. I do not write with a plan. I do not know where a story is going ahead of time. There is no pre-writing. It all happens in the moment of looking at the words. Presenter: How do you understand the plot is going to be interesting for readers? Leona: I do not believe circumstances are intrinsically interesting or uninteresting. Narrators create interest by their passionate investment in the story they are telling. The less the narrator asks for something from the reader, something like feel my feelings, share my understandings, and so on, the more room readers have to feel their own emotions. Presenter: Thank you, Leona. It has been very interesting talking to you. Leona: 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. Leona thinks that many of her readers find it surprising that she … 1) writes a lot of love stories. 2) leaves unanswered questions. 3) uses many main characters.

Presenter: Hello, everybody, and welcome to our weekly programme 'The Writer's Workshop'. Today in our studio, we have Leona Brown, a prize-winning short fiction writer. Hello, Leona. Leona: Good afternoon. Thank you for inviting me here today. Presenter: Will you please tell us a bit about your literary achievements? Leona: Of course. So far, I've written a novel and some collections of interlocking stories. My novel is basically a story about finding hope. I'm currently working on two other novels and a collection of essays. Presenter: Some literary critics think your novel 'A Good Person' is a love story. What would you say to that? Leona: Well, a lot of the action in the story happens off the page. The scenes seem to focus instead on the interactions and moments that happen in the wake of that off-page drama. I know some readers were particularly struck at how the story avoided certain storylines. For example, the drama that's built on the main hero's relationship is an important part of the story, but it remains secondary to what's going on with another main character, Sylvia. Another writer might have made it a much bigger part of the story. What will all of them do? This question is present, but it's kept to a lower register. So, there is a developing romance that gets folded into all the other stuff going on in the story. As a result, one could call this a love story, but that wouldn't feel quite right, I don't think. Presenter: When you were working on this story, what was your sense of what kind of story it was? Leona: I never did think of this as a love story. My process in developing a story or an essay is almost always exploratory for the first few drafts, and that was the case with this one even more than usual. It began with memories of a time and a place that I wanted to explore for meetings. I had quite a lot of it drafted before I figured out that its true subject was the drama going on inside Sylvia, a drama she's only partly aware of. Once I'd decided what the story was about, I rewrote it several, in fact, many times, hoping to make all the parts of it work together to make that drama felt. Presenter: So, Sylvia is your main character in this novel, isn't she? Leona: Yes. I'd say this is a story about Sylvia. The drama I was most interested in delving into was happening inside her. She's trying on different versions of herself and hasn't yet come to realize that life is serious business. She's reaching for some idea of cool and, naively, she half thinks she's already achieved it, but she's yet to take a deep look at anything in her life. I love her, and I forgive her faults, because she's young and a slow learner. Presenter: What can you tell us about your working process? Leona: In my opinion, stories are constructed through language, not memory. I write at the level of the sentence. I sit there, looking at the doors and windows a sentence has opened for the sentence that can follow, and so on. I do not write with a plan. I do not know where a story is going ahead of time. There is no pre-writing. It all happens in the moment of looking at the words. Presenter: How do you understand the plot is going to be interesting for readers? Leona: I do not believe circumstances are intrinsically interesting or uninteresting. Narrators create interest by their passionate investment in the story they are telling. The less the narrator asks for something from the reader, something like feel my feelings, share my understandings, and so on, the more room readers have to feel their own emotions. Presenter: Thank you, Leona. It has been very interesting talking to you. Leona: 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 5. Leona defines her book A Good Person mostly as a … 1) romance. 2) drama. 3) detective story.

Presenter: Hello, everybody, and welcome to our weekly programme 'The Writer's Workshop'. Today in our studio, we have Leona Brown, a prize-winning short fiction writer. Hello, Leona. Leona: Good afternoon. Thank you for inviting me here today. Presenter: Will you please tell us a bit about your literary achievements? Leona: Of course. So far, I've written a novel and some collections of interlocking stories. My novel is basically a story about finding hope. I'm currently working on two other novels and a collection of essays. Presenter: Some literary critics think your novel 'A Good Person' is a love story. What would you say to that? Leona: Well, a lot of the action in the story happens off the page. The scenes seem to focus instead on the interactions and moments that happen in the wake of that off-page drama. I know some readers were particularly struck at how the story avoided certain storylines. For example, the drama that's built on the main hero's relationship is an important part of the story, but it remains secondary to what's going on with another main character, Sylvia. Another writer might have made it a much bigger part of the story. What will all of them do? This question is present, but it's kept to a lower register. So, there is a developing romance that gets folded into all the other stuff going on in the story. As a result, one could call this a love story, but that wouldn't feel quite right, I don't think. Presenter: When you were working on this story, what was your sense of what kind of story it was? Leona: I never did think of this as a love story. My process in developing a story or an essay is almost always exploratory for the first few drafts, and that was the case with this one even more than usual. It began with memories of a time and a place that I wanted to explore for meetings. I had quite a lot of it drafted before I figured out that its true subject was the drama going on inside Sylvia, a drama she's only partly aware of. Once I'd decided what the story was about, I rewrote it several, in fact, many times, hoping to make all the parts of it work together to make that drama felt. Presenter: So, Sylvia is your main character in this novel, isn't she? Leona: Yes. I'd say this is a story about Sylvia. The drama I was most interested in delving into was happening inside her. She's trying on different versions of herself and hasn't yet come to realize that life is serious business. She's reaching for some idea of cool and, naively, she half thinks she's already achieved it, but she's yet to take a deep look at anything in her life. I love her, and I forgive her faults, because she's young and a slow learner. Presenter: What can you tell us about your working process? Leona: In my opinion, stories are constructed through language, not memory. I write at the level of the sentence. I sit there, looking at the doors and windows a sentence has opened for the sentence that can follow, and so on. I do not write with a plan. I do not know where a story is going ahead of time. There is no pre-writing. It all happens in the moment of looking at the words. Presenter: How do you understand the plot is going to be interesting for readers? Leona: I do not believe circumstances are intrinsically interesting or uninteresting. Narrators create interest by their passionate investment in the story they are telling. The less the narrator asks for something from the reader, something like feel my feelings, share my understandings, and so on, the more room readers have to feel their own emotions. Presenter: Thank you, Leona. It has been very interesting talking to you. Leona: Thank you.