Vocabulary and communication

Exercise 46. Match the words in the columns to form phrases.

1. to direct a. skills

2. filmmaking b. plays

3. film c. responsible for

4. creative d. rehearsals

5. to hunt for e. films

6. amateur f. production

7. entry-level g. locations

8. to direct h. positions

9. to be i. techniques

Exercise 47. Solve the puzzle.

Exercise 48. Cross odd one out.

1) film play movie flick

2) script play story shot

3) terrible remarkable excellent wonderful

4) confident lazy calm creative

5) cast crew team unit

6) to shoot to make to stage to film

7) a frame a shot a still a clip

8) to motivate to avoid to inspire to create

9) sound screening lighting special effects

Exercise 49. Choose the best option and translate the sentences.

1. The film director / scriptwriter works with the movie producer to cast the actors.

2. To become a movie director one needs creative / analytical skills.

3. Lighting / Casting includes the use of both artificial light sources and natural illumination.

4. The director does not know how to operate the equipment / technique.

5. Film directors are responsible / late for the creative side of the film.

6. John does not want to recycle / rewrite the script. He likes the draft version so much that he does not want to make any changes.

7. Martin works with actors / scriptwriters very well – every performer always knows what to do.

8. His creative / technical skills are remarkable and he can make up an interesting story in 5 minutes, but he is not a team leader and that is why he does not want to direct films.

9. Glenn does not have any formal qualifications / requirements, but he is shooting a film.

10. The director can’t find a suitable location / actor to shoot a sunset scene.

Exercise 50. Translate into English.

1. Само собой разумеется, что режиссёру необходимо быть творческим человеком, чтобы снимать успешные картины.

2. Во время подготовительного периода режиссёр принимает много важных решений.

3. Ты хочешь сказать, что он всё ещё разрабатывает режиссёрский сценарий? – Да, он сейчас делает именно это.

4. Это правда, что вы сейчас делаете раскадровку? – Уже нет. Наш фильм уже в производстве.

5. Этот режиссёр не интересуется техническими аспектами кинопроизводства. Он думает, что за него всё должны делать другие.

6. Я думаю, всем нужно знать, как работать со светом, звуком, камерой и монтажным оборудованием.

7. У этого оператора почти никогда не бывает проблем с операторской группой: он настоящий лидер.

8. Нашему продюсеру не нравится окончательный вариант монтажа нашего фильма.

9. Этот режиссёр любит снимать крупные планы. Он считает, что чем больше крупных планов, тем лучше.

10. Режиссёру нужно быть уверенным в собственных силах, чтобы вдохновлять и мотивировать других членов съёмочной группы.

11. В чём заключаются основные обязанности рабочего-постановщика?

12. Любой кинематографист должен уметь работать в стрессовых условиях.

Exercise 51. Role-play a dialogue.

Student A. You are an experienced film director who is ready to give advice on becoming a filmmaker.

Student B. You are about to apply to a film school and you are lucky to have a chance to speak to an experienced film director. Ask a number of questions.

Suggested ideas: ask about responsibilities, necessary knowledge, working with the cast and crew, formal training, skills, equipment.

Exercise 52. Solve the puzzle and discuss the quotation.

This is a quote by Quentin Tarantino. What philosophical question does it raise? What’s the difference between stealing and borrowing in art? Discuss the questions with your partner.

Exercise 53. Role-play a dialogue.

Student A: You are a film school student. Think of the classes you are taking and whether you like them or not. What are you studying more: equipment or principles of filmmaking? Do you have any film screenings? Do you study film history? Do you have any master-classes?

Student B: You are thinking of applying to a film school and becoming a film director. Ask you partner whether he likes his film school or not, what classes he is taking, if the classes are focused on working with the equipment or theoretical principles, and whether any famous film-directors come to lecture in his film school.

At the end, Student B should make a decision about entering the film school.