電影專業(yè)英語

內(nèi)容概要

　　《電影專業(yè)英語》是一本以電影制作為基礎(chǔ)的專業(yè)英語教材?！峨娪皩I(yè)英語》是從我國(guó)專業(yè)電影制作的實(shí)際出發(fā)，并參照了國(guó)外電影制作的先進(jìn)經(jīng)驗(yàn)編寫而成的，其中包括電影前期制作、拍攝階段、后期制作以及發(fā)行銷售的全過程，內(nèi)容全面，論述科學(xué)，結(jié)構(gòu)完整。每篇課文后面都附有單詞、短語和習(xí)語，以及例句的注釋?！　　峨娪皩I(yè)英語》填補(bǔ)了我國(guó)電影專業(yè)英語教材的空白，不僅適合于我國(guó)電影學(xué)院高年級(jí)專業(yè)英語教學(xué)的需要，也為在華學(xué)習(xí)電影專業(yè)的外國(guó)留學(xué)生提供了一本泛讀教材，還可以滿足廣大電影工作者及各大專院校影視專業(yè)學(xué)生學(xué)習(xí)電影專業(yè)和英語的需要。

書籍目錄

Part One ： Preproduction StageUnit OneText ： The StudiosNew WordsPhrases & ExpressionsNotesUnit TwoText ： Making a FilmNew WordsPhrases & ExpressionsNotesUnit ThreeText ： Researching the MarketNew WordsPhrases & ExpressionsNotesUnit FourText ： BudgetsNew WordsPhrases & ExpressionsNotesUnit FiveText ： The Preproduction PhaseNew WordsPhrases & ExpressionsNotesUnit SixText ： The ScreenplayNew WordsPhrases & ExpressionsNotesUnit SevenText ： Interpretation and StyleNew WordsPhrases & ExpressionsNotesUnit EightText ： Plot and StoryNew WordsPhrases & ExpressionsNotesUnit NineText ： The DirectorNew WordsPhrases & ExpressionsNotesUnit TenText ： The Unit Production Manager and the First Assistant DirectorNew WordsPhrases & ExpressionsNotesUnit ElevenText ： Principal PlayersNew WordsPhrases & ExpressionsNotesUnit TwelveText ： The Large Production UnitNew WordsPhrases & ExpressionsNotesUnit ThirteenText ： Sound Stage versus Practical LocationsNew WordsPhrases & ExpressionsNotesUnit FourteenText ： Preparing the CrewNew WordsPhrases & ExpressionsNotesPart Two ： Shooting StagePart Three ： Postproduction StagePart Four ： Distribution and MarketingAppendix I ： GlossaryAppendix II ： Credits

章節(jié)摘錄

　　Unit Eleven　　Text：Principal Players　　The only way you will ever know how someone will appear on film is to see him on film. Videotape will tell you a great deal，but nothing will tell you as much as the big screen. Usually，when casting principals，you will base your choices on actors you‘ve seen in other films. If you are considering someone who’s never been in afilm， by all means shoot a screen test.　　The difference between a screen test and an audition is that in ascreen test the actor performs a scene from the producer‘s script on film，usually in full costume and makeup.This is probably the most effective way to determine an actor’s suitability for a particular role.Prior to shooting the test，the actor‘s entire deal with respect to the picture will be negotiated as though he were set to perform in thefilm. The deal is then contingent upon satisfactory completion of the test. Actors are not generally paid for a screen test but they will usually receive a copy of the completed test to use as a sample oftheir work.If you can’t afford to shoot a test on film，borrow ahome video unit. The principal players can make or break your picture，so it‘s well worth the effort to test their talent thoroughly before hiring them.　　Assuming you select actors for your principal roles based on their performances in other films，your first step will be to contacttheir agents.Agency information can be found either in the Acade my Players Directory or by contacting the Screen Actors’Guild. The function of the agents is to counsel their clients，to negotiate on their behalf，and to protect their interests.　　The agent will ask to read the script，and if he finds the material of interest he‘Il send it to his client.This is assuming that he feels you can afford to pay his client’s fee， and that the client has no prior commitment that conflicts with your schedule. Remember thatit is the agent‘s job to negotiate on behalf of his client for the best deal he can get.　This is often based on the last deal he negotiated for that client， each deal setting something of a precedent for the future. However，a good agent will also look to the long-range implications in a project.If he sees a role that could launch the actor intoa whole new area of opportunity，he’ll take that into considerationin negotiating the deal and will perhaps bend a bit to accommodatethe producer. Don‘t hesitate to stress the strength of the role youhave to offer.This is worth a great deal and is often a more powerful inducement than money.The worst that can happen is that the agent turns you down and recommends another client better suited，in his opinion，to your project.　　In discussing the screenplay，I said that the most important consideration for an actor is the screenplay. Every actor is on the lookout for a vehicle that will best serve his talents or expand hishorizons.This is true for the top paid superstar as well as the struggling newcomer. An actor who has become well known for his portrayals of dramatic heroes may wish to expand his horizons， perhapsin to comedy. He will almost certainly be willing to take a cut insalary for the opportunity to play a comic role. But since he’s known only for his dramatic work，who‘s going to offer him a comedy ？ A comedy screenplay will first go to the actors who have proven themselves in that field，and if all of them turn it down it might be sent’ to a dramatic actor.　Rarely will he get first crack.　　If you can find the right person at the right time，with the right script，you‘ll not only negotiate a reason able price，you’ll have an energetic，enthusiastic performer. An actor who takes on a role because of moderate， routing interest in the script，or purely for the money，will be limited to a competent，professional performance. He will not，however，give you that added magical energy that‘s sparked by a genuine enthusiasm for the project.Finding an actor whose enthusiasm will be sparked by a role inyour film isn’t easy.Occasionally，word-of-mouth will advertisewhat sort of role a particular actor isseeking，but this is often third hand rumor information. The answer to this dilemma is to expose your project to whichever actors you considerright for your project.Don‘t limit yourself to the ones you know for certain you can afford——the ones who’Il take the part simply because you can pay their fee. As with seeking your writer and director，always go for the best，at least a cut above what is safe. Don‘t be afraid to shoot for the moon.　　Approaching your casting in this way， you will suffer many re-　　jections， but expecting the rejections will make them easier to take._　 And，occasionally，you’Il get a “yes”. With some roles，you will　　have to compromise，falling back on actors that fit more easily within　　your budget. Following this pattern， shooting for the moon，then com-　　promising to fit your budget，you will be setting the highest possible　　standards for your picture and you will know that you have assem-　　bled the best possible cast within your budget.　　……

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