What do we learn about harry at the beginning of the interview ответы

What do we learn about harry at the beginning of the interview ответы

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

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What do we learn about Peter Green at the beginning of the interview?

1) His childhood years weren’t easy.

2) He has no experience of working in Hollywood.

3) His parents were quite rich people.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

Воспользуйтесь плеером, чтобы прослушать запись.

What do we learn about Peter Green at the beginning of the interview?

1) He has no experience of working in Hollywood.

2) His parents were quite rich people.

3) His childhood years weren’t easy.

Interviewer: Hello, everybody. Today we continue our series of radio programs 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 script writers in the USA. Hello, Peter!

Peter: Good afternoon! Thank you for inviting me here today.

Interviewer: So, Peter, as far as I know, your parents were not very well off. How did a young kid from Minneapolis end up being 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 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 a 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.

Interviewer: 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 Steele. 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.

Interviewer: 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.

Interviewer: 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 a 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.

Interviewer: What is your philosophy?

Interviewer: Thank you for talking with us today, Peter.

Peter: Thank you!

. As far as I know your parents were not very well-off. How did a young kid from Minneapolis end up being a scriptwriter?

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

Воспользуйтесь плеером, чтобы прослушать запись.

How does Peter describe himself at the beginning of his TV career?

Interviewer: Hello, everybody. Today we continue our series of radio programs 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 script writers in the USA. Hello, Peter!

Peter: Good afternoon! Thank you for inviting me here today.

Interviewer: So, Peter, as far as I know, your parents were not very well off. How did a young kid from Minneapolis end up being 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 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 a 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.

Interviewer: 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 Steele. 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.

Interviewer: 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.

Interviewer: 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 a 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.

Interviewer: What is your philosophy?

Interviewer: Thank you for talking with us today, Peter.

Peter: Thank you!

I never had written anything. I immersed myself into learning process.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

Воспользуйтесь плеером, чтобы прослушать запись.

What helped Peter to get his first TV job?

1) Writing 25 scripts.

2) Meeting a TV boss.

3) Doing things his way.

Interviewer: Hello, everybody. Today we continue our series of radio programs 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 script writers in the USA. Hello, Peter!

Peter: Good afternoon! Thank you for inviting me here today.

Interviewer: So, Peter, as far as I know, your parents were not very well off. How did a young kid from Minneapolis end up being 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 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 a 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.

Interviewer: 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 Steele. 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.

Interviewer: 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.

Interviewer: 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 a 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.

Interviewer: What is your philosophy?

Interviewer: Thank you for talking with us today, Peter.

Peter: Thank you!

…People say do not send it, but sometimes it does pay to break the rules.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

Воспользуйтесь плеером, чтобы прослушать запись.

What did Peter feel while working on his first project?

Interviewer: Hello, everybody. Today we continue our series of radio programs 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 script writers in the USA. Hello, Peter!

Peter: Good afternoon! Thank you for inviting me here today.

Interviewer: So, Peter, as far as I know, your parents were not very well off. How did a young kid from Minneapolis end up being 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 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 a 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.

Interviewer: 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 Steele. 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.

Interviewer: 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.

Interviewer: 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 a 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.

Interviewer: What is your philosophy?

Interviewer: Thank you for talking with us today, Peter.

Peter: Thank you!

Level of thrilling. It has never left me. Thrilling- захватывающий, enthusiasm-воодушевление.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

Воспользуйтесь плеером, чтобы прослушать запись.

How does Peter’s teaching experience help him be a producer?

1) He learnt teambuilding techniques at school.

2) He knows how to deal with different people.

3) He can be a strict mentor for his team now.

Interviewer: Hello, everybody. Today we continue our series of radio programs 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 script writers in the USA. Hello, Peter!

Peter: Good afternoon! Thank you for inviting me here today.

Interviewer: So, Peter, as far as I know, your parents were not very well off. How did a young kid from Minneapolis end up being 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 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 a 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.

Interviewer: 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 Steele. 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.

Interviewer: 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.

Interviewer: 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 a 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.

Interviewer: What is your philosophy?

Interviewer: Thank you for talking with us today, Peter.

What do we learn about harry at the beginning of the interview ответы

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

Воспользуйтесь плеером, чтобы прослушать запись.

What do we learn about Peter Green at the beginning of the interview?

1) He has no experience of working in Hollywood.

2) His parents were quite rich people.

3) His childhood years weren’t easy.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

Воспользуйтесь плеером, чтобы прослушать запись.

How does Peter describe himself at the beginning of his TV career?

Interviewer: Hello, everybody. Today we continue our series of radio programs 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 script writers in the USA. Hello, Peter!

Peter: Good afternoon! Thank you for inviting me here today.

Interviewer: So, Peter, as far as I know, your parents were not very well off. How did a young kid from Minneapolis end up being 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 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 a 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.

Interviewer: 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 Steele. 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.

Interviewer: 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.

Interviewer: 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 a 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.

Interviewer: What is your philosophy?

Interviewer: Thank you for talking with us today, Peter.

Peter: Thank you!

I never had written anything. I immersed myself into learning process.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

Воспользуйтесь плеером, чтобы прослушать запись.

What helped Peter to get his first TV job?

1) Writing 25 scripts.

2) Meeting a TV boss.

3) Doing things his way.

Interviewer: Hello, everybody. Today we continue our series of radio programs 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 script writers in the USA. Hello, Peter!

Peter: Good afternoon! Thank you for inviting me here today.

Interviewer: So, Peter, as far as I know, your parents were not very well off. How did a young kid from Minneapolis end up being 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 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 a 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.

Interviewer: 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 Steele. 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.

Interviewer: 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.

Interviewer: 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 a 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.

Interviewer: What is your philosophy?

Interviewer: Thank you for talking with us today, Peter.

Peter: Thank you!

…People say do not send it, but sometimes it does pay to break the rules.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

Воспользуйтесь плеером, чтобы прослушать запись.

What did Peter feel while working on his first project?

Interviewer: Hello, everybody. Today we continue our series of radio programs 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 script writers in the USA. Hello, Peter!

Peter: Good afternoon! Thank you for inviting me here today.

Interviewer: So, Peter, as far as I know, your parents were not very well off. How did a young kid from Minneapolis end up being 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 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 a 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.

Interviewer: 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 Steele. 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.

Interviewer: 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.

Interviewer: 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 a 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.

Interviewer: What is your philosophy?

Interviewer: Thank you for talking with us today, Peter.

Peter: Thank you!

Level of thrilling. It has never left me. Thrilling- захватывающий, enthusiasm-воодушевление.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

Воспользуйтесь плеером, чтобы прослушать запись.

How does Peter’s teaching experience help him be a producer?

1) He learnt teambuilding techniques at school.

2) He knows how to deal with different people.

3) He can be a strict mentor for his team now.

Interviewer: Hello, everybody. Today we continue our series of radio programs 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 script writers in the USA. Hello, Peter!

Peter: Good afternoon! Thank you for inviting me here today.

Interviewer: So, Peter, as far as I know, your parents were not very well off. How did a young kid from Minneapolis end up being 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 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 a 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.

Interviewer: 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 Steele. 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.

Interviewer: 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.

Interviewer: 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 a 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.

Interviewer: What is your philosophy?

Interviewer: Thank you for talking with us today, Peter.

What do we learn about harry at the beginning of the interview ответы

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

Воспользуйтесь плеером, чтобы прослушать запись.

Why does Pamela think traditional plots are necessary for writers?

1) They are extremely powerful.

2) They can help tell stories of the past.

3) They have stood the test of time.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

Воспользуйтесь плеером, чтобы прослушать запись.

What do we learn about Pamela Smith at the beginning of the interview?

1) She has worked in various spheres.

2) She is the most famous mythologist.

3) She has won many different awards.

Interviewer: Good afternoon everybody. Today, in our weekly program “ Hollywood secrets” we continue to explore the world of filmmaking. In our studio we have Pamela Smith, who is a world renowned mythologist, speaker, consultant, writer, award winning producer and director with over 30 years of experience on features, TV series, commercials, documentaries, corporate and military films. Her credits and clients include Paramount, Disney and Universal. Hello Pamela.

Pamela Smith: Good afternoon. Thank you for inviting me here today.

Interviewer: As far as I know, you have recently published a book “Symbols, images, codes in visual media”. There you discuss how powerful the silent form of communication is. Can you tell us about it?

Pamela Smith: Communication is the most important aspect of human interaction and it is accomplished in a number of ways, from utilitarian to artistic. Some of the most primitive yet still most effective modes of communication are visual. In a multicultural global village, we speak hundreds of languages and thousands of dialects with diverse and specific cultural backgrounds. How can we communicate effectively across all of these borders? Symbols and images can help us. That is basically what the book is about.

Interviewer: How can it benefit writers?

Pamela Smith: Because there is no particular rational attachment to them, visuals are a universal language that engages our intuition and imagination. The more consciously you use symbols and images in your stories, the more effective your message will be. Using appropriate visuals will heighten the emotional impact of your story and will connect your audience to the rich stream of meaning that flows through humanity and our arts.

Interviewer: Can you give us a few examples?

Pamela Smith: Let’s see, like how the elements of air can be used in films and their meanings. Air is the very essence of life itself. You can’t see it, but you can see it’s powerful effects. Air is often given godly status. Wind is the messenger of the gods, the random breeze can bring illumination, and the flight of birds spurs inspiration.

Interviewer: So what is your favourite room in the home and outside environment? Then you describe them and tell us why you like them.

Pamela Smith: My office overlooks a Bougainvillea vine, visited by hummingbirds, past the swimming pool and then to a wall of tall trees and flowering plants. Immersed in the bits of buzy Hollywood and the techno world of the web, it is refreshing to look up and out to see peaceful, beautiful nature.

Interviewer: What are some of your current and future projects that you can share with us?

Pamela Smith: Besides doing consultations and writing on some very interesting client projects, I am also working on two new books about symbols and images. I’ll be speaking about them at the South-West writers conference in September, and I’m also teaching online classes on symbols at some universities.

Interviewer: Can you tell us about The Future of Story conference coming up in Los Angeles on August 27th on what your role there is?

Pamela Smith: The conference explores aspects of the art and business of media making, offering speeches from the authors, writers and filmmakers with many years experience in

Hollywood. I’ll be on the first panel “Developing the story”. As a mythologist, I’m pleased to be able to bring the wonderful timeless tools of story to today’s writers and filmmakers. We know they really work because we’re still telling the stories from hundreds of years ago from many different cultures.

Interviewer: Thank you, Pamela.

Pamela Smith who is a world renowned mythologist, speaker, consultant, writer, award-winning producer and director with over 30years experience on features, tv series, commercials, documentaries, corporate and military films.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

Воспользуйтесь плеером, чтобы прослушать запись.

What is Pamela’s latest book about?

1) Non-verbal communication.

2) Modern multi-cultural society.

3) Visual special effects in media.

Interviewer: Good afternoon everybody. Today, in our weekly program “ Hollywood secrets” we continue to explore the world of filmmaking. In our studio we have Pamela Smith, who is a world renowned mythologist, speaker, consultant, writer, award winning producer and director with over 30 years of experience on features, TV series, commercials, documentaries, corporate and military films. Her credits and clients include Paramount, Disney and Universal. Hello Pamela.

Pamela Smith: Good afternoon. Thank you for inviting me here today.

Interviewer: As far as I know, you have recently published a book “Symbols, images, codes in visual media”. There you discuss how powerful the silent form of communication is. Can you tell us about it?

Pamela Smith: Communication is the most important aspect of human interaction and it is accomplished in a number of ways, from utilitarian to artistic. Some of the most primitive yet still most effective modes of communication are visual. In a multicultural global village, we speak hundreds of languages and thousands of dialects with diverse and specific cultural backgrounds. How can we communicate effectively across all of these borders? Symbols and images can help us. That is basically what the book is about.

Interviewer: How can it benefit writers?

Pamela Smith: Because there is no particular rational attachment to them, visuals are a universal language that engages our intuition and imagination. The more consciously you use symbols and images in your stories, the more effective your message will be. Using appropriate visuals will heighten the emotional impact of your story and will connect your audience to the rich stream of meaning that flows through humanity and our arts.

Interviewer: Can you give us a few examples?

Pamela Smith: Let’s see, like how the elements of air can be used in films and their meanings. Air is the very essence of life itself. You can’t see it, but you can see it’s powerful effects. Air is often given godly status. Wind is the messenger of the gods, the random breeze can bring illumination, and the flight of birds spurs inspiration.

Interviewer: So what is your favourite room in the home and outside environment? Then you describe them and tell us why you like them.

Pamela Smith: My office overlooks a Bougainvillea vine, visited by hummingbirds, past the swimming pool and then to a wall of tall trees and flowering plants. Immersed in the bits of buzy Hollywood and the techno world of the web, it is refreshing to look up and out to see peaceful, beautiful nature.

Interviewer: What are some of your current and future projects that you can share with us?

Pamela Smith: Besides doing consultations and writing on some very interesting client projects, I am also working on two new books about symbols and images. I’ll be speaking about them at the South-West writers conference in September, and I’m also teaching online classes on symbols at some universities.

Interviewer: Can you tell us about The Future of Story conference coming up in Los Angeles on August 27th on what your role there is?

Pamela Smith: The conference explores aspects of the art and business of media making, offering speeches from the authors, writers and filmmakers with many years experience in

Hollywood. I’ll be on the first panel “Developing the story”. As a mythologist, I’m pleased to be able to bring the wonderful timeless tools of story to today’s writers and filmmakers. We know they really work because we’re still telling the stories from hundreds of years ago from many different cultures.

Interviewer: Thank you, Pamela.

Symbols and images can help us. That is basically what the book is about.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

Воспользуйтесь плеером, чтобы прослушать запись.

How can Pamela’s book help writers?

1) It teaches them to cross cultural borders.

2) It enables them to write more impressively.

3) It improves their intuition and imagination.

Interviewer: Good afternoon everybody. Today, in our weekly program “ Hollywood secrets” we continue to explore the world of filmmaking. In our studio we have Pamela Smith, who is a world renowned mythologist, speaker, consultant, writer, award winning producer and director with over 30 years of experience on features, TV series, commercials, documentaries, corporate and military films. Her credits and clients include Paramount, Disney and Universal. Hello Pamela.

Pamela Smith: Good afternoon. Thank you for inviting me here today.

Interviewer: As far as I know, you have recently published a book “Symbols, images, codes in visual media”. There you discuss how powerful the silent form of communication is. Can you tell us about it?

Pamela Smith: Communication is the most important aspect of human interaction and it is accomplished in a number of ways, from utilitarian to artistic. Some of the most primitive yet still most effective modes of communication are visual. In a multicultural global village, we speak hundreds of languages and thousands of dialects with diverse and specific cultural backgrounds. How can we communicate effectively across all of these borders? Symbols and images can help us. That is basically what the book is about.

Interviewer: How can it benefit writers?

Pamela Smith: Because there is no particular rational attachment to them, visuals are a universal language that engages our intuition and imagination. The more consciously you use symbols and images in your stories, the more effective your message will be. Using appropriate visuals will heighten the emotional impact of your story and will connect your audience to the rich stream of meaning that flows through humanity and our arts.

Interviewer: Can you give us a few examples?

Pamela Smith: Let’s see, like how the elements of air can be used in films and their meanings. Air is the very essence of life itself. You can’t see it, but you can see it’s powerful effects. Air is often given godly status. Wind is the messenger of the gods, the random breeze can bring illumination, and the flight of birds spurs inspiration.

Interviewer: So what is your favourite room in the home and outside environment? Then you describe them and tell us why you like them.

Pamela Smith: My office overlooks a Bougainvillea vine, visited by hummingbirds, past the swimming pool and then to a wall of tall trees and flowering plants. Immersed in the bits of buzy Hollywood and the techno world of the web, it is refreshing to look up and out to see peaceful, beautiful nature.

Interviewer: What are some of your current and future projects that you can share with us?

Pamela Smith: Besides doing consultations and writing on some very interesting client projects, I am also working on two new books about symbols and images. I’ll be speaking about them at the South-West writers conference in September, and I’m also teaching online classes on symbols at some universities.

Interviewer: Can you tell us about The Future of Story conference coming up in Los Angeles on August 27th on what your role there is?

Pamela Smith: The conference explores aspects of the art and business of media making, offering speeches from the authors, writers and filmmakers with many years experience in

Hollywood. I’ll be on the first panel “Developing the story”. As a mythologist, I’m pleased to be able to bring the wonderful timeless tools of story to today’s writers and filmmakers. We know they really work because we’re still telling the stories from hundreds of years ago from many different cultures.

Interviewer: Thank you, Pamela.

Visuals are universal language that engages our intuition and imagination:the more consciously you use images in your stories the more effective your message will be. Using appropriate visuals will heighten the emotional impact of your story.

What do we learn about harry at the beginning of the interview ответы

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

What do we learn about Pamela Smith at the beginning of the interview?

1) She has worked in various spheres.

2) She is the most famous mythologist.

3) She has won many different awards.

Interviewer: Good afternoon everybody. Today, in our weekly program “ Hollywood secrets” we continue to explore the world of filmmaking. In our studio we have Pamela Smith, who is a world renowned mythologist, speaker, consultant, writer, award winning producer and director with over 30 years of experience on features, TV series, commercials, documentaries, corporate and military films. Her credits and clients include Paramount, Disney and Universal. Hello Pamela.

Pamela Smith: Good afternoon. Thank you for inviting me here today.

Interviewer: As far as I know, you have recently published a book “Symbols, images, codes in visual media”. There you discuss how powerful the silent form of communication is. Can you tell us about it?

Pamela Smith: Communication is the most important aspect of human interaction and it is accomplished in a number of ways, from utilitarian to artistic. Some of the most primitive yet still most effective modes of communication are visual. In a multicultural global village, we speak hundreds of languages and thousands of dialects with diverse and specific cultural backgrounds. How can we communicate effectively across all of these borders? Symbols and images can help us. That is basically what the book is about.

Interviewer: How can it benefit writers?

Pamela Smith: Because there is no particular rational attachment to them, visuals are a universal language that engages our intuition and imagination. The more consciously you use symbols and images in your stories, the more effective your message will be. Using appropriate visuals will heighten the emotional impact of your story and will connect your audience to the rich stream of meaning that flows through humanity and our arts.

Interviewer: Can you give us a few examples?

Pamela Smith: Let’s see, like how the elements of air can be used in films and their meanings. Air is the very essence of life itself. You can’t see it, but you can see it’s powerful effects. Air is often given godly status. Wind is the messenger of the gods, the random breeze can bring illumination, and the flight of birds spurs inspiration.

Interviewer: So what is your favourite room in the home and outside environment? Then you describe them and tell us why you like them.

Pamela Smith: My office overlooks a Bougainvillea vine, visited by hummingbirds, past the swimming pool and then to a wall of tall trees and flowering plants. Immersed in the bits of buzy Hollywood and the techno world of the web, it is refreshing to look up and out to see peaceful, beautiful nature.

Interviewer: What are some of your current and future projects that you can share with us?

Pamela Smith: Besides doing consultations and writing on some very interesting client projects, I am also working on two new books about symbols and images. I’ll be speaking about them at the South-West writers conference in September, and I’m also teaching online classes on symbols at some universities.

Interviewer: Can you tell us about The Future of Story conference coming up in Los Angeles on August 27th on what your role there is?

Pamela Smith: The conference explores aspects of the art and business of media making, offering speeches from the authors, writers and filmmakers with many years experience in

Hollywood. I’ll be on the first panel “Developing the story”. As a mythologist, I’m pleased to be able to bring the wonderful timeless tools of story to today’s writers and filmmakers. We know they really work because we’re still telling the stories from hundreds of years ago from many different cultures.

Interviewer: Thank you, Pamela.

What do we learn about harry at the beginning of the interview ответы

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

Воспользуйтесь плеером, чтобы прослушать запись.

What does Peter dislike about his present job?

1) Having to travel to and from work.

2) Having too many colleagues.

3) Having to work very quickly.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

Воспользуйтесь плеером, чтобы прослушать запись.

What do we learn about Peter Green at the beginning of the interview?

1) He has no experience of working in Hollywood.

2) His parents were quite rich people.

3) His childhood years weren’t easy.

Interviewer: Hello, everybody. Today we continue our series of radio programs 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 script writers in the USA. Hello, Peter!

Peter: Good afternoon! Thank you for inviting me here today.

Interviewer: So, Peter, as far as I know, your parents were not very well off. How did a young kid from Minneapolis end up being 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 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 a 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.

Interviewer: 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 Steele. 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.

Interviewer: 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.

Interviewer: 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 a 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.

Interviewer: What is your philosophy?

Interviewer: Thank you for talking with us today, Peter.

Peter: Thank you!

. As far as I know your parents were not very well-off. How did a young kid from Minneapolis end up being a scriptwriter?

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

Воспользуйтесь плеером, чтобы прослушать запись.

How does Peter describe himself at the beginning of his TV career?

Interviewer: Hello, everybody. Today we continue our series of radio programs 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 script writers in the USA. Hello, Peter!

Peter: Good afternoon! Thank you for inviting me here today.

Interviewer: So, Peter, as far as I know, your parents were not very well off. How did a young kid from Minneapolis end up being 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 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 a 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.

Interviewer: 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 Steele. 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.

Interviewer: 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.

Interviewer: 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 a 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.

Interviewer: What is your philosophy?

Interviewer: Thank you for talking with us today, Peter.

Peter: Thank you!

I never had written anything. I immersed myself into learning process.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

Воспользуйтесь плеером, чтобы прослушать запись.

What helped Peter to get his first TV job?

1) Writing 25 scripts.

2) Meeting a TV boss.

3) Doing things his way.

Interviewer: Hello, everybody. Today we continue our series of radio programs 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 script writers in the USA. Hello, Peter!

Peter: Good afternoon! Thank you for inviting me here today.

Interviewer: So, Peter, as far as I know, your parents were not very well off. How did a young kid from Minneapolis end up being 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 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 a 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.

Interviewer: 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 Steele. 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.

Interviewer: 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.

Interviewer: 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 a 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.

Interviewer: What is your philosophy?

Interviewer: Thank you for talking with us today, Peter.

Peter: Thank you!

…People say do not send it, but sometimes it does pay to break the rules.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

Воспользуйтесь плеером, чтобы прослушать запись.

What did Peter feel while working on his first project?

Interviewer: Hello, everybody. Today we continue our series of radio programs 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 script writers in the USA. Hello, Peter!

Peter: Good afternoon! Thank you for inviting me here today.

Interviewer: So, Peter, as far as I know, your parents were not very well off. How did a young kid from Minneapolis end up being 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 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 a 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.

Interviewer: 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 Steele. 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.

Interviewer: 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.

Interviewer: 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 a 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.

Interviewer: What is your philosophy?

Interviewer: Thank you for talking with us today, Peter.

Peter: Thank you!

Level of thrilling. It has never left me. Thrilling- захватывающий, enthusiasm-воодушевление.

Вы услышите интервью. В заданиях 3–9 запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

Воспользуйтесь плеером, чтобы прослушать запись.

How does Peter’s teaching experience help him be a producer?

1) He learnt teambuilding techniques at school.

2) He knows how to deal with different people.

3) He can be a strict mentor for his team now.

Interviewer: Hello, everybody. Today we continue our series of radio programs 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 script writers in the USA. Hello, Peter!

Peter: Good afternoon! Thank you for inviting me here today.

Interviewer: So, Peter, as far as I know, your parents were not very well off. How did a young kid from Minneapolis end up being 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 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 a 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.

Interviewer: 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 Steele. 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.

Interviewer: 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.

Interviewer: 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 a 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.

Interviewer: What is your philosophy?

Interviewer: Thank you for talking with us today, Peter.