Search results for 'tag:Expressions tag:Interviews' matching tags 'Expressions' and 'Interviews'

Re: Look at his face...

Old Man Gordon — Thu, 14 Aug 2008 19:29:56 GMT

see it? - I'm not sure, but I assume that Clark is holding a note or paper (with Lana's name on it?)

do the heavy lifting - do the hard work (Is Whitney Lana's boyfriend?)

On that note - we say this when we want to change the subject or conclude something. Usually, it is an uncomfortable remark, or it can be a very positive remark which is a good place to end an interview or meeting.

One step forward, two steps back - the actual phrase is 'two steps forward, one step back'. We advance and retreat, but in general we move ahead. Pete turned the expression around to mean that even if we make progress, we are still falling back more.

I hope this helps.

how does hitchcock create suspense and shock?

Anonymous — Fri, 01 Aug 2008 15:41:52 GMT

HELLO! CAN YOU PLEASE CHECK MY ESSAY ACCORDING TO SEA PARAGRAPHS (sTATEMENT, eVIDENCE, aNALYSE)?

âHow does Hitchcock create Suspense and shock?â

Alfred Hitchcock is known as the âmaster of suspenseâ and a great innovator. He has three films in the Top Ten of the American Film Instituteâs top thrilling films. âPsychoâ, made in the year 1960, was number one. Hitchcock always uses suspense and tension to shock his audience. He does this by using cinematography very well by the way he uses the camera position, angles, movement and shots. He also uses scary music and lighting when he wants to shock his audience or create suspense.

Hitchcock misleads his audience to create shock in âPsychoâ. At the beginning of the film, we see Marion Crane and Sam Loomis in the bedroom together. By seeing this, we think this is a love and romance story. After Marion steals the money from her boss, we then believe the genre of the film is about crime. However, the genre of this film is not about romance or even crime. In fact, this movie is a thriller and the main character, Marion, dies a third way through the film. This is unexpected because she is the main character of the film and not a bad person. Another shock is when we discover that Norman Bates dresses like his âmotherâ in womenâs clothing, which the audience finds strange and weird.

False suspense makes shocks more shocking because we never know what will happen. Hitchcock creates false suspense in a number of ways. When Marion has been sleeping in the side of the road in her car, a cop comes and wakes her up. The audience feels tense and wonders if she is going to get caught with the $40,000. Marion is very nervous and we are afraid if the cop is going to search her bag. Her uneasy behaviour adds to the tension. The copâs sunglasses also add to the tension because he is staring right at Marionâs face, and Marion feels guilty and anxious.

Another moment of tension is when the cop follows Marion. We think that he realises that Marion is up to something. There is a slight low angle close up of the copâs car in the rear-view mirror of Marionâs car where she nervously watches him following her. The eyelevel medium shot of the car in the rear-view mirror, allows you to see him following, which is a reflection of the copâs car. Hitchcock builds tension by cutting between Marion and the cop.

Hitchcock also creates false suspense when Marion goes to a second-hand car dealer. The cop has an eye on Marion, but she does not know that he is there. We do see the cop so there is a moment of tension. She is doing things that you will not usually expect, such as being panicky and in a rush, which all builds to tension. While the mechanic pulls her car in to inspect it before selling her a different car, she is shocked when she spots the suspicious cop. Although she is aware that the new car she will be buying could be identified, Marion quickly and foolishly decides to buy it. Her nervous behaviour makes the surprised, car dealer wonder why she is forcing him to sell the car to her. She nearly leaves her bag behind, which is a false shock. We expect that Marion is going to be stopped by the cop, but luckily, she does not get caught with the cash.

Another false shock is when, Lila, Marionâs sister, screams when she sees her own reflection in the mirror in âmotherâsâ bedroom. She screams when she sees herself in many reflections in an opposite long mirror, but is relieved that the frightening image is only of herself.

You can only have a limited number of shocking moments to shock people because the few shocks give more impact. If there are too many shocks, then the audience gets used to it.

There are only three shocks in âPsychoâ: when Marion is killed in the shower; Milton Arbogast, the detective is stabbed by âmotherâ; and the discovery of âmotherâ by Lila. Hitchcock creates suspense and shock when Arbogast tries to interview âmotherâ. He quietly enters the front door of the house, takes off his hat, and then stands for a moment in the hallway. He begins to climb up the long steep staircase to the second floor. We feel a bit tense and afraid that something may happen to Arbogast because he is inside a sinister-looking house on top of a hill. Using a tracking shot, the camera follows him from behind to a tracking, high-angled shot in front of him as he climbs up the stairs so he looks vulnerable and small. A cut to the top landing, using an eyelevel close up shot to show a crack of light appear on the floor through the slowly opening door of a bedroom, creates tension as if âmotherâ is behind the door who will see Arbogast and attack him. When he reaches the top step, Hitchcock cuts to a birds-eye-view shot and the high-pitched, screeching music starts to create a shock when Arbogast is attacked at the top of the stairs, in a bird's-eye-view shot, by âmotherâ coming from the bedroom. He is stabbed to death in the face and blood flows out of his face when Arbogast falls backwards down the stairs to the floor. âMotherâ chases after him and gets on top of him; the knife goes up into the air for another strike before the scene fades to black. However, this is not the first shock of the film.

In the shower scene, we experience the first big shock in âPsychoâ. At the start of the shower scene the audience follows Marion into the bathroom. We see her undressing to have a shower. It is very quiet and we can just hear her taking off her gown. The shot is an eyelevel medium close up which makes us feel uncomfortable because we are close behind a naked woman and following her, which seems like we are intruding into this private space. We are looking straight at Marionâs bare back and upper body which makes us feel like Norman, when he was watching her undress through a hole in the wall. Like Norman, we are voyeurs and are intruding into this private space. Hitchcock then cuts to an eyelevel medium close up of Marion in the shower and we watch her cleansing and washing herself, like she is washing away her sins and guilt. We notice that Marion is very relaxed and happy because she is going back to Phoenix to pay back the money she has stolen. Hitchcock cuts to a low angle close up from Marionâs point of view of the water which looks like it is coming down at us, straight and sharp from the shower head which creates a moment of tension because, at the moment we cannot hear anything except for the running water, and this may distract us and Marion if someone is nearby. However, Hitchcock then cuts to an eyelevel medium close up in which we see Marion rinsing herself. This is a realistic shot because the camera is on the bathroom floor on the side of the shower watching Marion and we can see her calm facial expression, so we relax as well as Marion. We think nothing bad is going to happen to her because no one else is in her room and the bathroom and everything seems quiet except for the running water. This is also a private hotel.

Hitchcock then creates suspense by using dramatic irony. He uses an eyelevel medium long shot in which there is a dark shadow on the left, or dominant, side of the screen. Marion is in a completely private place, but in this shot we know that there is someone behind her, while Marion does not. The camera is in front of her, placed inside the wall, and Hitchcock makes us feel uncomfortable and tight as if we are trapped in the shower with Marion. As she is showering, through the translucent shower curtain, we see the door open. With her back to the shower curtain, we can spot a shadowy figure coming from behind. Marion does not hear the killer because of the water falling on her and her hair is soaked by the water so she appears to be small and vulnerable on the right side of the screen with her back to the shower curtain. We see the bathroom door open and we spot a shadowy figure coming from behind. We feel tense because the figure may harm Marion. The shock comes when the dark figure suddenly tears the shower curtain and shrill high-pitched music begins from sharp shrieking, violin strings. The shrill music plays a large part in creating absolute terror as does the silhouette of the figure that is revealed because the face is shadowed and we cannot see it. The killer is on the left or dominant side of the shot and is very dark; light can only be seen on the right side. The killer is holding a knife towards the right bottom corner of the frame where we last saw Marion, so we feel tense and terrified for her.

The shock continues with a close up of Marion screaming. The blurring of the image by the water makes Marion appear less human and everything happens fast. The close up shows her first reaction to the murderer and to intensify this Hitchcock cuts to an extreme close up of Marionâs mouth as she is screaming loudly. Next, Hitchcock uses a low angle medium shot of the killer who is dominating the centre of the screen. Hitchcock uses shadow to make the killer appear dark and horrific. The killer then starts to attack and we hear sound effects of stabbing. In reality, the sound was made by stabbing a melon. Hitchcock then cuts to a high angle medium shot of Marion to make her look weak and vulnerable. She is in one corner of the frame and the knife is in the space. The knife is blurry because it is moving very fast and Marion is in the corner backing away. The tile wall is trapping her behind and she is very exposed. The attack goes on and on and we keep hearing stabbing sounds of the knife. Hitchcock then uses a high angle close up of Marionâs feet so we can see the blood being washed away from Marionâs body, which creates the impression that Marion is dying because she is losing large amounts of blood and looking very weak. The killer leaves and Marion slowly dies. Hitchcock uses an eyelevel close up of Marionâs hand trying to hold on to the tile wall. She is trying to hold on to her life. This is the aftermath of the shock but there is still tension because there is nothing we can do and slow and low-pitched music starts to create a sad atmosphere.

Marion slowly slides down with her back against the wet, slippery shower wall, while looking up and the camera follows her slow fall. We feel guilty because we are unable to help. We then see Marion stretch her hand out to grab the shower curtain but it comes across as if she is stretching her arms towards us, for help. We want to help Marion but it is impossible so we must just watch her fall so we feel powerless. Then Hitchcock cuts to a birdâs-eye-shot where the shower pole divides the screen in half, which seems like we are directly watching what is happening down in the bathroom. Marion holds onto the shower curtain and pulls it down from its hooks one by one onto herself, which is a diegetic sound and now the slow and low music stops. Then we can just hear the water running from the shower, which tells us that the attack is over and Marion falls to the floor, dead. After that, Hitchcock cuts to a high angle extreme close up of the dark plughole, which is sucking up the water and Marionâs blood which suggests that Marion's life has gone down the drain. The shot dissolves to an extreme close up of Marionâs eye where we can see drops of water which seem like she is crying, which creates an atmosphere of sadness. There is great difference between Norman's 'peeping tom' eye and Marion's dead eye because Marionâs eye looks completely innocent, but Norman was using his peeping eye to watch her undress. Then the camera zooms out to her upper body which becomes a tracking shot where the camera turns and tilts as if we are standing up. We feel sorry and very guilty for Marionâs death as we were unable to stop this terrible attack, so when we leave the bathroom we are basically leaving Marion.

In comparison, in âThe Birdsâ, Hitchcock uses several shocks, perhaps maybe ten or more. Some of them are shocks with no suspense such as when the gull pecks Melanieâs head; the attack by the birds at the childrenâs party; and when the sparrows come down the chimney and attack Mitchâs house. There are also shocks with suspense: the school attack; when Annie is dead; the gulls peck the farmerâs eyes; the petrol station scene; the attack on Melanie in the attic and the huge number of still birds at the end of the film. He does this to shock his audience again and again.

Hitchcock also creates dramatic irony and tension in âPsychoâ when we see the shadow of âmotherâ in the shower scene. Hitchcock also creates dramatic irony in âThe Birdsâ in the climbing frame scene. Here, we see Melanie smoking outside the school, sitting on a bench in a medium long shot. She is calm. There is a long shot of the school and an establishing shot of birds in the sky. We can hear children singing, which sounds normal. There is then a cut to a medium long shot left of the climbing frame behind Melanieâs head (in the right corner of the frame) that dominates the shot to show it is empty. We see one bird land, and Hitchcock builds suspense as he cuts between Melanie looking relaxed and a shot of the climbing frame with four to five birds. Then he cuts back to Melanie before cutting to the climbing frame with fifty birds. Then again he cuts to Melanie still smoking and watching the birds. A cut to the climbing frame which is now full of birds creates shock which Hitchcock develops shock when Melanie looks behind her and sees them. Hitchcock cuts to a high angle long shot as she rushes to the school, which makes her seem vulnerable because then there is a cut to a low angle as the birds start to attack. Both of these attacks are extended and constant.

Hitchcock also uses slow suspense such as when Arbogast and Melanie climb up the stairs in âPsychoâ and âThe Birdsâ respectively. He also uses the stillness of the birds as a collective and then shock. There is the shock of sharp objects in a close up, for example, the knife in âPsychoâ and the beaks in âThe Birdsâ.

In âPsychoâ, Hitchcock creates tension by mainly using music which sounds unnatural, and also shock with the exception of the diegetic sounds in the shower scene. In contrast, he only uses diagetic sounds in âThe Birdsâ such as when the birds are squawking and making noise for tension, Hitchcock also uses silence (the absence of sound) to make the audience feel uncomfortable, for example when we see the broken cups in the farmerâs house. The sounds during the attacks in both films are sharp, harsh, strange and disturbing which build shock because they make the audienceâs heart beat.

At the end of âPsychoâ, there is a resolution. The killer, Norman, is in prison and is punished. However in âThe Birdsâ, there is a cliffhanger as the birds win and the humans flee. The film is unresolved, so it creates tension among the viewers. âPsychoâ is in black and white, which makes it more sinister and frightening for example, the blood in the shower scene looks realistic, even if it was chocolate syrup. Also lighting is used to create shock. For example, in the fruit cellar, the body of 'âmotherâ is brought to life, revealed by the dead bodyâs crazily laughing face, with its eyes moving, lively and brought back to life by the light. The eyes of the corpse that stare at Lilaâs direction appear realistic but they are indeed dead. This can only happen in black and white, as it involves shadow. In contrast, âThe Birdsâ is mostly in colour so it seems less scary and happier at first. However, the blood looks artificial to us because it is bright red. A better use of how Hitchcock used colour was the fire which looks extremely terrifying and dangerous because it is bright orange and yellow, which would not have the same effect in black and white. However, there is a change of the use of colour at the end of the film when it is mainly black and white because of the colour of the birds and also because it is night which creates tension and a sinister atmosphere.

The killers in both films were realistic but strange and unexpected. The story starts in the city, but mostly set in a small rural town where the character is unfamiliar so the audience has sympathy for them. Also the small town is supposed to be safer, but is surprisingly dangerous. The main characters in both films are blond, stylish beautiful women, both motivated by a love interest. Hitchcock uses experts for both films. In âPsychoâ, there is a psychologist who comes at the end and explains Normanâs condition, which is the resolution. The car is pulled out. There is no more tension. In âThe Birdsâ, an ornithologist woman gives information about birds and their behaviour. In âPsychoâ, Norman's hobby is stuffing dead birds and other animals. The birds are, of course, a constant image in âThe Birdsâ.

At the beginning of âThe Birdsâ, we think this is a romantic comedy, when Mitch flirts with Melanie and the lovebirds move side to side in the car, while Melanie is driving in her car. This seems funny as birds do not normally do that. âPsychoâ, however has nothing to do with comedy. In âPsychoâ Marion is serious and poor whereas Melanie is cheerful, spoilt and rich. Both films are misleading because it starts as a romance. In âPsychoâ, Sam has left his ex-wife and now wants to stay with Marion, but he cannot afford to support her economically, so they are both unhappy. In âThe Birdsâ, Mitch too had a previous lover, Annie but now lives with his mum, Lydia and younger sister, Cathy. Both films are a thriller and become dark and sinister. Hitchcock misleads us to make the shocks more shocking.

Hitchcock creates suspense and shock in the way he uses cinematography: camera position, angles, shots, colour, lighting, sound and music. For example, in âNorth by Northwestâ, Hitchcock creates a scene of suspense and shock in the plane scene. There is an extreme long shot of the sky and cornfield and Cary Grant who looks small and helpless, stands waiting. Then a plane tries to attack him. There is a long silence, and he looks for the plane engine. A truck approaches and Hitchcock uses the camera from Caryâs point-of-view of the truck coming closer until it is an extreme close up of the grill of the truck. This creates shock as the grill is coming towards Grantâs face and ours. There is a point-of-view shot of the plane. A close up of Grant shows us he is shocked and a cut to a long shot of the plane coming towards him builds tension. Grant dives under the truck and then there is a great big shock, when the plane crashes into the truck which is leaking petrol and there is a terrific explosion.

In my opinion, I believe Alfred Hitchcock was outstandingly excellent at creating suspense and shock in a number of ways especially in the shower scene, as we know âmotherâ is coming from behind, but Marion doesnât since her back is facing the shower curtain. I preferred the film âPsychoâ as it was more successful in creating suspense and shock, since the film was made in black and white. This made it seem darker, scarier and creepy.

Re: last corrections

Clive — Sun, 27 Jul 2008 23:44:46 GMT

Hi,

My comment about paragraphs remains the same. I've tried to create those, and added a few edits as well.

I am an experienced graphic designer currently looking for permanent employment in London.

I found your publishing company by chance while I was walking along beside the river Thames. However, my knowledge of your business is not accidental. I searched for and studied your portfolio of simple but sophisticated designs, and was really impressed when I realized that your profile matched my own design vision.

My design and artistic abilities are supported by my educational background. Studying at The Academy of Fine Arts in Krakow has helped me gain knowledge across a wide range of graphic design and additionally has prepared me to find my own graphic expression.

These are the reasons it would be a great honour to join your company and become a part of your creative team. I believe that my previous experience has enabled me to work effectively and would give us mutual advantage.

Please find enclosed my CV and PDF portfolio. If you have any questions relating to these, please do not hesitate to contact me.

I would appreciate an opportunity to discuss this matter further with you in an interview.

Clive

Re: Give a...

Clive — Sat, 26 Jul 2008 23:31:03 GMT

Hi,

You probably realize that it's quite a vulgar expression.

Don't say it at a dinner-party or in a job interview.

Clive

Re: correction 6

New2grammar — Fri, 06 Jun 2008 21:46:55 GMT

CBS is airing a new series called ~~Swing Town~~ Swingtown.

I'm not familiar with this show myself, but on the CBS website it's called "Swingtown". I'd probably put "Swingtown" in italics, or quotes, but this is really a style thing.

Good Point

As the name implies, the show is about a town of swingers practicing polygamy.

"Polygamy" means being married to more than one person at the same time. Is that really the case here? Or are they just engaging in promiscuous sex?

You are right. It should be promiscuous sex. Thanks.

The network received tons of negative as well as positive feedback even before the debut.

"Tons of" is a very informal expression that might be just a tad too casual here.

The problem is I don't know a good substitute for it :( Any suggestions?

Due to its adult content, the much anticipated series is put in a later timeslot, a move critics call network desperation as steamy series are often associated with cable networks and movies.

The logic is even though the content is steamy, the network decided to show it and simply move it to a latter slot which implies how desperate the network is. How would you repharase the sentence to make it work?

I also don't really see why steamy series are "associated with movies". Do you mean "steamy content/subject matter"? I agree. Sorry

If "network desperation" is a literal quote from critics then I'd put it in quotes. If it's not a literal quote then I'd consider rephrasing the sentence to avoid the impression that the quotes ought to be there but had been forgotten.

During an interview, the producer defended the decision, saying "If you don't like it, don't watch".

The verb "defend" can occasionally be intransitive ("I attacked and he defended.") but this is fairly rare and doesn't quite work for me here.

I see.

~~Wondering what's~~ Being curious about the lifestyle of swingers, I think I'm going to watch, though I don't like *** films [help...it's shot in the 70s setting...what's the opposite of contemporary or modern] - contemporary or modern??? films are much better in general.

I'm not completely clear just from what you wrote if your preference depends on when the film is made or the period in which it's set. But I gather that this is a modern production set in the 1970s, so I guess you probably mean the latter. In fact, this show appears to be a drama series, not a film. There's a term "period drama" which means a drama set in a past time, but whether a drama set as recently as the 1970s would qualify as a "period drama" is questionable. I'd probably end up saying something like: "I don't like shows set in the past -- I much prefer shows with a modern/contemporary setting."

It's a modern production set in the 70s. I've always thought film included all types of motion pictures such as movies and drama series.

a. a sequence of images projected onto a screen, creating the illusion of movement

b. a form of entertainment in such a sequence of images Related adjective cinematic

Your hyphen should be a dash, but probably you know that. When I can't be bothered to try to enter a proper dash I use two hyphens: "--".

You are the first person to tell me that. What's the difference? Are there two different keys on the keyboard? When to use which?

Sorry for so many follow-up questions. You got many good points and I just wanted to make sure I get all your points.

Re: correction 6

Mr Wordy — Fri, 06 Jun 2008 18:41:41 GMT

CBS is airing a new series called ~~Swing Town~~ Swingtown.

I'm not familiar with this show myself, but on the CBS website it's called "Swingtown". I'd probably put "Swingtown" in italics, or quotes, but this is really a style thing.

As the name implies, the show is about a town of swingers practicing polygamy.

"Polygamy" means being married to more than one person at the same time. Is that really the case here? Or are they just engaging in promiscuous sex?

The network received tons of negative as well as positive feedback even before the debut.

"Tons of" is a very informal expression that might be just a tad too casual here.

Due to its adult content, the much anticipated series is put in a later timeslot, a move critics call network desperation as steamy series are often associated with cable networks and movies.

The logic of this sentence doesn't really work for me. The alleged "desperation" logically seems to apply to the fact that they showed it at all, not the fact that they shunted it into a late timeslot. I also don't really see why steamy series are "associated with movies". Do you mean "steamy content/subject matter"?

During an interview, the producer defended the decision, saying "If you don't like it, don't watch".

The verb "defend" can occasionally be intransitive ("I attacked and he defended.") but this is fairly rare and doesn't quite work for me here.

Your hyphen should be a dash, but probably you know that. When I can't be bothered to try to enter a proper dash I use two hyphens: "--".

Re: heck out of..

Clive — Thu, 05 Jun 2008 19:56:48 GMT

Hi,

Is saying: They beat heck out of each other - rude? Not very. The mild expresion 'heck'usually replaces the word 'hell'. But neither is the sort of thing I would say to the Queen of England, or even in a job interview.

Are there any other expressions close to this one? Yes, you can use quite a lot of quite rude words instead of heck/hell.

Best wishes, Clive

Could someone correct my cover letter?

Anieta — Wed, 09 Apr 2008 13:14:12 GMT

Hello!

I am a French translator, and I know that my cover letter needs revision, as this is the first time I apply in English and I am not at ease with idiomatic expressions. I would like to apply today, so if you can go over it as soon as possible, I would appreciate very much.

Please do not hesitate to make corrections and to give me some suggestions.

Thank you in advance!

Anieta

Dear Sir/Madam:

Your posting for an English to French freelance translator grabbed my attention as I am currently launching myself as a freelance translator, and after going through your Web site with great interest, I decided to apply to offer you my services.

I possess a trilingual University degree in translation from a French University. After working for the last 5 years as an in-house translator in various companies in Montreal, I decided at the beginning of this year to work as a freelancer as I believed I had gained enough experience and skills to deal with my own business.

Over the years, I developed strong abilities in translation, proofreading as well as in editing, in various fields such as marketing, advertising, subtitle translation and web site localization.

I handle French language perfectly and I am always trying to render the message with right idiomatic French words and expressions adapted to the audience.

Furthermore, I am a multi-tasking person with a strong creative sense and I love taking initiatives. With each freelance project I undertake, I guarantee high quality work delivered on or before deadline and prompt response to your phone calls and emails. I do believe that my skills would be a valuable asset to your company I can currently devote about 30 hours a week to you.

For more detailed information please refer to my enclosed resume. I would appreciate a personal interview at your earliest convenience.

Thank you in advance for your consideration.

Re: The trainer apparently said in a TV interview, that he had trained...

Feebs11 — Wed, 19 Mar 2008 19:10:16 GMT

Jackson6612
Prashant Sawant is a known name in Bollywood. No! He isnât any established (=already in use or existing for a long period of timeIn this context, it means that the person is recognised as a star) star or an upcoming newcomer to watch out for (=to pay close attention in a particular situation because you are expecting something to happen). The man is a personal trainer, who is best known in the film industry for having trained none other than the badshah (=Hindi/Urdu word for king) of bollywood, the king Khan himself, Shah Rukh Khan. But this time he is in the news for not so good reasons. The trainer, whom the local Greek God Hrithik Roshan had been eager to sign, has been dropped by the the superstar after just a dayâs work.

Hrithik had heard a lot about the work of Prashant as a trainer. But after hiring him, he was not satisfied by the training that he got. And after just a dayâs work with him, the megastar told him that his style of training wasnât going well enough. But birdies in Bollywood are citing more than just this as a reason why Prashant was dropped by Hrithik like a hot potato. The reason being cited, is that Prashant tried to cash in on his new found fame, by using Hrithik and Suzanneâs (=Suzanne is Hrithik's wife) name.

The trainer apparently said in a TV interview, that he had trained not just Hrithik, but his wife as well. Not just that, he claimed that he had got good feedback from them too. And after this, Hrithik called him up and asked him about why he had used his wifeâs name in the interview. Even as Prashant apologised, it was too late for Prashant. Hrithik was done (=finished) with him.

Hrithik is popular for the fact that no matter how busy he is, he makes sure that he pumps iron (=exercise) at least an hour a day. The actor has been appreciated by many in the film industry, as the one who gives not a hundred, but a three hundred percent to whatever he does, in order to get it right. And he had to lose a lot of muscle in order to get the schoolboy image right, in the blockbuster hit Koi Mil Gaya. And all eyes are now set on his look in the Ashutosh Gowarikerâs next, opposite Aishwarya Rai, Jodha Akbar.

Questions:
1: I couldn't understand the function of ''himself''. It makes perfect sense without the ''himself''. It emphasises that it is specifically this person.
2: Can ''no'' be used instead of ''not''? "No" cannot be used with "so". You would have to re-write the sentence as "for no good reason". This sentence is saying something has happened that is contrary to his previous good reputation.
3: What does ''Greek God'' mean? A Greek god is used as a term to indicate a person is very handsome.
4: Does ''a day's work'' mean ''one day's work? In this context, yes
5: What does ''birdies'' mean? Euphemism for people who gossip about others. It comes from the saying "A little birdie told me", which is used when you so not want to let someone know who told you something.
6: What does ''hot potato'' mean? A hot potato cannot be held because it burns the hand - so metaphorically he is being dropped very quickly
7: What does the author by saying ''his new found fame''? Is he referring to the fact that training Hrithik contributed to the fame of Prashant? Yes
8: I don't see any need of using ''as'' in the expression ''even as''.It is a collocation.

The trainer apparently said in a TV interview, that he had trained...

Jackson6612 — Wed, 19 Mar 2008 19:01:16 GMT

Prashant Sawant is a known name in Bollywood. No! He isnât any established (=already in use or existing for a long period of time) star or an upcoming newcomer to watch out for (=to pay close attention in a particular situation because you are expecting something to happen). The man is a personal trainer, who is best known in the film industry for having trained none other than the badshah (=Hindi/Urdu word for king) of bollywood, the king Khan himself, Shah Rukh Khan. But this time he is in the news for not so good reasons. The trainer, whom the local Greek God Hrithik Roshan had been eager to sign, has been dropped by the the superstar after just a dayâs work.

Hrithik had heard a lot about the work of Prashant as a trainer. But after hiring him, he was not satisfied by the training that he got. And after just a dayâs work with him, the megastar told him that his style of training wasnât going well enough. But birdies in Bollywood are citing more than just this as a reason why Prashant was dropped by Hrithik like a hot potato. The reason being cited, is that Prashant tried to cash in on his new found fame, by using Hrithik and Suzanneâs (=Suzanne is Hrithik's wife) name.

The trainer apparently said in a TV interview, that he had trained not just Hrithik, but his wife as well. Not just that, he claimed that he had got good feedback from them too. And after this, Hrithik called him up and asked him about why he had used his wifeâs name in the interview. Even as Prashant apologised, it was too late for Prashant. Hrithik was done (=finished) with him.

Hrithik is popular for the fact that no matter how busy he is, he makes sure that he pumps iron (=exercise) at least an hour a day. The actor has been appreciated by many in the film industry, as the one who gives not a hundred, but a three hundred percent to whatever he does, in order to get it right. And he had to lose a lot of muscle in order to get the schoolboy image right, in the blockbuster hit Koi Mil Gaya. And all eyes are now set on his look in the Ashutosh Gowarikerâs next, opposite Aishwarya Rai, Jodha Akbar.

Questions:
1: I couldn't understand the function of ''himself''. It makes perfect sense without the ''himself''.
2: Can ''no'' be used instead of ''not''?
3: What does ''Greek God'' mean?
4: Does ''a day's work'' mean ''one day's work?
5: What does ''birdies'' mean?
6: What does ''hot potato'' mean?
7: What does the author by saying ''his new found fame''? Is he referring to the fact that training Hrithik contributed to the fame of Prashant?
8: I don't see any need of using ''as'' in the expression ''even as''.