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题型:阅读理解-阅读单选 难度:0.65 引用次数:185 题号:22156475

If you wanted to make a Disney-style animation (动画) of, say, Reggie, a spirited rabbit, planning to save his forest, you’d have a lead animator draw the extremes of the action: Reggie looking intensely focused, and then proudly announcing, “There’s a new hero in the forest!” Then you’d bring in an in-betweener that is, the animator who draws all the comprehensive frames that bridge the major actions.

In-betweeners don’t get the glory, but without them cartoons would hop from one emotional peak to another, missing connective grace. Burny Mattinson (1935-2023) started his career at the Walt Disney Company in the mailroom, and, even though he had no formal training in animation, he was given a swing at in-betweening just six months later.

His first big assignment was to in-between the wagging of a dog’s tail. Disney animation was famous for its silky elegance, owing in no small part to the skill of its in-betweeners, and, thanks to Mattinson, the tail practically glided from side to side.

Mattinson had wanted to be an animator ever since his mother had taken him to see “Pinocchio” at a theatre when he was six. In a bold move, Mattinson showed up at the Disney Studios gate with his portfolio (作品) as soon as he finished high school. The magical part of this story is that, instead of shooing him away, the security guard liked his drawings and called the head of personnel to take a look.

Thus, Mattinson became a messenger at Disney, beginning a career that would eventually make him the employee with the longest service at the company. He had joined the company at a golden moment. Listing the films that he worked on is a little like listing the entire output of the Walt Disney Company over the past six decades: “Sleeping Beauty,” “The Lion King”, and on and on.

Mattinson was, perhaps, one of the last of an almost extinct genotype-the happy company man, the lifer. He never had an employer besides Disney. When asked what Mattinson enjoyed doing outside of his life at Disney, his son said, “He just loved his work.”

1. What role do in-betweeners play in animation production?
A.Design the storyline.B.Draw the background.
C.Invent extreme actions.D.Generate smooth motion.
2. Which of the following can best describe Mattinson’s path to Disney?
A.Unconventional.B.Typical.C.Illegal.D.Accidental.
3. What makes Mattinson exceptional in Disney’s history?
A.His lifelong dedication to Disney.
B.His detailed work as an in-betweener.
C.His passion for animation beyond work.
D.His pioneering role in Disney animation.
4. What is the text?
A.A diary entry.B.A biographical sketch.
C.A news report.D.A critical review.

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“Would you mind lying in a coffin? Would you shave your head? Are you willing to take out your false teeth?”

These are just a few of the questions Anne Marie Stewart and her staff sometimes ask the “talent” who serve as non-speaking “extras” in special films, television series, and made-for-TV movies produced in Toronto.

Of course, the majority of extra calls are for more ordinary people, and Stewart has a list of about 650 registered extras. Crowd scenes, which are common, call for everyday people of all ages, ethnic backgrounds, and sizes.

Over at Movie People, last-minute requests are not unusual. “We got a request once for an entire brass band of 30 people. They wanted it within the hour,” said manager Yvonne McCartney. Another time, the company got a last-minute request for a newborn baby. “We found a baby that was three weeks premature,” said Jonathan Aiken, an owner of the company.

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Some people who are between jobs do extra work as a temporary measure, said McCartney. But professionals, such as lawyers, also do the work because it’s interesting. Others with flexible jobs have a desire to do something different. Some homemakers want to get out of the house and onto a movie set. Money’s not the motivating reason.

“One of the first things I say to people who walk in and ask about being an extra is, ‘You have to be available,’” said a person at Karen Clifton Agency. Inc. “The next thing I say is, ‘You can't make a living at this.’”

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