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Do subtitles give an adequate representation of spoken language?

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Abstract

An investigation of relation beween spoken and written language in subtitles, with particular reference to Italian TV series "Boris" (2007-2010)
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Do subtitles give an adequate representation of spoken language?
Introduction
Audiovisual Translation has often been described as a unique form of translation, not
only because of the technical constraints it is subject to, but also and especially because of the
transition of the message from oral to written mode which characterises it. In fact, as stated by
Diaz Cintas and Remael (2009), the practice of subtitling consists of presenting a written text
on the screen which recounts the original, spoken dialogue of the speakers. It can be said that,
due to what Gottlieb (1994) defines as its ‘diagonal nature’
1
, interlingual subtitling lends itself
to a discussion of the relation between written and spoken.
This essay aims to investigate the main peculiarities of the spoken language
and whether they can be conveyed in the written, condensed form of the subtitles. It will be
argued that, even though the transmission of the message from the spoken into the written
mode may not always be achievable, it is not only possible, but also advisable to attempt to
preserve at least some of the features of speech in the subtitles, especially considering the
centrality of dialogue in movies.
The first section of the essay will provide a general introduction to the main
characteristics of filmic dialogue. These features will be discussed in terms of how they can or
cannot be preserved in the subtitles, a written form which is also subject to spatial and
temporal constraints. The importance of dialogue in movies especially in terms of
characterisation will be underlined in order to demonstrate that an attempt should be made
to maintain the features of the spoken language in the subtitles.
1
Interlingual subtitling consists of transferring the message not only from a Source Language into a Target
Language, but also from the spoken mode into the written mode. Therefore, Gottlieb (1994) describes it as
‘diagonal’.
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The second and main section of the essay will present some practical examples from
the subtitles of a short extract from an episode of Italian TV series Boris. First, a brief
introduction to the series will serve to illustrate its main features, especially regarding the
language used and the main characters. Then, some of the most challenging translation issues
encountered in the process of transmitting the message from oral Source Language into
written Target Language will be more thoroughly discussed.
In the conclusions it will be reiterated that, due to the centrality of dialogue in movies,
it seems desirable to attempt to preserve at least some of the features of speech in the
subtitles.
1. Spoken Language, Dialogue and Subtitling
This section will shortly illustrate some of the main features of filmic dialogue, of
which audiovisual translators should be aware. In fact it is believed that, before deciding if
and how it is possible to convey such features in the subtitles, translators should consider why
it seems important to do so. The answer, it is argued, lies in the centrality of dialogue, which
plays a key role both in plot development and in characterisation.
1.1. Audiovisual Translation and the Language of Movies
According to Gregory and Carroll (1978), audiovisual texts present a peculiar mode of
discourse which they call ‘written to be spoken as if not written’. Similarly, Chaume (2004)
argues that the language of movies is characterised by ‘prefabricated orality’ – it seems
spontaneous, but it is actually planned. It is a language which, as pointed out by Diaz Cintas
and Remael (2009), does suggest conversational features typical of the spoken mode. Such
features which include prosody, paralanguage, hesitations, repetitions, rephrasing, deixis,
discourse markers, topic fronting are difficult to write down, as Halliday (1989) points out.
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This is due to the intrinsic differences between speech and writing
2
. This is one of the main
challenges of interlingual subtitling, a ‘cross over genre’ (Hervey and Higgins 2006) that is
not only concerned with the transmission of the message from Source into Target Language,
but also from spoken into written mode. Moreover, subtitles are subject to spatial and
temporal constraints they have to be short and easily legible. It seems understandable, then,
that in the transition from oral to written mode ‘some of the typical features of the spoken
language will have to disappear’ (Diaz Cintas and Remael 2009: 61), and that total or partial
text reduction will be necessary. However, it is also true that audiovisual texts are
characterised by semiotic cohesion (Diaz Cintas and Remael 2009), and that the verbal
subtitle sign interacts with the other verbal and non-verbal codes which operate in movies.
Therefore, a complete translation is not always required. Hence, how should a translator
decide whether it is worth attempting to render the features of the spoken language into
subtitles? A good starting point could be to consider dialogue as a fundamental means to
create characterisation. If there are features of the spoken language that define a character’s
speech pattern, then they should be preserved. The importance of dialogue will be briefly
discussed in the following paragraph.
1.2. The Centrality of Dialogue
Dialogue plays a key role not only in a film’s plot development, but also in
characterisation. Bannon (2013) pays particular attention to this issue, offering an interesting
insight and some useful advice. He argues that dialogue helps reveal who characters are and
how they do feel, and that subtitles should convey the same tone and intention as the original.
Dialogue, he believes, should ‘flow as smoothly and naturally as it does in the original’
2
Speech is time-bound and dynamic, it is part of an interaction between participants who share the same context
of situation and therefore it can and does rely on extra-linguistic cues such as gestures and facial expressions.
Writing, on the other hand, is space-bound and static, and writer and reader(s) do not share the same context of
situation.
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(2013: 4). Before starting to translate, subtitlers should first analyse the characters and their
speech patterns, understand their motivations and emotions, and look for character indicators
such as phrases and repetition. Then, they should attempt to recreate the dialogue in subtitles,
giving the character voices which are true to type. Should this not be properly done, the result
could be a neutralised rendition of the dialogue in the Target Text, which can be considered a
disservice to the viewers. Therefore, it may be argued that, due to the importance of dialogue
in movies and TV series, an attempt should be made to convey qualities of the spoken
language in the subtitles.
The approach suggested by Bannon was applied in the translation of the short extract
analysed in the following section.
2. The Transmission of Spoken Dialogue into Written Subtitles in Boris
(2007-2010)
2.1. Boris
Boris is an Italian comedy series that aired from 2007 to 2010 on Fox. In 2011 it was
turned into a movie of the same name. The series follows the lives of the members of a troupe
filming a low-quality soap opera called Gli Occhi del Cuore [The Eyes of the Heart] which,
despite its dreadful actors, screenplay and cinematography, is very successful. Boris laughs at
both the people working or rather trying to work as little as possible in the Italian
television industry, and at the audience, who tends to enjoy bad quality programmes. It is a
television show which manages to tell about television with great irony.
Boris is the exact opposite of the TV series it mocks. Its main strength lies in an
extremely well-written dialogue, which largely contributes to characterisation, together with
the skill of the interpreters. It is what Diaz Cintas and Remael (2009: 61) would call a
‘mimetic dialogue’ which imitates conversation, sounding perfectly credible to an Italian
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viewer. The language used presents the characteristics of italiano parlato colloquiale [spoken
colloquial Italian], as illustrated by Coveri (1998) it is diatopically marked, it strongly relies
on paralinguistic features such as gesture and intonation, it makes large use of deictic
expressions, discourse markers, topic fronting, informal and vulgar register lexicon, and
repetition. As already argued, conveying such features in the written, condensed form of
subtitles might be challenging. However, ignoring them and not even attempting to preserve
them in the Target Language would be a disservice to the viewer, as Bannon rightly points out
(2013). The following paragraph will present some examples from the subtitles of an episode
of Boris which will serve to discuss the issue more thoroughly.
2.2. Conveying spoken colloquial Italian in subtitles: examples from Lo scalatore
delle Ande.
The video analysed is a short extract from Boris episode Lo scalatore delle Ande [The
climber from the Andes]. It is the third episode of the first season. The main characters in this
extract are Alessandro and Arianna. Alessandro is a shy, insecure new intern about twenty-
eight years old who has just joined the team. His dream is to become a director and he is
willing to learn; however, he discovers that working in the television industry is slightly
different from what he expected. His speech pattern is characterised by hesitations, repetitions
and pauses to think. In this episode, Alessandro is helping Arianna find an extra for Gli Occhi
del Cuore. Arianna, who is about the same age as Alessandro, is assistant director and
probably the most professional person on set. Contrarily to Alessandro, she always knows
what to do, therefore director René completely trusts her. She is very assertive, and in speech
exchanges she tends to interrupt the other interlocutor and to use the imperative form.
The analysis of the extract will serve to discuss some of the features of the spoken
language and the way they were translated in the subtitles. Such features include dialect,
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prosodic features, paralinguistic features, deixis, repetitions and variations in the standard
word order.
The first feature of spoken Italian which can be detected in the extract is the use of
dialect. The series is set in Rome
3
, and all the characters speak with a Roman accent. Diaz
Cintas and Remael (2009: 191) note that ‘it is highly unlikely that any Target Language
should have an identical equivalent and this is a problem most dialects pose’. However, as
pointed out by Chaume (2012), it is common practice to use standard language to translate a
dialect when it is used by all characters. Moreover, as argued by Coveri (1998), Italian
regional accents do not carry a socio-culturally marked connotation; on the contrary, they tend
to be used by population groups from different social classes. Therefore, they do not
necessarily need to be translated.
Prosodic features such as intonation, rhythm and pauses are also typical of the spoken
language. According to Halliday (1989), prosody is part of the linguistic system and carries
systematic contrasts in meaning; however, this meaning is difficult to convey in the written
form. Punctuation is a device which may help overcome this deficiency of the written
language. This device proved to be extremely useful when subtitling Boris. Exclamation
marks were used to indicate a rising intonation conveying strong emotion e.g. in the first
part of the extract, when director René yells at the background actor who is trying to convince
him to hire him whereas dots translated the pauses and hesitations typical of Alessandro’s
speech pattern.
Face to face interaction strongly relies on paralinguistic features such as facial
expressions and bodily gesture. Gestures, in particular, are very common in Italian
conversation. They are not only used to give particular emphasis to a certain utterance, they
can even convey a specific meaning which is usually recognised in the whole country, but not
3
Although it is never specified, it seems highly probable that the company the troupe is working for is RAI
(Radiotelevisione Italiana), Italy’s national broadcasting company, which has its main headquarters in Rome.
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abroad. Since gestures can carry meaning, it may be argued that they should be translated,
even though this might be a difficult task. In Boris, when forced to admit that he had been
crying the previous night, Alessandro says ‘Pochissimo, cinque minuti’ [‘Just a little, for five
minutes’]. Not only does he use the suffix -issimo which translates as ‘very little’ as an
attenuating expression
4
; he also makes a gesture with his hand to indicate that his crying
lasted even less than five minutes. This is not simply accidental. Bannon (2013) suggests that
an effort should always be made to understand a character’s motivations be them overt,
implied, hidden our subconscious in order to better translate the dialogue. Alessandro is
trying hard not to look weak in the eyes of Arianna, whom he likes. This implied meaning is
conveyed not only by his words, but also by his gesture. Therefore, his utterance has been
translated as ‘just a tiny bit. Five minutes or so’, where the expression ‘or so’ is an attempt to
render his gesture in words.
Spoken language is bound to the interactional context, which is shared by the
participants. Therefore, the lexicon of speech often makes use of deictic units, i.e. words
which directly refer to the situation, for example place adverbs and personal pronouns. As
argued by Diaz Cintas and Remael (2009), audiovisual texts make large use of semiotic
cohesion, hence meaning is created by a combination of the visual and non-visual codes. If
deictic units have referents on the screen they do not need to be translated. When Arianna tells
Alessandro to call Alvaro, she points at the wall saying Il numero sta [‘The number is
over there’]. The deictic expression ‘[there] has a clear visual referent, therefore it can be
easily understood even by the viewer, who does not share the context of interaction with the
characters. In this case, the difference between spoken and written language seems to be
attenuated by the visual element.
4
Romero notes that ‘morphosyntactic attenuation is typical of colloquial speech since it minimizes the speaker’s
role in conversation(2011: 35). This explanation seems to perfectly fit the hesitant, unconfident character of
Alessandro.
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Speech exchanges are produced very quickly in the light of the changing context
(Halliday 1989), therefore complex advanced planning might be difficult to achieve. This may
lead to looser construction, rephrasing and repetition. Due to space and time constraints, these
qualities of the spoken language can only be maintained to some extent since ‘rendering them
all would lead to illegible and exceedingly long subtitles’ (Diaz Cintas and Remael 2009: 63).
However, such features may be an indicator of a character’s speech pattern, in which case
they should be partly preserved. In Lo scalatore delle Ande and in the course of the whole
Boris series –, Alessandro’s speech pattern is characterised by a large use of repetitions. In the
scene where he is meeting the background actors, he says to himself Bene, bene, benissimo
[‘Good, good, very good’]. The word bene’ is repeated three times; Alessandro, who is new
to the set, is trying to convince himself that he is doing right. In the subtitles, which read
‘Good, very good’, the strategy of condensation
5
was applied to convey this meaning while at
the same time saving space on screen.
A particularly interesting quality of the spoken language is the one concerning word
order. According to Diaz Cintas and Remael (2009:157), ‘speech tends to manipulate the
order of theme (known information) and rheme (given information) more than writing does’.
Such manipulations of the standard word order are used to put particular emphasis on a
certain item, which becomes topical (Pavesi 2013). Constructions such as dislocazione a
sinistra [preposing constructions
6
], dislocazioni a destra [postponing constructions] and frase
scissa [cleft sentences] are typical of spoken Italian (Berretta 1994). It does not surprise, then,
that they can be found several times in the dialogue of Boris. The first line, for instance, is an
example of dislocazione a destra. René, the director, says ‘No, il problema c’è!’ [‘No, there is
5
It is interesting to notice that, as Gottlieb asserts (1998: 247), ‘a slight condensation will enhance rather than
impair the effectiveness of the intended message’.
6
The terms ‘preposing constructions’, ‘postponing constructions’ and ‘cleft sentences’ were borrowed from
Birner and Ward (1998).
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a problem’]. The standard construction would be ‘C’è un problema’; however, by moving
c’è [there is] to the right, the emphasis
7
is put on the seriousness of the problem, which
seems self-evident to René. In order to render the markedness of this utterance, a construction
with auxiliary ‘do’ used as an intensifier was chosen ‘Now, we do have a problem!’.
According to Pavesi (2013), this strategy is quite commonly used to translate dislocazioni a
destra into English. An instance of frase scissa is provided by Arianna’s first line Scusa,
ma se sei stato tu, la settimana scorsa vedendo quella foto a dire…’ [Actually it was you,
last week, looking right at that picture, who said…’]. Due to space constraints and issues
regarding segmentation, it was not possible to translate the frase scissa with a cleft sentence.
However, an attempt was made to preserve the markedness of the original by choosing a
preposing construction ‘Actually last week, looking at that picture, you said…’ The effect,
however, is slightly diminished. In order to reduce this translation loss, the strategy of
compensation
8
was applied several lines later, when René asks Alfredo ‘Ce la facciamo a fare
una scena senza Arianna?’ [‘Can we shoot a scene without Arianna?’]. In the Source
Language, this utterance is not marked; however, it was translated into marked language with
a question tag ‘We can shoot without Arianna, right? Pavesi (2013) points out that question
tags are commonly used in spoken English both to involve the interlocutor in the speech
exchange and to ask for confirmation, and this is plausibly the case here René doubts that he
can really manage to shoot a scene without his assistant Arianna, who is the most professional
person on set. Therefore, the use of such construction seems to be relevant.
7
Emphasis is also achieved here through intonation, which was conveyed in the subtitles through the use of an
exclamation mark.
8
Diaz Cintas and Remael note that ‘subtitlers regularly apply the strategy of compensation when translating
marked language. This means that a particular intervention becomes more “marked” or “colourful” in some
subtitles, to compensate for the loss of such speech elsewhere in the translated text’ (2009: 188).
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The examples provided in this section do not cover all the features of the spoken
language. However, the discussion seems to indicate that there might be ways in which
spoken dialogue can be conveyed in subtitles.
Conclusion
The aim of this essay, as stated in the introduction, was to examine some of the main
features of the spoken language in filmic dialogue and to discuss whether it is possible to
convey them in the subtitles. The features examined were dialect, prosody, paralanguage,
deixis, repetition, and word order. The examples provided in the second section of the essay
indicate that there seem to be ways in which at least some of these qualities may be
transmitted in the written form. Devices that may be useful in this sense include punctuation,
condensation, compensation, and repetition. Moreover, the semiotic cohesion which
characterises audiovisual texts can also contribute to attenuate the difference between spoken
and written language, guiding the viewer in the interpretation of meaning. Therefore, it may
be argued that subtitles can at least partly give a representation of spoken dialogue which,
as previously discussed, is of uttermost importance in movies and TV series.
All things considered, it might be said that, due to the centrality of dialogue in movies,
the audiovisual translator should try to find ways to convey speech in subtitles. Otherwise, the
Target Text would risk losing the unique flavour of the original.
2979 words
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References
Bannon D. (2013), The Elements of Subtitles: A Practical Guide to the Art of Dialogue,
Character, Context and Style in Film and Television Subtitling, (3rd edition), Blackstock, SC,
Translation Studies Press.
Berretta M. (1994), Il parlato italiano contemporaneo, in Serianni L., Trifone P. (eds) Storia
della Lingua Italiana 2, Torino, Einaudi, 239-270.
Birner B.J., Ward G. (1998), Information Status and Noncanonical Word Order in English,
Amsterdam/Philadelphia, John Benjamins Publishing Company.
Chaume F. (2004), Film Studies and Translation Studies: Two Disciplines at Stake in
Audiovisual Translation, Meta 49 (1), 12-24.
Chaume F. (2012), Audiovisual Translation: Dubbing, Manchester, St. Jerome Publishing.
Coveri L. (1998), Le varietà dell’italiano: Manuale di sociolinguistica italiana, Roma,
Bonacci Editore.
Díaz Cintas J., Remael A. (2009), Audiovisual Translation: Subtitling, Manchester, St. Jerome
Publishing.
Gottlieb H. (1994) Subtitling: Diagonal Translation, Perspectives: Studies in Translatology, 2
(1), 101-121.
Gottlieb H. (1998), Subtitling, in Baker M. (eds) Encyclopaedia of Translation Studies,
London & New York, Routledge, 244-248.
Gregory M., Carroll S. (1978), Language and Situation: Language Varieties and their Social
Contexts, London, Routledge and Kegan Paul.
Halliday, M.A.K. (1998), Spoken and Written Language, (2nd edition), Oxford, Oxford
University Press.
Hervey S., Higgins I. (2006), Thinking German Translation: A Course in Translation Method,
German to English, (2nd edition), London, Routledge.
Pavesi M. (2013), La traduzione filmica. Aspetti del parlato doppiato dall’inglese all’italiano,
Roma, Carocci.
Romero L. (2011), When Orality is Less Pre-Fabricated: An Analytical Model for the Study of
Colloquial Conversation in Audiovisual Translation, in McLoughlin L., Biscio M. and
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Mhainnín M. (eds) Audiovisual Translation Subtitles and Subtitling. Theory and Practice,
Oxford, Peter Lang, 19-54.
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Appendix
Table with source and target dialogue and back translation
Subtitle Number
SL Dialogue
Back Translation of
SL Dialogue
TL Subtitle
1
LO SCALATORE
DELLE ANDE
THE CLIMBER
FROM THE ANDES
THE CLIMBER
FROM THE ANDES
2
No, il problema c’è!
Now, we do have a
problem here!
Now, we do have a
problem!
3
Eh, tu non sei credibile
come ciclista dopato!
You’re not convincing
as a doped cyclist, eh.
You’re not convincing
as a doped cyclist.
4
Ma quanti anni hai?
How old are you?
How old are you?
5
Posso vederla?
May I have a look at it?
May I?
6
No, va be’, questa…
I’m sorry, it’s my
agency
Oh, well, this one...
I’m sorry, it’s my
agency
Oh well, this…
I’m sorry, it’s my
agency.
7
Non so perché manda
ancora in giro questa
foto.
I don’t know why
they’re still sending
around this picture.
They’re still sending
around this picture.
8
Questo succede perché
non facciamo i provini
agli attori!
This happens ‘cause
we don’t hold
auditions!
This happens ‘cause
we don’t hold
auditions!
9
L’avevo detto io in fase
di preparazione:
At the pre-production
stage I said:
In pre-production I
said:
10
“I ruoli secondari
vanno provinati!”
“Extras must be screen
tested!”
“Extras must be screen
tested!”
11
Scusa, ma se sei stato
tu, la settimana scorsa
vedendo quella foto lì a
dire
Actually it was you,
last week, looking right
at that picture, who
said:
Actually last week,
looking at that picture,
you said:
12
“Questo è perfetto, non
lo dobbiamo neanche
“This one’s perfect, we
don’t even have to test
“He’s perfect, we don’t
even have to test him!”
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provinare”
him!”
13
- Grazie!
- Ma che grazie che
siamo nella merda!
- Thanks!
- What? Thanks?
We’re in deep shit!
- Thanks!
- What? We’re in deep
shit!
14
Per favore, vai in
ufficio e trova un attore
libero per oggi
pomeriggio, va’!
Please, go to the office
and find an actor
available for this
afternoon, go.
Go to the office and
find an actor available
for today.
15
- E tu qui come fai?
- C’è Alfredo. Alfredo!
- And what will you do
here?
- There’s Alfredo.
Alfredo!
- What about you?
- There’s Alfredo.
Alfredo!
16
- Pronti!
- Ce la facciamo a fare
una scena senza
Arianna?
- I’m ready!
- We can shoot a scene
without Arianna, can’t
we?
- Hey!
- We can shoot without
Arianna, right?
17
- Certo!
- Hai visto? Vai, vai
tranquilla, vai!
- Sure!
- See? Don’t you
worry, go!
- Sure!
- See? Don’t worry!
18
- Senta…
- No, tu sei fuori. Mi
dispiace, arrivederci e
grazie.
- Listen...
- No, you’re out. I’m
sorry, goodbye and
thank you.
- Listen…
- No, you’re out! Sorry,
bye-bye.
19
Non è che ci sarebbe
qualcosa, non so, un
piccolo ruolo... Sono
venuto fino qua!
Isn’t there something
like, you know, a small
role... Just for the
trouble!
Isn’t there a small role
for me? You know, just
for the trouble.
20
Va be’, aspetta pausa
pranzo e ti diamo un
bel cestino, contento?
Alright, wait till noon
and we’ll give you a
nice packed lunch,
happy now?
OK, we’ll give you a
nice packed lunch.
Happy now?
21
Arianna!
Arianna!
Arianna!
22
- Hai pianto ieri sera,
vero?
- No!
- You cried last night,
didn’t you?
- No!
- You cried last night,
didn’t you?
- No!
23
Guarda che succede a
Look, it happens to
Look, everybody does.
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tutti, è normale dopo
una settimana di set, è
fisiologico.
everybody. It’s normal
after a week on the set.
It’s natural.
It’s just normal after a
week here.
24
No giuro io...
No, I’m swearing I...
No, I’m swearing I...
25
- E dai!
- Eh... comunque
pochissimo, cinque
minuti.
- Come on!
- Eh... well, just a tiny
bit, for five minutes.
- Come on!
- Just a tiny bit. Five
minutes or so.
26
Oh, Arianna! Ti volevo
chiedere delle
comparse, chiedono di
te!
Oh, Arianna! I wanted
to ask you about the
extras, they’ve been
asking for you!
Arianna, wait! The
extras have been
asking for you!
27
Ah, io oggi non ci
sono! Purtroppo per
tutti dovrai occupartene
tu.
Uh, don’t count me in
today! You will have to
handle it,
unfortunately.
Don’t count me in!
You’ll have to handle
it, unfortunately.
28
Eh, ma non so se sono
capace.
Eh, but I don’t know if
I can...
But I’m not sure I
can…
29
- Drogato 1, drogato 2,
drogato 3!
- Eccoli!
- Junkie #1, Junkie #2,
Junkie #3!
- Here!
- Junkie #1, Junkie #2,
Junkie #3!
- Here!
30
Un passo avanti per
favore.
One step forward,
please.
One step forward,
please.
31
- Voi siete i tre drogati.
- Così ci ha detto,
Alvaro.
- You’re the three
junkies.
- So he said, Alvaro.
- So you’re the three
junkies.
- So he said, Alvaro.
32
Ma chi è Alvaro?
And who’s Alvaro?
And who’s Alvaro?
33
Va be’, non fa niente.
Allora, cosa avete
portato?
Oh well, whatever.
Alright, what did you
bring?
Oh, whatever.
OK, what did you
bring?
34
Come si vestono i
drogati? Come si
vestono i drogati?
How do junkies dress?
How do junkies dress?
How do junkies dress?
How do they dress?
35
Normale, normale.
Bene, bene, benissimo.
Normal, normal. Good,
good, very good.
Normal. Just normal.
Good, very good.
36
Allora, prima i costumi
Right, costumes first
OK, costumes first and
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e poi al trucco, via!
and then makeup. Off
you go!
then makeup. Off you
go!
37
Poi... i quattro vecchi
malandati!
Now... the four shabby
old men!
Now… the four shabby
old men!
38
Drogatelli, drogatelli,
drogatelli...
Junkies, junkies,
junkies...
Junkies, junkies,
junkies...
39
La loro attesa e...
maniglia!
Their wait and... the
handle!
The wait… and the
handle!
40
Loro pensano che sia
un carabiniere e invece
è Stanis.
They think it’s a
carabiniere, but it’s
only Stanis.
They think it’s a
policeman, but it’s only
Stanis.
41
Ora, per fare questo,
naturalmente, io avevo
pensato, così, dico eh...
Now, to do this,
obviously, I have been
thinking… I’ m just
saying, eh…
Now, for this shot I
was thinking… Just
saying, eh…
42
Ci vorrebbe un dolly.
We could use a dolly.
We could use a dolly.
43
Ottimo! Ottima idea, si
può fare sì.
Excellent! Excellent
idea! We can definitely
do it.
Excellent! Let’s do it!
44
Bello, molto
cinematografico.
Nice, very cinematic.
Nice, very cinematic.
45
Allora ragazzi, avete
sentito il regista? Si fa
un bel dolly qui.
Alright guys, have you
heard the director?
We’re making a nice
dolly shot now.
Understood, guys?
We’re making a dolly
shot.
46
Aspetta! Non è che
Arianna s’incazza?
Wait! Arianna won’t
get pissed off, will she?
Wait! Arianna won’t
get pissed off, will she?
47
Ho capito che
Assegnati negli anni
’90 faceva veramente il
ciclista, ma è incapace
come attore!
I understand that
Assegnati was an
actual cyclist in the
‘90s, but he’s dreadful
as an actor!
I know he was a cyclist
in the ‘90s, but he’s a
dreadful actor!
48
Guarda, non me lo
mandare neanche.
Look, don’t even send
him here.
Look, don’t even send
him here!
49
Scu... scusami.
Hold... hold on.
Hold on.
50
- Eh... torno dopo?
- Eh... shall I come
- Shall I come back
150117999
17
- No no, dimmi.
back later?
- No no, go on.
later?
- No, go on.
51
Eh... ehm...
Erm... well...
Erm... well...
52
Be’, per me non è un
problema, però...
Well, for me it’s not a
problem, but…
Well, that’s no problem
for me but...
53
- Uno dei tre drogati...
- Sì, veloce, però.
- One of the three
junkies...
- Yes, quick, please.
- One of the junkies…
- Quick, please.
54
... è peruviano. Non va
bene.
He’s Peruvian. He’s
not right.
He’s Peruvian. He’s
not right.
55
Ancora il peruviano?
Ma ce lo appioppano
sempre!
Not the Peruvian
again! They’re always
dumping him on us!
Not the Peruvian
again! They’re always
dumping him on us!
56
Senti, chiama Alvaro,
il numero sta là
Listen, call Alvaro, the
number’s over there…
Look, call Alvaro, the
number’s over there…
57
e gli dici oh, ma devi
essere duro, eh! -
and tell him hey, you
have to be firm!
and tell him very
firmly:
58
Gli dici che la
smettesse di mandarci
questo cazzo di
peruviano e ci
mandasse subito un
drogato decente!
Tell him to stop
sending us this fucking
Peruvian and to send us
a proper junkie right
away!
“Stop sending us the
fucking Peruvian! Send
us a proper junkie right
away!”
59
Flo... sì, lo sto vede...
sì, lo vedo che c’ha il
fisico, ma è depilato.
Flo... yes, I’m looking
at it… Yes, I can see
he’s very fit, but he’s
shaved.
Hey… Yes. I can see
he’s fit, but he’s
shaved.
60
Lo so che i ciclisti si
depilano, ma questo
sembra gay.
I know cyclists shave
their bodies, but this
one looks gay.
I know cyclists shave
their bodies, but this
one looks gay.
61
Ho capito che un
ciclista può essere gay,
ma qui siamo su “Gli
Occhi del Cuore”,
Flora!
I know cyclists can be
gay, but this is “The
Eyes of the Heart”,
Flora!
I know cyclists can be
gay, but this is “The
Eyes of the Heart”!
62
Eh, se vuoi capire
Eh, you know what I
You know what I
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18
capisci, dai!
mean, come on!
mean.
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