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French to Italian - Standard rate: 0.07 EUR per word / 23 EUR per hour English to Italian - Standard rate: 0.07 EUR per word / 23 EUR per hour
In the following scene, Marcus, an adolescent boy, is contemplating his life and having to go to school.
1. There were people out there
who had a good time in life.
C’è gente, là fuori,
che si è divertita nella vita.
2. I was beginning to realize
I wasn't one of them.
Ho cominciato a realizzare
che non ero uno di loro.
3. I just didn't fit.
Non faceva per me.
4. I didn't fit at my old school.
Non ero a mio agio alla vecchia scuola.
5. I definitely didn't fit at my new one.
In realtà, neanche a quella nuova.
6. I heard that some kids
got taught by their parents at home.
So che qualcuno
prende lezione dai genitori, a casa.
7. Mum couldn't do that,
unless I paid her to teach me.
Mia madre non avrebbe potuto farlo,
a meno che non l’avessi pagata.
8. Because it was just her and me.
And she went to work.
Eravamo solo io e lei.
E lei andava a lavorare.
9. She made £400 a week.
Guadagnava 400 sterline a settimana.
10. Where was I gonna get
that kind of money from?
Dove avrei preso quella cifra?
11. Maybe if I was like that movie kid,
Haley Joel Osment ,
Forse se fossi stato un attore,
uno di quei bambini prodigio,
12. I could pay her that much.
avrei potuto darle tutti quei soldi.
13. But if that meant being good at drama, forget it.
Ma se questo significava
essere bravo in recitazione, scordatelo.
14. I was crap at drama.
Ero una schifezza in recitazione.
15. 'Cause I hated standing up
in front of people.
Odiavo stramene in piedi
di fronte alla gente.
16. So, basically, I had to go to school.
Quindi, in sostanza,
dovevo andare a scuola.
The area in PINK is Marcus remembering the day that he found his mom after she tried to commit suicide. He was just returning home with his mom's friend Suzie and Suzie's date, Will. The area that is in regular print is the actual event.
17. That day, the Dead Duck Day ,
was when it all began.
E’ cominciato tutto
il giorno in cui è morta l’anatra.
18. That bloke Will just followed us in
and I didn't tell him not to.
Quel tipo, Will, ci seguì dentro
ed io non glielo impedii.
19. Afterwards, I realized that there was no way I could have been nervous just then
Poi capii che non c’era motivo
di essere nervoso,
20. because just then I didn't know
there was anything to be nervous about.
perché allora non sapevo
che c’era qualcosa di cui preoccuparmi.
21. But then I put the key in the lock,
opened the door...
Ma infilai la chiave nella serratura,
aprii la porta…
22. Marcus (calling out when entering house): Are you decent?
Sei vestita?
23. And a new part of my life started.
E cominciò
un’altra parte della mia vita.
24. Bang!
Bum!
25. Will (seeing Marcus' mom unconscious on the couch): Jesus Christ.
Cristo!
26. Suzie: Oh, my God.
Oh mio Dio!
Part B
The following scenes are from a movie set in America in the 1870's.
In the following scene Newland is having supper with three other people, an older couple and a young woman. They are discussing Countess Olenska who is returning to New York and seeking to divorce her husband.
1.Older Woman: We must always remember
the eccentric bringing up she had.
Non dimentichiamo
la singolare educazione che ha avuto.
2. Older Woman: What can you expect of
a girl who was allowed to wear black satin
Cosa ti aspettavi da una ragazza
che ha indossato del satin nero
3. Older Woman: at her coming-out ball?
al suo ballo di debutto in società?
4. Young Woman: It's odd she should have kept such an ugly name as Ellen
when she married.
E’ strano mantenere quel nome orribile, Ellen, anche da sposata.
5. Young Woman: I should have changed it to Elaine.
Io lo avrei trasformato in Elaine.
6. Newland: Why?
Perché?
7. Young Woman: I don't know.
It sounds more Polish.
Non so. Sembra più polacco.
8. Older Woman: It sounds more conspicuous, and that can hardly be
what she wishes.
Sembra più appariscente,
e dubito che sia ciò che desidera.
9. Newland: Why not? Why shouldn't she be
conspicuous if she chooses?
Perché no? Perché non dare nell’occhio,
se è questo che vuole?
10. Newland: She made an awful marriage,
but should she hide her head?
Ha fatto un matrimonio orribile,
dovrebbe vergognarsene?
11. Newland: Should she go slinking around
as if she disgraced herself?
Dovrebbe camminare a testa bassa
per aver disonorato se stessa?
12. Newland: She's had an unhappy life.
That doesn't make her an outcast.
Ha avuto una vita infelice.
Questo non la emargina dalla società.
13. Older Man: I'm sure that's the line
the Mingotts mean to take.
Sono sicuro che i Mingott
osserveranno tale linea di condotta.
14. Newland: I don't have to wait
for their cue, if that's what you mean, sir.
Non ho bisogno dei loro suggerimenti,
se è questo che intende, signore.
15. Older Woman: I'm told she's looking
for a house. She intends to live here.
Mi hanno detto che sta cercando casa.
Ha intenzione di vivere qui.
16. Younger Woman:I hear she means
to get a divorce.
Ho sentito dire che vuole il divorzio.
17. Newland: I hope she will.
Spero che lo otterrà.
In the following scene Newland, May, Mrs. Welland, and Mrs. Mingott, May's grandmother, are discussing Newland and May's engagement and May's engagement ring.
18. Mrs. Mingott: In my time, a cameo set in pearls was thought to be sufficient.
Ai miei tempi,
bastava un cammeo incastonato di perle.
19. Mrs. Mingott: But it's the hand that sets off the ring, isn't it, my dear Mr. Archer?
Ma è la mano che risalta l’anello,
vero, mio caro Signor Archer?
20. Mrs. Welland: It's the new setting.
It shows the stone beautifully.
Si tratta di una nuova montatura.
La pietra si rivela magnifica.
21. Mrs. Welland: But it looks a little bare
to old-fashioned eyes.
Ma appare un po’ troppo semplice
a certe persone all’antica.
22. Mrs. Mingott: I hope you don't mean mine, my dear? I like all the novelties.
Spero non vi riferiate a me, mia cara.
Adoro le novità.
23. Mrs. Mingott: My hands were modelled in Paris by the great Roche.
Le mie mani hanno ispirato
il grande Roche a Parigi.
24. Mrs. Mingott: He should do May's.
Show me, child.
Dovrebbe ispirarsi a quelle di May.
Fammi vedere, bambina.
25. Mrs. Mingott: Her hand is so tempered .
Ha una mano così rugosa.
26. Mrs. Mingott: It's these modern sports
that spread the joints.
Sono questi passatempi moderni
che distendono le articolazioni.
27. Mrs. Mingott: But the skin is white.
Ma la pelle è candida.
28. Mrs. Mingott: And when's the wedding
to be?
E, a quando il matrimonio?
29. Newland: As soon as ever it can,
if only you'll back me up, Mrs. Mingott.
Quanto prima, Signora Mingott,
appena mi darà la sua approvazione.
30. Mrs. Welland: They must get to know each other a little better, Mama.
Devono conoscersi un po’ meglio, mamma.
31. Mrs. Mingott: Know each other?
Conoscersi?
32. Mrs. Mingott: Everybody in New York
has always known everybody.
A New York tutti si conoscono.
33. Mrs. Mingott: Don't wait till the bubble's off the wine. Marry them before Lent.
Non aspetterò che il vino diventi aceto.
Si sposeranno prima della Quaresima.
34. Mrs. Mingott: I may catch pneumonia any winter now, and I want to give the wedding breakfast.
Rischio una polmonite ogni inverno,
e mi preme dare il rinfresco nuziale.
In the following scene Newland and Olenska, who are old acquaintances, are discussing her return to New York.
35. Newland: There are so many people already to tell you what to do.
Ci sono già troppe persone
a dirle cosa deve fare.
36. Olenska: I think they're all a little angry with me for setting up for myself.
Sono tutte piuttosto in collera con me
per intervenire in mio favore.
37. Newland: Still, your family can advise you, show you the way.
Inoltre, la sua famiglia
la consiglierà, le farà da esempio.
38. Olenska: Is New York such a labyrinth?
New York è davvero un labirinto?
39. Olenska: I thought it was all straight up and down, like Fifth Avenue.
Immaginavo fosse tutto un andirivieni,
come la Quinta Avenue.
40. Olenska: All the cross streets numbered,
and big honest labels on everything.
Strade numerate che si intersecano,
e grandi cartelli dappertutto.
41. Newland: Everything is labeled,
but everybody is not.
Cartelli in ogni dove,
tranne che sulle persone.
42. Olenska: Then I must count on you
for warnings, too.
Allora,
dovrò contare anche sui suoi consigli.
43. Newland: All the older women like
and admire you. They want to help.
Le signore di una certa età l’ammirano. Intendono appoggiarla.
44. Olenska: I know. As long as they don't hear anything unpleasant.
Lo so.
Finché non udiranno spiacevolezze.
45. Olenska: Does no one here want to know the truth, Mr. Archer?
A nessuno sta a cuore la verità,
Signor Archer?
46. Olenska: The real loneliness is
living among all these kind people
La vera solitudine
è vivere tra questo genere di persone
47. Olenska: who only ask you to pretend.
che non demanda altro che fingere.
Part C
The following excerpt is taken from a Director's comments.
1. As we go through the movie,
Mentre procediamo con il filmato,
2. I'll try to point out some of the inventions
that Ellen provided us
cercherò di evidenziare
alcune delle ideazioni di Ellen
3. to help develop the character
and find extra comedy.
di supporto allo sviluppo del personaggio
e ad un suo ulteriore aspetto comico.
4. We really tried to create
a kind of seamless connection
Abbiamo cercato di creare
una sorta di continuità
5. between people who are on television
tra chi è in televisione,
6. and people who are watching television.
e chi la guarda.
7. I thought that it was interesting
to begin the movie
Ho trovato interessante
far cominciare il film
8. with somebody actually watching themselves on television.
con qualcuno
che si guarda in televisione.
9. That's why we devised that shot
with Ellen, to kick the movie off visually.
E abbiamo escogitato una scena
che desse al film un inizio televisivo.
The movie is shot using both a regular film camera and a video camera. Here the Director is explaining the reason why he chose to use the film footage shot by the video camera as opposed to the regular camera in this scene and other scenes throughout the movie.
10. Here's another video shot,
again, not scripted.
Ecco un’ altra sequenza video,
anche questa senza copione.
11. But that moment looked much more interesting on video than it did on film.
Questa fase è apparsa più interessante
sul video che non sulla pellicola.
12. We soon found ourselves editing
the scene together and then going back
Ci siamo presto ritrovati,
durante il montaggio,
13. and culling through literally
hours and hours of video footage
a tornare indietro e selezionare
ore e ore di sequenze televisive,
14. trying to find moments that were just
that much more interesting, entertaining,
cercando di individuarne
i momenti più interessanti, divertenti,
15. funnier, edgier on the video.
buffi o incisivi.
16. There was a real difference between
C’è stata una bella differenza
17. the way the same exact moment,
the same exact take
tra come quel momento,
quella identica ripresa,
18. would play out on film versus video.
avrebbe reso sulla pellicola,
rispetto alla televisione.
19. Generally, things on video
seemed a little more truthful.
Insomma, le immagini televisive
sono sembrate un po’ più vere.
20. Because we're used to seeing the world
Questo perché
siamo stati abituati a vedere il mondo
21. through that kind
of news-documentarial style.
attraverso immagini
stile notiziario- documentario.
22. A scene like this
was very engrossing on the video,
Una scena come questa
è stata più avvincente in televisione,
23. even more so than on the film version.
che non in versione cinematografica.
24. So we used the video quite a bit.
Dunque,
abbiamo usato la telecamera a lungo.
Translation - Italian Part A
In the following scene, Marcus, an adolescent boy, is contemplating his life and having to go to school.
1. There were people out there
who had a good time in life.
C’è gente, là fuori,
che si è divertita nella vita.
2. I was beginning to realize
I wasn't one of them.
Ho cominciato a realizzare
che non ero uno di loro.
3. I just didn't fit.
Non faceva per me.
4. I didn't fit at my old school.
Non ero a mio agio alla vecchia scuola.
5. I definitely didn't fit at my new one.
In realtà, neanche a quella nuova.
6. I heard that some kids
got taught by their parents at home.
So che qualcuno
prende lezione dai genitori, a casa.
7. Mum couldn't do that,
unless I paid her to teach me.
Mia madre non avrebbe potuto farlo,
a meno che non l’avessi pagata.
8. Because it was just her and me.
And she went to work.
Eravamo solo io e lei.
E lei andava a lavorare.
9. She made £400 a week.
Guadagnava 400 sterline a settimana.
10. Where was I gonna get
that kind of money from?
Dove avrei preso quella cifra?
11. Maybe if I was like that movie kid,
Haley Joel Osment ,
Forse se fossi stato un attore,
uno di quei bambini prodigio,
12. I could pay her that much.
avrei potuto darle tutti quei soldi.
13. But if that meant being good at drama, forget it.
Ma se questo significava
essere bravo in recitazione, scordatelo.
14. I was crap at drama.
Ero una schifezza in recitazione.
15. 'Cause I hated standing up
in front of people.
Odiavo stramene in piedi
di fronte alla gente.
16. So, basically, I had to go to school.
Quindi, in sostanza,
dovevo andare a scuola.
The area in PINK is Marcus remembering the day that he found his mom after she tried to commit suicide. He was just returning home with his mom's friend Suzie and Suzie's date, Will. The area that is in regular print is the actual event.
17. That day, the Dead Duck Day ,
was when it all began.
E’ cominciato tutto
il giorno in cui è morta l’anatra.
18. That bloke Will just followed us in
and I didn't tell him not to.
Quel tipo, Will, ci seguì dentro
ed io non glielo impedii.
19. Afterwards, I realized that there was no way I could have been nervous just then
Poi capii che non c’era motivo
di essere nervoso,
20. because just then I didn't know
there was anything to be nervous about.
perché allora non sapevo
che c’era qualcosa di cui preoccuparmi.
21. But then I put the key in the lock,
opened the door...
Ma infilai la chiave nella serratura,
aprii la porta…
22. Marcus (calling out when entering house): Are you decent?
Sei vestita?
23. And a new part of my life started.
E cominciò
un’altra parte della mia vita.
24. Bang!
Bum!
25. Will (seeing Marcus' mom unconscious on the couch): Jesus Christ.
Cristo!
26. Suzie: Oh, my God.
Oh mio Dio!
Part B
The following scenes are from a movie set in America in the 1870's.
In the following scene Newland is having supper with three other people, an older couple and a young woman. They are discussing Countess Olenska who is returning to New York and seeking to divorce her husband.
1.Older Woman: We must always remember
the eccentric bringing up she had.
Non dimentichiamo
la singolare educazione che ha avuto.
2. Older Woman: What can you expect of
a girl who was allowed to wear black satin
Cosa ti aspettavi da una ragazza
che ha indossato del satin nero
3. Older Woman: at her coming-out ball?
al suo ballo di debutto in società?
4. Young Woman: It's odd she should have kept such an ugly name as Ellen
when she married.
E’ strano mantenere quel nome orribile, Ellen, anche da sposata.
5. Young Woman: I should have changed it to Elaine.
Io lo avrei trasformato in Elaine.
6. Newland: Why?
Perché?
7. Young Woman: I don't know.
It sounds more Polish.
Non so. Sembra più polacco.
8. Older Woman: It sounds more conspicuous, and that can hardly be
what she wishes.
Sembra più appariscente,
e dubito che sia ciò che desidera.
9. Newland: Why not? Why shouldn't she be
conspicuous if she chooses?
Perché no? Perché non dare nell’occhio,
se è questo che vuole?
10. Newland: She made an awful marriage,
but should she hide her head?
Ha fatto un matrimonio orribile,
dovrebbe vergognarsene?
11. Newland: Should she go slinking around
as if she disgraced herself?
Dovrebbe camminare a testa bassa
per aver disonorato se stessa?
12. Newland: She's had an unhappy life.
That doesn't make her an outcast.
Ha avuto una vita infelice.
Questo non la emargina dalla società.
13. Older Man: I'm sure that's the line
the Mingotts mean to take.
Sono sicuro che i Mingott
osserveranno tale linea di condotta.
14. Newland: I don't have to wait
for their cue, if that's what you mean, sir.
Non ho bisogno dei loro suggerimenti,
se è questo che intende, signore.
15. Older Woman: I'm told she's looking
for a house. She intends to live here.
Mi hanno detto che sta cercando casa.
Ha intenzione di vivere qui.
16. Younger Woman:I hear she means
to get a divorce.
Ho sentito dire che vuole il divorzio.
17. Newland: I hope she will.
Spero che lo otterrà.
In the following scene Newland, May, Mrs. Welland, and Mrs. Mingott, May's grandmother, are discussing Newland and May's engagement and May's engagement ring.
18. Mrs. Mingott: In my time, a cameo set in pearls was thought to be sufficient.
Ai miei tempi,
bastava un cammeo incastonato di perle.
19. Mrs. Mingott: But it's the hand that sets off the ring, isn't it, my dear Mr. Archer?
Ma è la mano che risalta l’anello,
vero, mio caro Signor Archer?
20. Mrs. Welland: It's the new setting.
It shows the stone beautifully.
Si tratta di una nuova montatura.
La pietra si rivela magnifica.
21. Mrs. Welland: But it looks a little bare
to old-fashioned eyes.
Ma appare un po’ troppo semplice
a certe persone all’antica.
22. Mrs. Mingott: I hope you don't mean mine, my dear? I like all the novelties.
Spero non vi riferiate a me, mia cara.
Adoro le novità.
23. Mrs. Mingott: My hands were modelled in Paris by the great Roche.
Le mie mani hanno ispirato
il grande Roche a Parigi.
24. Mrs. Mingott: He should do May's.
Show me, child.
Dovrebbe ispirarsi a quelle di May.
Fammi vedere, bambina.
25. Mrs. Mingott: Her hand is so tempered .
Ha una mano così rugosa.
26. Mrs. Mingott: It's these modern sports
that spread the joints.
Sono questi passatempi moderni
che distendono le articolazioni.
27. Mrs. Mingott: But the skin is white.
Ma la pelle è candida.
28. Mrs. Mingott: And when's the wedding
to be?
E, a quando il matrimonio?
29. Newland: As soon as ever it can,
if only you'll back me up, Mrs. Mingott.
Quanto prima, Signora Mingott,
appena mi darà la sua approvazione.
30. Mrs. Welland: They must get to know each other a little better, Mama.
Devono conoscersi un po’ meglio, mamma.
31. Mrs. Mingott: Know each other?
Conoscersi?
32. Mrs. Mingott: Everybody in New York
has always known everybody.
A New York tutti si conoscono.
33. Mrs. Mingott: Don't wait till the bubble's off the wine. Marry them before Lent.
Non aspetterò che il vino diventi aceto.
Si sposeranno prima della Quaresima.
34. Mrs. Mingott: I may catch pneumonia any winter now, and I want to give the wedding breakfast.
Rischio una polmonite ogni inverno,
e mi preme dare il rinfresco nuziale.
In the following scene Newland and Olenska, who are old acquaintances, are discussing her return to New York.
35. Newland: There are so many people already to tell you what to do.
Ci sono già troppe persone
a dirle cosa deve fare.
36. Olenska: I think they're all a little angry with me for setting up for myself.
Sono tutte piuttosto in collera con me
per intervenire in mio favore.
37. Newland: Still, your family can advise you, show you the way.
Inoltre, la sua famiglia
la consiglierà, le farà da esempio.
38. Olenska: Is New York such a labyrinth?
New York è davvero un labirinto?
39. Olenska: I thought it was all straight up and down, like Fifth Avenue.
Immaginavo fosse tutto un andirivieni,
come la Quinta Avenue.
40. Olenska: All the cross streets numbered,
and big honest labels on everything.
Strade numerate che si intersecano,
e grandi cartelli dappertutto.
41. Newland: Everything is labeled,
but everybody is not.
Cartelli in ogni dove,
tranne che sulle persone.
42. Olenska: Then I must count on you
for warnings, too.
Allora,
dovrò contare anche sui suoi consigli.
43. Newland: All the older women like
and admire you. They want to help.
Le signore di una certa età l’ammirano. Intendono appoggiarla.
44. Olenska: I know. As long as they don't hear anything unpleasant.
Lo so.
Finché non udiranno spiacevolezze.
45. Olenska: Does no one here want to know the truth, Mr. Archer?
A nessuno sta a cuore la verità,
Signor Archer?
46. Olenska: The real loneliness is
living among all these kind people
La vera solitudine
è vivere tra questo genere di persone
47. Olenska: who only ask you to pretend.
che non demanda altro che fingere.
Part C
The following excerpt is taken from a Director's comments.
1. As we go through the movie,
Mentre procediamo con il filmato,
2. I'll try to point out some of the inventions
that Ellen provided us
cercherò di evidenziare
alcune delle ideazioni di Ellen
3. to help develop the character
and find extra comedy.
di supporto allo sviluppo del personaggio
e ad un suo ulteriore aspetto comico.
4. We really tried to create
a kind of seamless connection
Abbiamo cercato di creare
una sorta di continuità
5. between people who are on television
tra chi è in televisione,
6. and people who are watching television.
e chi la guarda.
7. I thought that it was interesting
to begin the movie
Ho trovato interessante
far cominciare il film
8. with somebody actually watching themselves on television.
con qualcuno
che si guarda in televisione.
9. That's why we devised that shot
with Ellen, to kick the movie off visually.
E abbiamo escogitato una scena
che desse al film un inizio televisivo.
The movie is shot using both a regular film camera and a video camera. Here the Director is explaining the reason why he chose to use the film footage shot by the video camera as opposed to the regular camera in this scene and other scenes throughout the movie.
10. Here's another video shot,
again, not scripted.
Ecco un’ altra sequenza video,
anche questa senza copione.
11. But that moment looked much more interesting on video than it did on film.
Questa fase è apparsa più interessante
sul video che non sulla pellicola.
12. We soon found ourselves editing
the scene together and then going back
Ci siamo presto ritrovati,
durante il montaggio,
13. and culling through literally
hours and hours of video footage
a tornare indietro e selezionare
ore e ore di sequenze televisive,
14. trying to find moments that were just
that much more interesting, entertaining,
cercando di individuarne
i momenti più interessanti, divertenti,
15. funnier, edgier on the video.
buffi o incisivi.
16. There was a real difference between
C’è stata una bella differenza
17. the way the same exact moment,
the same exact take
tra come quel momento,
quella identica ripresa,
18. would play out on film versus video.
avrebbe reso sulla pellicola,
rispetto alla televisione.
19. Generally, things on video
seemed a little more truthful.
Insomma, le immagini televisive
sono sembrate un po’ più vere.
20. Because we're used to seeing the world
Questo perché
siamo stati abituati a vedere il mondo
21. through that kind
of news-documentarial style.
attraverso immagini
stile notiziario- documentario.
22. A scene like this
was very engrossing on the video,
Una scena come questa
è stata più avvincente in televisione,
23. even more so than on the film version.
che non in versione cinematografica.
24. So we used the video quite a bit.
Dunque,
abbiamo usato la telecamera a lungo.
More
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Translation education
Master's degree - Libera Università San Pio V, Roma
Experience
Years of experience: 6. Registered at ProZ.com: Nov 2004.
Adobe Acrobat, Microsoft Word, WINDOWS XP, Powerpoint
Bio
EXPERTISE
Tourism and Travel
Literature
Dubbing (adaptation lip-sync and voice over)
Subtitling
Transcription
General
Translation and Adaptation for Dubbing and Subtitling, Festivals, Cinema and Television:
Scripts, dialogues, short-length films, tv movies, home video and DVD, serials, documentaries, soap operas, cartoons, trailers, interviews, voice over, subtitles, transcription from audiovisual supports.
QUOTES
According to subject and deadline.
EDUCATION
Master’s Degree in Media Translation and Adaptation for Dubbing and Subtitling
Libera Universita’ S. Pio V, Rome
Degree in Foreign Languages and Literatures Universita’ degli Studi di Napoli Federico II
Linguistics studies, The University of Manchester, UK
French Language Diploma, Université Française de Naples, Italy
EQUIPMENTS
Windows XP
ADSL
RESUMED TRANSLATION AND INTERPRETING EXPERIENCES
Tiberio Tour Sales Manager Assistant
Incoming tour operator (translations, website, t. guides)
(Groups from USA), Naples
2005/2006
Axa Assistance Telephone Interpreter
Insurance Company, Rome General Translator
2003/2005
Eurest Support Services Translator
U.S Support Site Tourism and Catering
Nato Military Base, Naples
2002/2003
Valtur, Veratour, Tourist Interpreter and Tour Representative
Swan Tour, Inviaggi, Tourism and Travel
Iperclub Vacanze
Italian Tour Operators
Across Europe and Arab countries
1996/2001
Mueller Weingarten Italia Interpreter and Translator
Automotive Presses, Naples Mechanical Engineering
1995/96
BBC North West Translator
Manchester Documentary films (voice over and dialogues transcription)
1994
TRANSLATIONS FOR SUBTITLING AND DUBBING
STUDIOS
ETS European Television Services, Rome
Synchronia, Rome
Splendid Synchron, Germany
Thalia Services, Rome
Microcinema, Rome
Technicolor, USA
Emerze, India
Subti, London
Intervoice, Amsterdam
Abercap, USA
ECI Subtitling, London
SOME WORKS
Home video: Deathbed, The Wolves of Wall Street, The libertine, Out of Reach,
Pursued, Possessed, Pretty Woman 15th anniversary, Narnia, La Tourneuse de Pages,
High School Musical 3, Sin City, Grey’s Anatomy,
Eli Stone, Lost, Sin City, Le Mercenaire, Mickey Mouse Clubhouse, Pinocchio, King Fu Panda
Documentaries: Thalassa, The North Face, Warren Miller Television, Sports Unlimited,
Chefs around the world, Banged up Abroad
Reality shows: Filmfakers, Faking it, Temptation Island, Fight for Fame,
Renovate my family, Extreme Makeover, Colin and Justin’s Home Heist, Crash Addicts,
The Millionaire Matchmaker, The Nanny
Movie: The House of the Dead, The Park, Side Effects
ADDITIONAL INFORMATION
In the course of my academic education I have dedicated my studies to
the methods of teaching English as a foreign language, and I have collaborated with
Worldwide School of English as Didactic consultant and for The Wall Street Institute
as Lab teacher.
From 1996 to 1999 I have lived in Egypt, Turkey, Greece, Spain, Red Sea, working as tour
leader for the best Italian tour operators, and collaborating with Italian travel agencies
to organise meetings and conferences.
In 1999 I was ground hostess for Alitalia at Naples International Airport.
I like reading and ethnic music. In my spare time I take lessons of flamenco and belly dance.
Keywords: Italian native, dubbing, subtitles, voice-over, script, multimedia, media, audiovisual, film, cinema. See more.Italian native,dubbing,subtitles,voice-over,script, multimedia, media, audiovisual,film,cinema,dialogue,DVD,television,festival,cartoons. See less.
Expertise