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  • Read the text about Adam Farish. Some of the paragraphs have been removed from the text. From the drop-down list choose A-H corresponding to the paragraphs that should be in these places. There is one extra paragraph you do not need to use.
    Adam Farish works in stop-motion animation – the technique of making TV cartoons by manipulating static models rather than using drawings or computers. It might sound a bit childish, but it isn’t all child’s play. ‘I tell people what I do, and they go, “You can’t do that. Get a proper job!” A sheepish grin spreads across the face of Adam Farish, 36, who spends eight hours a day playing with dolls. ‘It makes me laugh’, he shrugs. And, on cue, he laughs. It’s an explosive, wheezy laugh, a brief eruption of permanently suppressed amusement. Even after three years as an animator, it seems as if he still can’t believe his luck. (-A, B, C, D, E, F, G, H-)
    His company’s big project at the moment is the new Rupert Bear series, Follow the Magic. Consequently, Farish has spent many months absorbed in Rupet’s surreal existence. ‘It is acting, but you’re not using your own body to act with, ‘he explains. ‘We come in and we have to pretend we’re five-year-old toy bears rescuing elephants out of trees. It does something to your head after a while.’ (-A, B, C, D, E, F, G, H -)
    This great mountain of work must all be performed to a minute level of detail, and with complete accuracy. If a character makes a large gesture, for instance, there must complete accuracy. If a character in the limb before they do it. This must be posed and photographed. Blinking, which a character must do all the time if it is to seem human, involves replacing an open eyelid with a half-closed eyelid and taking a picture, then switching to a fully closed one and taking a picture, then putting on the three-quarter once again… (-A, B, C, D, E, F, G, H -)
    When you factor in all the work done by others in building and lighting the sets correctly and providing each character with their props and costumes, it is easy to see why stop-motion animation has a reputation for being, well, slow. ‘We’ve got a target of 13 seconds a day. Most other companies do three or four, but because we’re doing series work and there’s tight deadlines, we have to push it to 13 seconds – that is 325 frames in other words. It’s quite strange, ‘he muses, ‘because it’s so…, ‘he searches for the right word, ‘dull’. (-A, B, C, D, E, F, G, H -)
    So, as far as anyone can tell, the knack of getting it right is handed out at birth, and not to many people. Yet despite the rareness of the skill, the animator’s job is seldom secure. Most work on short-term contracts (Farish’s runs out in May), and, as with so many labour-intensive industries, other countries are taking an ever-increasing share of the business. (-A, B, C, D, E, F, G, H -)
    Farish grew up in Aldershot, an army town, with a father who believed firmly in discipline. This belief engendered the opposite in his son, who, despite being bright, barely attended school and managed to leave with a bad report and an attitude problem. ‘I was a bit mouthy, ‘he says, ‘generally my own fault. (-A, B, C, D, E, F, G, H -)
    He survived on what work he could find, moving on from town to town once he’d outstayed his welcome. ‘At times, I loved it, ‘he admits, ‘that total freedom from responsibility. And then it starts getting a bit cold, and you think: “Help! How am I going to eat?” (-A, B, C, D, E, F, G, H -)
    He survived on what work he could find, moving on from town to town once he’d outstayed his welcome. ‘At times, I loved it, ‘he admits, ‘that total freedom from responsibility. And then it starts getting a bit cold, and you think: “Help! How am I going to eat?” (-A, B, C, D, E, F, G, H -)
    Now Farish makes $ 30,000 a year, at least until May, and has never been happier. Despite the insecurity, the boredom, and having to explain what he does all the time, he says he loves his job – especially hen the dolls get something exciting to do.
    A
    Because he’s known worse, these threats to his livelihood bother Farish less than most. For six years he was homeless, on and off, and even food was not guaranteed. I’ve already hit the lowest you can go, he says.
    B
    But even this isn’t the most laborious process. That honour goes to speech, as every lip and tongue movement for every sound has to be posed and photographed, and the result must synchronise perfectly with the recorded soundtrack. The character may be pointing and simultaneously doing a little dance.
    Writers, on the whole, are blithely unaware of the nightmare such actions will bring for the poor wretch who translates their imaginations into reality.
    C
    Small, stocky and shaven-headed, Farish does not immediately make one think of children’s television. He works in Manchester for Cosgrove Hall, a famous old animation shop responsible for classics such as Danger Mouse and Count Duckula. The building is a warren of black baize curtains, separating a series of untidy studios. The atmosphere is one of chaos held precariously at bay.
    The building is a warren of black baize curtains, separating a series of untidy studios. The atmosphere is one of chaos held precariously at bay.
    D
    Towards the end of even the longest day, however, comes the moment that animators live for: pressing play. It’s a dead object, says Farish, and then all of a sudden it’s moving around and talking, and jumping about. It’s as if he is describing some kind of magic spell. You can’t see until you’ve done it, so it’s all got to be in your heard until you’re finished, and when you press lay – that’s when you find out if it all works or not.
    E
    Having started as a plumber’s apprentice in the early 1990s, he found himself without qualifications, and then suddenly without a job when economic recession hit. People stopped paying each other, and I was bottom of the chain. He was left with just a sleeping-bag, a penknife and a change of clothes to depend on.
    F
    In fact, Farish’s dedication knows no bounds. He even creates short cartoons in his spare time for his own amusement. Stop-motion is too complex and expensive to do at home, so he is teaching himself computer-generated animation. It started off as a bit of light relief but it’s gradually taking over home life as well.
    G
    But then, after a period studying production management at drama school, Farish enrolled on a web-design course. One day they had an animation lesson, and out of 20 students, Farish was the only one who could do it. On his teacher’s recommendation, he gave up web design and took a degree in animation. I never chose to be an animator, he says. It never occurred to me that you could do this for a job.
    H
    That would not, of course, be the reaction of a child, but while a child might put a more positive spin on this, no child could muster the prodigious levels of discipline and concentration required to see the job through. All the cartoons are filmed with stop-motion animation so Farish spends his days breaking down the behavior of his characters into thousands of tiny steps, posing the puppets into each position, and taking a picture of the scene to make a frame of film.