WOL EntertainmentBusiness Coursebook

Entertainment
Business
Wise Up Online
Chapters
Chapters
1 The Power of Entertainment

p. 3
2 A Series of Investments p. 41
3 Intellectual Property p. 86
4 Pre-production p. 126
5 Lights! Camera! Action! p. 164
6 Marketing and Release p. 197
7 And the winner is... p. 238
8 Grammar Guide p. 278

1
The Power
The Power of
ofEntertainment
Entertainment
Chapter 1 Video Script Vocabulary Vocabulary Activities Grammar Grammar Activities
Part 1.
In this chapter, you will learn some types of entertainment and vocabulary
related to the five senses. You will also learn some verbs, nouns, adjectives, and
their functions.
Now, look at the script of The Power of Entertainment.
THE POWER OF ENTERTAINMENT
What do you usually do after a stressful day at work or school? Do

you watch a movie or a series? Maybe a reality show on television? Or
perhaps you prefer listening to music or reading a book?
Well, tastes differ, you know. There are those who like to watch soap
operas, while others prefer to watch a video on the internet, play video
games, or root for their favorite team. Each person has their own way
of including relaxation and leisure activities into their routine. And
entertainment content plays a pretty important role here. But the thing
is…we usually don’t even realize it, do we?
Freud used to say that it can be quite hard to go through life without
some palliative measures, among which he mentioned beauty and art.
And entertainment content can all be considered artistic expression.
Who has never felt touched by a movie or reality show? Or maybe felt a
bit more emotional while listening to a song, or rooting for their favorite
team? Entertainment is more than just a hobby—it adds flavor to our
lives! Tell me: how many times have you gone through a difficult week
and decided to watch a comedy to relax? There’s nothing a few good
laughs won’t help, is there?
Let’s suppose your favorite band is going to perform in the city. You call
your friends, you buy the tickets, and you are already feeling excited
about the big day. Also have you ever noticed how we sometimes relate
to our favorite series characters? We feel their joy, their sadness, their
fears, their frustrations, and we celebrate their victories…What happens
is: we connect with them. As a matter of fact, entertainment is what
helps us move forward more smoothly, even in difficult times. Have you
ever wondered what it would be like to live without any entertainment
at all?
< voltar para o índice

4
I dare you to go five days without any music, movies, series, games...you
name it. Probably, your life would be a little dull, without much to talk
about, and no stories to tell.
The point is that with all the technology we have these days, more and
more entertainment options come into the palm of our hands extremely
fast. We access these artistic expressions so often and so easily that we
often fail to notice their true value. Think about it: how many times are
you on public transportation, or doing your household chores, and all
you have to do to hear your favorite playlist is to touch a button on your
cell phone? Or, you just say the name of the playlist out loud, or artist,
and that’s it!
Do you want to picture another scene? Well, what do you do while

waiting for your appointment with the doctor, for instance? I bet
you grab your cell phone and play a game or watch a video, right?
It’s all become so simple that we end up having greater access to
entertainment content. On the other hand, it affects our perception
about how complex it is to produce it all.
To illustrate this idea, think about how much work your favorite band
has to do just to record one song. They have to write the lyrics, make
the arrangement, rehearse for hours on end, and then, on the day of
recording, they need a studio. They also need a staff to set up the
equipment and a producer to oversee everything…and, in the end, they
come up with a single that you’ll take merely three minutes to listen to…
and that’s it.
And it’s the very same thing for most types of entertainment. The
approximately 10 hours of leisure that a series offers you are the
result of a complex behind-the-scenes work which involves dozens
of companies and hundreds of people. Not to mention a few million
dollars...
In the next episodes, we’ll get the chance to know a bit better how
the entertainment industry works and go behind the scenes of the
production of a series. We’ll go through all the main elements that go
into building this type of project, all the way through its release and, of
course, the awards events.
You will notice that the work that provides you with great moments of
fun and leisure goes far beyond making some popcorn and grabbing a
soda. So, are you ready to go behind the scenes?

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O PODER DO ENTRE TENIMENTO
O que vocês costumam fazer após um dia puxado no trabalho ou na

escola? Assistem a um filme ou a uma série? Talvez a um reality show
na televisão? Ou talvez prefiram ouvir música ou ler um livro?
Bem, os gostos são diferentes, vocês sabem... Há quem goste de assistir

a novelas, enquanto outros preferem assistir a um vídeo na internet,
jogar videogame, ou torcer pelo seu time favorito. Cada pessoa tem sua
própria maneira de inserir em sua rotina atividades de descontração e
lazer. E conteúdos de entretenimento têm um papel bem relevante aqui.
Só que muitas vezes a gente nem se dá conta disso, né?
Freud dizia que pode ser muito árduo passar pela vida sem alguns
paliativos, entre os quais ele mencionou a beleza e a arte. E todo
conteúdo de entretenimento pode ser considerado expressão artística.
Quem nunca se emocionou com um filme ou um reality show, ao ouvir
uma música ou ao torcer pelo seu time favorito? O entretenimento é
mais do que um passatempo – ele dá um sabor a mais às nossas vidas.
Contem-me: quantas vezes vocês passaram por uma semana difícil
e resolveram assistir a uma comédia para relaxar? Não há nada que
algumas boas risadas não ajudem, não é verdade?
Vamos supor que a sua banda favorita anuncia que fará um show
na cidade. Você chama seus amigos, compra os ingressos e já está
sentindo a expectativa para o grande dia. E vocês já notaram como às
vezes nos identificamos com os personagens de nossa série favorita?
Sentimos suas alegrias, suas tristezas, seus medos, suas frustrações, e
comemoramos suas vitórias… O que acontece é que nos emocionamos
junto com eles. Para falar a verdade, o entretenimento é o que nos ajuda
a seguir em frente com mais leveza, até mesmo nos momentos difíceis.
Já imaginaram como seria viver sem entretenimento algum? Desafio
vocês a ficarem 5 dias sem música, filmes, séries, jogos... o que vocês
quiserem. Provavelmente sua vida ficaria um pouco sem graça, sem
muito o que conversar e sem histórias para contar.
A questão é que, com toda a tecnologia que temos hoje em dia, mais e
mais opções de entretenimento chegam às palmas de nossas mãos com
extrema velocidade. Nós acessamos essas expressões artísticas com tal
frequência, e de maneira tão fácil, que muitas vezes deixamos de reparar
no verdadeiro valor delas. Parem para pensar: quantas vezes vocês
estão no transporte público ou fazendo as tarefas domésticas, e tudo
o que têm que fazer para ouvir sua playlist preferida é tocar um botão
no seu celular? Ou ainda, basta apenas falar o nome da playlist, ou do
artista, e pronto!

6
Querem ver outra situação? O que vocês fazem enquanto aguardam

para ser atendidos no consultório médico, por exemplo? Aposto que
pegam seu celular para jogar um jogo ou assistir a algum vídeo, não é? E
é tudo tão simples que acaba promovendo maior acesso aos conteúdos
de entretenimento. Por outro lado, isso afeta a nossa percepção de o
quão complexo é produzir isso tudo.
Só para ilustrar essa ideia, pensem em quanto trabalho sua banda

favorita tem que fazer para gravar apenas uma música. É preciso
compor a letra, fazer o arranjo, ensaiar por horas a fio... e aí, no dia da
gravação, eles precisam de um estúdio. E também de uma equipe para
montar os equipamentos e um produtor para acompanhar tudo isso,
para, no fim, chegarem a um single que vocês escutam em uns três
minutos e acabou.
E isso acontece nos mais diversos tipos de entretenimento. As cerca de

10 horas de lazer que uma série lhes oferece são fruto de um trabalho
de bastidores complexo, que envolve dezenas de empresas, centenas
de pessoas, além de alguns milhões de dólares…
Ao longo dos próximos episódios, vamos conhecer melhor o

funcionamento da indústria do entretenimento, e visitar os bastidores da
produção de uma série. Vamos passar por todos os principais elementos
que fazem parte da elaboração desse tipo de projeto, passando pelo
lançamento e, é claro, os eventos de premiação.
Vocês vão perceber que o trabalho que lhes proporciona momentos

legais de divertimento e lazer vai muito além de preparar a pipoca e
pegar o refrigerante. E então, prontos para visitar os bastidores?

7
Part 2.
Nouns are a word class used to name things, people, animals, places, and ideas.
The noun entertainment comes from the verb to entertain, which means to
amuse someone, that is, to provide people with moments of fun.
There are numerous types of entertainment. For example:
T YPES OF ENTERTAINMENT
SINGULAR PLURAL
movie/film documentary movies/films documentaries

filme documentário filmes documentários
the movies / movie theater / cinema movie theaters / cinemas

cinema cinemas
In the previous list, we have movie and film, which is the same as motion
picture. We also have documentary, which is a non-fictional type of movie
intended to give detailed information about a subject. Note that these previous
examples are singular nouns.
The plural form of movie—when it has the same meaning as film—is movies.
However, the noun movies can also be the same as cinema, when we refer to the
physical space we go to watch a film. In this case, it is usually preceded by the
article the. The movies is a singular noun. It is the same as movie theater, more
commonly used in British-influenced English.
Movie theater is a compound noun formed by the words movie and theater. Its
plural form is movie theaters, with the letter -s added only to the second word,
theater. In this sense, theater and play are also nouns. Take a look:
theater play
teatro peça de teatro

8
Theater refers to the place we go to watch a play, or the work of acting, writing,
and organizing plays. A play is a story performed live by actors.
In addition to the previous examples, there are other types of entertainment that
are worth mentioning, such as:
series singular / plural reality show

série (singular) / séries ( plural) reality show
A series is a set of television, streaming platforms or radio broadcasts on the

same subject or that has the same characters in different situations. Note that,
even though series ends in -s, it can be both singular and plural.
Another type of entertainment is reality show, which is a type of program that
intends to show people’s real lives in different contexts. Reality show is a
compound noun formed by the words reality and show. Its plural form is reality
shows, with the letter -s added only to the second word.
There is yet another popular type of entertainment, which is music. This noun
can refer to different things, being one of them sheet music:
music = sheet music

partitura
Sheet music is the written form of music, which contains musical symbols that
indicate pitch, notes, and rhythm.
Music can also refer to other aspects, such as:
music, as a discipline at school

música como disciplina de estudo
Music can also refer to the academic discipline people study to become musicians.

9
Another meaning for the noun music can be the harmonious sequence of
instrument sounds, with or without a voice line. When there is a voice line in a
piece of music, that is, when it contains lyrics, it is called a song. Take a look:
song lyrics
música / canção letra de música
As previously mentioned, a song is a piece of music, usually short and featuring

sung words; these words are called lyrics.
There is one more type of entertainment to be mentioned, along with other types
derived from it:
book audiobook e-book

livro audiolivro livro digital
Book is a set of pages containing texts and/or images, held by a cover, for the
purpose of reading. From it, we can also have the audiobook, which is the
recorded version of the reading made by someone, and the e-book, which is the
digital version of the printed book.
In the script for this chapter, some of the types of entertainment we have seen so
far were mentioned in a sequence of questions. Check it out:
Do you watch a movie or a series? Maybe a reality show on television?

Or perhaps you prefer listening to music or reading a book?
Vocês assistem a um filme ou a uma série? Talvez um reality show na
televisão? Ou talvez prefiram ouvir música ou ler um livro?
In the previous excerpt, notice that series was mentioned in the singular. It is
confirmed by the fact that it is preceded by the indefinite article a, used only with
singular nouns. Note that reality show is also singular, without the letter -s in
the second word of the compound noun, and preceded by the indefinite article as
well.

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There are also three verbs that are worth highlighting in these questions:
to watch, whose complement is movie or series; the verb to listen, whose
complement is music. And also, the verb to read, which refers to books.
The verbs to watch and to listen to are related to two of our five basic senses,
which can be directly related to the entertainment world. They are:
THE FIVE BASIC SENSES
sight hearing touch

visão audição tato
smell taste
olfato paladar
There are some specific verbs related to each of the senses we mentioned
previously. Verbs are a class of words used to describe an action, a condition, or an
experience.
Related to the sense of sight, we have the verb to see, which, in its basic meaning,
refers to the ability to perceive things and people with the eyes. For example:
TO SEE ABILIT Y
ver / enxergar
Jeff can’t see without his glasses.

Jeff não consegue ver/enxergar sem os seus óculos.

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In the previous example, we use the verb to see to talk about Jeff’s ability to
notice what is around him by using his eyes, that is, we are talking about a
physical ability. Since we are using can’t, the contracted form of cannot, in the
former sentence, it means Jeff does not have this ability, that is, he is unable to
see without glasses.
When we are dealing with a context in which there is an intention to see
something, it is preferable to use the verb to look. For example:
TO LOOK INTEN TIONALIT Y

ver / olhar
Look at those pictures over there!

Veja/Olhe para aqueles quadros ali!
In the former sentence, the verb to look conveys the idea of intentionally
directing the eyes to a certain thing. Note that when we use to look in this
sense, the complement will be introduced by the preposition at.
Still related to the sense of sight, we also have verbs that are commonly used in
entertainment. The first one is to see, however, with another connotation. Take a
look:
TO SEE
ver / assistir
Let’s see this film at the movie theater tomorrow.

Vamos ver / assistir a este filme no cinema amanhã.
In the previous example, we use the verb to see to convey the idea of paying
attention to a film that will be screened or projected in a public space, that is,
at the movie theater. The verb to see is used to talk about using the eyes to
perceive and pay attention to an event for a period of time in a public place.
However, when we refer to an event on TV or some other device, it is more
common to use the verb to watch. For example:
TO WATCH
ver / assistir / observar
I watch great documentaries on this TV channel.

Eu vejo / assisto a ótimos documentários neste canal de TV.

12
In the former example, we are using to watch to refer to something that will
be aired on TV. The verb to watch conveys the idea of looking at something or
someone also for a period of time, paying attention to them.
It is also worth mentioning the word great here. In this context, it is the same
as excellent. Both great and excellent are adjectives which are used to qualify
nouns. In this case, the noun is documentaries. Note that, in English, adjectives
do not vary in number.
The verb to watch can have yet another meaning that is not related to the sense
of sight. Check out the following sentence:
TO WATCH
prestar atenção / tomar cuidado
Cristina has to watch her kid’s screen time.

Cristina tem que prestar atenção no tempo de tela do seu filho.
In the previous example, the verb to watch means to pay attention to some
situation that concerns or interests us. We could replace this verb with the verbs
to monitor or to supervise in the previous context, in which we convey the idea
that Cristina needs to supervise the period of time her children watch TV and
access other electronic devices.
Another use of the verb to watch is to tell someone to be careful, as in the
following example:
TO WATCH
prestar atenção / tomar cuidado
Watch your words. They can hurt!

Preste atenção às / Tome cuidado com suas palavras. Elas podem magoar!
Note that to watch, in the previous sentence, means to be careful or beware of

the words used. Also note that the sentence is in the imperative form, which is
the way we commonly use the verb to watch in this sense.
The verbs related to the sense of hearing will also have some different uses. Take
a look at the first example:

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TO HEAR ABILIT Y
ouvir / escutar
My grandfather doesn’t hear very well in his left ear.

Meu avô não escuta / ouve muito bem do ouvido esquerdo.
In the previous sentence, we have the verb to hear, which refers to the ability
to perceive or become conscious of a sound using the ears. Note that we use
can’t, the contracted form of cannot, before the verb, to say that the grandfather
does not have this ability in his left ear. We are not talking about a specific sound
intended to be heard, but to a general capacity of hearing sounds.
Now, take a look at the following sentence:
TO LISTEN INTENTIONALIT Y
escutar
Delilah listens to this song over and over every day.

Delilah escuta esta música sem parar todos os dias.
In the previous example, we have the verb to listen. To listen implies

intentionality, that is, we are paying attention to what we are hearing. In this
sentence, it refers to the action performed by Delilah in regards to a song. Notice
that, after the verb, we have the preposition to introducing its complement.
There is yet another sense worth talking about: taste, which refers to the ability
to recognize different flavors. Take a look:
TASTE
gosto / sabor
The blue cheese has a strong taste.

O queijo azul tem um gosto forte.
The noun taste, as seen in the previous example, means flavor. Here, we are
talking specifically about the flavor of the blue cheese. Note that taste is preceded
by the adjective strong, which in this context means intense, and characterizes
the cheese as well.
The word taste can also be a verb, to taste, which refers to contexts necessarily
related to the sense of taste. For example:

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TO TASTE + ADJE CTIVE

ter gosto + adjetivo
This apple tastes bad.

Esta maçã tem um gosto ruim.
Here, we have the verb to taste followed by the adjective bad to talk about the
flavor of the apple. Bad, in this context, means awful, disgusting.
We can also use the verb to taste with other adjectives to describe other
characteristics. For example:

to taste good to taste salty to taste sweet

ter um gosto bom ter um gosto salgado ter um gosto doce
To taste good means to have a pleasant or nice flavor. Good is the opposite of
bad.
We can also say to taste salty, which refers to a flavor marked by a lot of salt.
To taste sweet refers to a flavor marked by a lot of sugar.
There is a particularly interesting adjective we can use. Take a look:

to taste funny
ter um gosto estranho
To taste funny is formed with the adjective funny, which, in some contexts,
refers to something that makes you laugh; however, to characterize a flavor, it
can be understood as strange, odd. The idea of to taste funny is that the food
seems to be spoiled, in other words, it can no longer be eaten due to its bad
condition.
We can also use the expression to taste like something to say that something
tastes similar to something else. For example:

15
TO TASTE LIKE SOME THING

ter gosto de alguma coisa
This candy tastes like coffee.

Este doce tem gosto de café.
In the previous example, there is the verb to taste followed by like and a noun.
In this case, the noun is coffee. Note that, in this expression, we do not use an
adjective, but a noun.
Taste will only have a different meaning, far from the idea of ability of a sense,
when it is a noun.
There is a popular saying in which the noun taste is used to talk about personal
preferences. Check it out:
TASTE
gosto / preferência
Tastes differ.
Gostos diferem.
Here, the noun tastes, which is plural, can refer to the context of entertainment,
for example. Therefore, it does not necessarily refer to flavors, but preferences.
To differ is a verb that means to diverge. If we wanted to use the adjective, we
would say:
TASTE
People have different tastes.

As pessoas têm gostos diferentes.
In the previous example, different is the adjective related to the verb to differ.
Different is also describing tastes, which is the noun taste in the plural form.
We can also use taste followed by the preposition for to talk about a preference
for something in particular. For example:

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A TASTE FOR
uma preferência por / um gosto por
John has a taste for classical music.

John tem uma preferência por música clássica.
In the former sentence, we use the formation a taste for + noun, that is taste for
classical music. This expression is being used to indicate John’s preference, the
kind of music he likes to hear. It is worth mentioning that taste, in this expression,
is a noun.
We could also say a taste in:
A TASTE IN
uma preferência por / um gosto por
John has a taste in classical music.

John tem um gosto por música clássica.
Note that we used the preposition in, and the meaning is the same as that of a taste for +
noun. Here, taste is also a noun.
Still under the idea of taste as a personal preference, the script for this chapter has the
following excerpt:
There are those who like to watch soap operas, while others prefer to watch a
video on the internet, play video games, or root for their favorite team.
Há quem goste de assistir a novelas, enquanto outros preferem assistir a um vídeo
na internet, jogar videogame ou torcer pelo seu time favorito.
In the former sentence, notice we have the verb to watch, mentioned at the beginning of
this chapter.
We also have soap operas, which is a compound noun, formed by soap and operas.
It is a fictional series of television or radio programs about the lives and problems of a
particular group of characters.
Then, we have the noun video. This word is also part of the compound noun video games.
We have yet two verbs worth mentioning: to play and to root.

17
In the context of the previous excerpt, the verb to play means to compete in a game. To
play video games can also be considered an entertaining activity.
Another use for the verb to play is related to musical instruments. Check it out:
TO PL AY (A MUSICAL INSTRUMENT )
tocar (um instrumento musical)
Arnold plays the piano in his spare time.

Arnold toca piano nas horas vagas dele.
In the previous example, the verb to play means to perform a piece of music on a
musical instrument; in this case, the piano. Note the definite article the between the verb
to play and the name of the instrument.
Take a look at another use of the verb to play:
TO PL AY
brincar
Jennifer likes to play with toy cars after school.

Jennifer gosta de brincar com carrinhos depois da escola.
In the previous sentence, to play means spending time doing an enjoyable or

entertaining activity, without necessarily involving competition. Observe that we
use the verb to play followed by the preposition with before the object used to
have fun with, in this case, toy cars.
We just saw the verb to play in two contexts that are related to making
something fun. That brings us to another entertaining activity: rooting for our
favorite team.
To root, when used by itself, is used in another context. For example:
TO ROOT
enraizar-se / arraigar-se
Seeds, in general, do not root easily in winter.

De modo geral, sementes não se enraízam facilmente no inverno.

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To root, in the former example, means to fix and grow roots. In this context,
we are talking about plants, and roots are the part of the plant that grows into
the soil to provide water for the entire structure of the plant. Also note that the
preposition for is not used after the verb.
However, when we use the construction to root for something or someone, the
meaning is completely different. Take a look at the following example:
TO ROOT FOR SOME ONE /SOME THING

torcer por alguém/algo
The guys root passionately for the city team!

O pessoal torce apaixonadamente pelo time da cidade!
To root for something or someone means to express your support for the success
of someone or something. Here, we used to root for something, to say that people
support the city team. Notice the use of the preposition for after the verb to root in this
use.
Rooting for a team or an athlete can arouse different emotions. In fact, stirring emotions
is one of the greatest effects of entertainment contents, regardless of the medium.
For example, there are people who cry whenever they hear a certain song, not
necessarily because it makes them feel sad, but because it is so beautiful. Check out
the following excerpt from the script on the subject:
TO TOUCH (EMOTIONALLY )
tocar (emocionalmente) / comover
Who has never felt touched by a movie or a reality show?

Quem nunca se emocionou com um filme ou um reality show?
In the previous sentence, we have touched, which comes from the verb to touch. In
this context, it implies that something affects someone emotionally. Take a look at
another example:
TO TOUCH (EMOTIONALLY )
tocar (emocionalmente) / comover
Love movies always touch my heart.

Filmes de amor sempre tocam o meu coração.

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In the previous example, we have to touch someone’s heart, which means to

make them experience feelings of emotion. The verb to move would also fit in
this case.
However, the verb to touch can refer either to touching something or someone
emotionally, as seen in the previous examples, as well as physically. That is
where another of the five senses comes in: the sense of touch.
Take a look at this example:
to touch physically
tocar fisicamente
You cannot touch the artwork in a museum.

Você não pode tocar as obras de arte em um museu.
In the former sentence, we have the verb to touch, which here means to feel
something using the hands. In this case, we use cannot to convey the idea that
one is not allowed to touch or put their hands on the artwork in a museum.
Touch can also be a noun in the sense of adding an extra detail to improve or
modify something. In this case, we use the construction adjective + touch. For
example:
ADJE CTIVE + TOUCH
a final touch / a finishing touch

um toque final
a personal touch a nice touch

um toque pessoal um belo toque
A final touch, or finishing touch, is the last thing done to make something
complete. A personal touch is an original or special quality added to something
or someone to make it look or feel special. A nice touch is an expression used to
show approval or delight over a favorable detail.
Note that final, finishing, personal, and nice are adjectives, which attribute a
characteristic to the noun touch.

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There is yet another sense worth mentioning, although not directly related to the
entertainment world: the sense of smell. Take a look:
SMELL NOUN
cheiro
Homemade pizza has a delicious smell.

Pizza caseira tem um cheiro delicioso.
As a noun, smell refers to the characteristic of something recognized or noticed

by using the nose. In the previous example, the adjective delicious gives a
positive characteristic to this smell.
However, this characteristic changes with the adjective. For example:
SMELL NOUN
cheiro
Rotten fish has a terrible smell!

Peixe podre tem um cheiro horrível!
Now, we have the adjective terrible used with the noun smell. Terrible means
horrible and has a negative connotation.
Smell can also be a verb, to smell, which refers to the ability to notice or
discover something by using your nose. For example:
TO SMELL
cheirar – no sentido de sentir um cheiro
I can smell fresh bread!

Posso sentir o cheiro de pão fresco!
In the previous sentence, the action of smelling is performed by a person who

can sense it with their nose. Since fresh bread has a very specific smell, the
person could smell it.
We can also use the verb to smell to say that something or someone has a
particular quality that others can notice with their noses. Take a look:

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TO SMELL
cheirar – no sentido de ter ou de exalar um cheiro
This perfume smells amazing.

Este perfume tem um cheiro incrível.
Now we are using the verb to smell to talk about a particular quality of a
perfume. Note that we are not saying that a person can smell the perfume. We
are saying the perfume emanates a specific scent others can notice.
Also note that we used the word amazing to describe the way the perfume
smells. Amazing is an adjective that means incredible, or really good. It is
possible to use other adjectives depending on the context too.
Now you know about types of entertainment and

vocabulary related to the five basic senses.

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Part 3.
Activities
A. Fill in the blanks with the appropriate words, according to the translation:
( 1 ) tocar um instrumento musical ( ) to hear
( 2 ) tocar emocionalmente / comover ( ) to play a musical instrument
( 3 ) brincar ( ) to smell
( 4 ) ouvir / escutar ( ) to root for someone / something
( 5 ) prestar atenção / tomar cuidado ( ) to play
( 6 ) ver / enxergar ( ) a nice touch
( 7 ) torcer por alguém ou algo ( ) a taste for / a taste in
( 8 ) enraizar-se / arraigar-se ( ) to watch
( 9 ) um belo toque ( ) to taste funny
( 10 ) cheirar / sentir o cheiro ( ) to see
( 11 ) ter um gosto estranho ( ) to root
( 12 ) uma preferência por / um gosto por ( ) to touch emotionally
B. Fill in the blanks with the appropriate words, according to the translation.
1. Jeff can’t without his glasses.

Jeff não consegue ver enxergar sem os seus óculos.
2. Delilah to this song over and over every day.

Delilah escuta esta música sem parar todos os dias.
3. My grandfather doesn’t very well in his left ear.

Meu avô não ouve muito bem do ouvido esquerdo.
4. This candy like coffee.

Este doce tem gosto de café.

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24
Activity A – Answers Activity B – Answers
1. to play a musical instrument 7. to root for 1. see
2. to touch emotionally 8. to root 2. listens
3. to play 9. a nice touch 3. hear
4. to hear 10. to smell 4. tastes
5. to watch 11. to taste funny 5. plays
6. to see 12. a taste for / a taste in 6. touch
Você não pode tocar as obras de arte em um museu.
the artwork in a museum. 6. You cannot
the piano in his spare time. 5. Arnold
Grammar Activities Grammar Vocabulary Activities Vocabulary Video Script Chapter 1
Part 4.
In the vocabulary part of this chapter, we learned the function of words from
different classes: nouns, verbs, and adjectives. We also learned that words with
the same spelling and pronunciation can have different meanings and uses, as
well as be part of some specific constructions.
In this part of the chapter, we are going to see how to use these words within
structures to form sentences in English, starting with the verbs.
There are two basic forms of English verbs: the infinitive form and the base
form. Take a look at the following verbs:
VERBS
INFINITIVE FORM BASE FORM
to see see
enxergar / ver / assistir
to hear hear
ouvir / escutar
to smell smell
cheirar / sentir cheiro
to taste taste
sentir gosto / ter gosto
to touch touch
tocar
to write write
escrever / compor
In the first column of the previous list, we have verbs in the infinitive form. It is
the basic form of the verb, without any conjugation, and marked by the particle
to. In the second column, we have the base form. The base form is the infinitive
without the particle to. This is the way we find verbs in the dictionary.

25
Depending on the verb form we need to use, the conjugation of the verb may
be identical to its base form. This is the case when we use modal verbs, which
are types of auxiliary verbs that accompany the main verbs, imprinting a specific
meaning to them.
In the vocabulary part of this chapter, we saw an example with the modal verb
can. Take a look:
MODAL VERB CAN

Negative Form
Prohibition
Proibição
You cannot touch the artwork in the museum.

Você não pode tocar as obras de arte no museu.
In the former example, the verb to touch is the main verb of the sentence,
because it is the one that expresses the main idea of the sentence. We also
have the modal verb can in the negative form—cannot, conveying the idea of
prohibition. That is, touching the artwork in the museum is not allowed. Note
that the verb touch is identical to its base form, without the particle to.
We have also seen another example with this modal verb in the previous part of
this chapter. Check it out:
MODAL VERB CAN

Negative Form
Incapability
Incapacidade
Jeff can’t see without his glasses.

O Jeff não consegue enxergar sem seus óculos.
In the previous example, we have the negative form can’t, the contracted form of
cannot. Then, we have the main verb, see, identical to its base form.
However, the modal verb can does not refer to a prohibition in this case. Can’t
see without glasses implies the idea of incapability. Without his glasses on, Jeff
is not able to see anything.
The modal verb can is commonly used with verbs related to the five senses to
convey the idea of ability or capacity. Take a look at the following example:

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MODAL VERB CAN

Negative Form
subject + modal verb can + not + main verb + complement
Incapability
Incapacidade
My grandfather can’t hear very well in his left ear.

Meu avô não consegue ouvir / escutar muito bem do ouvido esquerdo.
Here, we have the modal verb can used with hear as the main verb. Note that,
by using the negative form of the modal verb, can’t, we convey the idea that the
person is unable to perceive sound.
Also note that this sentence is in the negative form, and the structure is the
same as that of the sentence we have just studied: we have the subject, my
grandfather, followed by the modal verb can contracted with the particle not, the
main verb in its base form, hear, and the complement.
We can also use the modal verb can in the affirmative form. For example:
MODAL VERB CAN

Affirmative Form
subject + modal verb can + main verb + complement
Ability
Capacidade
I can smell something burning.

Eu estou sentindo o cheiro de algo queimando.
In the affirmative form, the structure of the sentence is identical to the previous
structure, except for the particle not, which must be left out. So, we have: the
subject, I, the modal verb can, the main verb in the base form, smell, and the
complement.
Note that, in the previous example, we use can as an auxiliary verb to convey
the idea that the person has the ability to smell something burning. Check out
another example:

27
MODAL VERB CAN

Affirmative Form
subject + modal verb can + main verb + complement
Ability
Capacidade
Fred can see without glasses.

O Fred consegue enxergar sem óculos.
By using the modal verb can with the verb see in the affirmative form, we have
the same idea of ability, but now, the ability to see. In other words, the subject
of the sentence, Fred, is able to see without glasses. Also note that the verb see
comes in its base form.
It is worth noticing that modal verbs will not have their conjugation modified
according to the subject. That means we will use can for all subjects. A similar
process happens in the simple present with verbs other than to be: the main
verb conjugation will be identical to its base form for almost all subjects, except
for the third person singular.
Take a look at the following example:
MODAL VERB CAN

Affirmative Form
subject + main verb + complement
Love movies touch my heart.

Filmes de amor tocam meu coração.
The structure of the simple present in the affirmative form is: subject + main
verb + complement. Note an important difference in structure compared to
sentences with the modal verb can: in the simple present, we do not have an
auxiliary verb in the affirmative form.
In the former sentence, we have the verb to touch conjugated according to the
subject, love movies. Here, movies is the plural of movie as we are talking about
films. Since the subject is plural and we are referring to things, the subject is in
the third person plural. Thus, the conjugation of the main verb is similar to its
base form.

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As aforementioned, there will be a change in conjugation in the simple present

only in the third person singular. For example:
SIMPLE PRESENT – OTHER VERBS

Affirmative Form
Arnold plays the piano in his spare time.

In the previous sentence, the main verb is plays. It is the verb to play conjugated
according to the subject, Arnold, which corresponds to the third person singular.
In this case, the general rule of conjugation is to add the letter -s at the end of
the base form.
However, depending on how the verb ends in the base form, we may have
different spelling rules. Take a look:

Third Person Singular – Spelling Rules
Consonant + -y drop -y, add -ies

Consoante + -y suprima o -y, acrescente -ies
-o, -z, -ss, -sh, -ch, and -x add -es

-o, -z, -ss, -sh, -ch e -x acrescente -es
There is also an exception: the verb to have, which becomes has in the third
person singular. For example:

Third Person Singular – Spelling Rules
to have has
Homemade pizza has a delicious smell.


29
In the former example, the subject is homemade pizza, which corresponds to the
third person singular. Then, we have the main verb have in the simple present,
conjugated according to the subject as has. Also note that a delicious smell is the
complement. In this case, smell is a noun, being characterized by the adjective
delicious.
For sentences in the negative and the interrogative forms of the simple
present—with verbs other than to be—we need an auxiliary verb, do. However,
pay attention: unlike the modal verbs, the auxiliary verb do will not imprint any
idea to the main verb.
In negative sentences, the structure is subject + auxiliary verb + not + main
verb + complement. The main verb of the sentence will remain in the base form
for all subjects. The auxiliary verb will have a different conjugation only in the
third person singular. In this case, do will become does. Take a look:

Negative Form
subject + auxiliary verb + not + main verb + complement
John does not have a taste in classical music.

John não tem um gosto por música clássica.
In the previous sentence, we have the subject, John, which corresponds to the
third person singular. The main verb comes in the base form as have. The
conjugation, then, only applies to the auxiliary verb do, which comes before the
main verb as does, followed by the particle not. Does not can be contracted as
doesn’t, making the negative form less emphatic.
Check out another example:

Negative Form
subject + auxiliary verb + not + main verb + complement
Seeds do not root easily in the winter.

Sementes não se enraízam facilmente no inverno.

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In the former example, the subject is seeds, which corresponds to the third
person plural. So, the auxiliary verb comes as do. Then, we have the particle
not, the main verb in its base form, root, and the complement. Here, it would also
be possible to use the contracted form, don’t.
Note that, again, the main verb remains in the base form, and the auxiliary verb
is the one conjugated: it comes as does for the third person singular, and as do
for all the other subjects.
In the interrogative form, the auxiliary verb will change positions and be placed
before the subject. The structure, in this case, is: auxiliary verb + subject + main
verb + complement.
Take a look:

Interrogative Form
auxiliary verb + subject + main verb + complement
Do you watch a movie or a series?

Vocês assistem a um filme ou a uma série?
In this question, we have the auxiliary verb do, followed by the subject you, the
main verb in its base form, watch, and the complement, a movie or a series.
Note that the auxiliary verb agrees with the subject in the second person plural
and that the main verb remains in the base form.
Have a look at another example:

Interrogative Form
auxiliary verb + subject + main verb + complement
Does Patricia listen to music?

A Patricia escuta música?

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Now, we have the same sentence structure, with the difference that the
auxiliary verb do is conjugated as does, according to the subject Patricia, which
corresponds to the third person singular. Also note that the main verb, listen,
remains in its base form.
It is worth highlighting that the word to does not indicate a verb in the infinitive
form in the previous sentence. After to, we have the noun music, so, it is a
preposition that follows the verb to listen and introduces its complement.
To better understand the difference between to as a particle and as a
preposition, we can pay attention to what comes before and after it in a
sentence, which helps us perceive its general meaning.
That is especially important because we can also have verbs as part of the
complement sometimes. It means that, after the main verb, we have another verb,
not a noun. In some cases, this verb comes in the infinitive form, with the particle
to.
HAVE + NOUN POSSE
Rotten fish has a terrible smell!

Peixe podre tem um cheiro horrível!
The subject of the sentence is rotten fish, followed by the main verb conjugated
according to the subject as has. In the complement, we have terrible, which is an
adjective, and the noun smell.
We know smell is a noun here because adjectives only qualify nouns. Also, see
that we do not have the word to in this sentence. That’s because the verb have
does not require a preposition when its complement is a noun, and it conveys the
idea of possession.
Now, compare with the following example:
HAVE + INFINITIVE NE CESSIDADE / OBRIGAÇÃO
The cook has to smell the fish before preparing it.

O cozinheiro tem que cheirar o peixe antes de prepará-lo.

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The subject is the cook, a person who makes a living cooking professionally. It is
followed by has, which is the main verb have conjugated in the third person singular
in the simple present.
Note that, after the main verb, we have the particle to, followed by the word smell.
The construction has to smell is complemented by the fish, a noun. So, to smell is
the verbal complement of the main verb, and it fits the sentence in the infinitive
form. The conjugation falls only on the main verb – has.
The construction have + infinitive conveys the idea of necessity or obligation.
When followed by a verb in the infinitive, have does not convey the idea of
possession. Check out another example:
HAVE + INFINITIVE NE CESSIDADE / OBRIGAÇÃO
They have to make the arrangements of the song.

Eles têm que fazer os arranjos da música.
We have the subject they, followed by the main verb to have in its base form,
and the complement to make the arrangements of the song. Now, note that the
complement has another verb, to make, which is in the infinitive form, and only
the main verb is conjugated. Again, the idea is of necessity or obligation.
The infinitive form can also be a verbal complement to other verbs. For example,
with the verb to want, which means to desire, the verbal complement will also
be in the infinitive. Take a look:
VERBS + INFINITIVE
to want + infinitive
We want to watch this new series.

Nós queremos assistir a esta nova série.
In the previous sentence, we have the subject we, followed by the main verb
conjugated in the simple present just as its base form, want. Then, we have the
complement, to watch this new series. To watch is in the infinitive, and it works
as a verbal complement to the main verb.
The verb to like can also be followed by a verbal complement in the infinitive. For
example:

33
VERBS + INFINITIVE
to like + infinitive
Some people like to watch soap operas.

Algumas pessoas gostam de assistir a novelas.
In the former example, there is the subject some people, followed by the main
verb like conjugated in the simple present, similar to its base form. Now, notice
that the complement is to watch soap operas. The verb to watch is the verbal
complement, and it is in the infinitive.
So far, we have seen examples in which the main verb is used just as its base
form or with some slight changes to it. On the other hand, with the verb to be,
conjugations can change more evidently depending on the verb form used.
With modal verbs, for example, the verb to be will remain in the base form, as it
follows the same structure as with other verbs. However, in the simple present,
we see considerable changes. For example:
SIMPLE PRESENT – VERB TO BE

Affirmative Form
First person singular
I am a fan of heavy metal.

Eu sou fã de heavy metal.
In the previous sentence, am is the conjugation of the verb to be for the first
person singular, I. That person is the only one with this conjugation. The
contracted form I’m is more common than I am, and also more informal and less
emphatic.
Now, observe the following example:

Affirmative Form
Third person singular
Entertainment is more than just a hobby.

Entretenimento é mais do que um passatempo.

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We have the subject entertainment, which corresponds to the third person

singular. It is followed by the verb to be conjugated as is. This conjugation
applies to all subjects in the third person singular.
Contrastingly, in the third person plural, the conjugation is as follows:

Affirmative Form
Third person plural
Salvador Dalí and Frida Kahlo are my favorite artists.

Salvador Dalí e Frida Kahlo são meus artistas favoritos.
In the former example, we have the conjugation are, in accordance with the
subject Salvador Dalí and Frida Kahlo, which corresponds to the third person
plural they.
This conjugation is also used for the first person plural. Take a look:

Affirmative Form
First person plural
We are at a movie set.

Nós estamos em um set de filmagens.
We corresponds to the first person plural, and the corresponding conjugation of

the verb to be in the simple present is also are.
It is important to mention that we do not need auxiliary verbs with the verb to
be in this verb form. The sentence structure in the affirmative form is: subject +
main verb + complement, being the main verb to be.
The second persons singular and plural also receive the same conjugation of
the verb to be in the simple present. Check it out:

35

Affirmative Form
Second person singular / plural
You are strong.

Você é forte.
You two are strong.

Vocês dois / duas são fortes.
You can refer to both singular and plural second persons, depending on the
context. Nevertheless, the conjugation of the verb is the same: are.
Also, notice that the adjective strong does not vary in number or gender.
As mentioned earlier, the verb to be does not need an auxiliary verb in the
affirmative form in the simple present. In the interrogative form, unlike other
verbs in this same verb form, this is also true. The only change is the position of
the main verb in the sentence. Take a look:

Interrogative Form
main verb + subject + complement
Are you ready to go behind the scenes?

Vocês estão prontos para ir aos bastidores?
The previous example has the following structure: first, we have the main verb to
be conjugated as are, followed by the subject you and the complement ready to
go behind the scenes.
Note that the verb is conjugated according to the subject, in the same way as in
the affirmative sentence. The difference is that the verb starts the sentence in
the interrogative form.

36

Interrogative Form
main verb + subject + complement
Is Salvador Dalí a famous artist?

Salvador Dalí é um artista famoso?
In the previous sentence, we have the main verb to be conjugated according to

the subject in the third person singular as is, followed by the subject Salvador
Dalí, and the complement a famous artist. Note that the structure is the same as
in the previous interrogative sentence: main verb, subject, and complement.
In the negative form of the verb to be in the simple present, we do not need
any auxiliary verb either. The structure will be very similar to the affirmative
form, with the addition of the negative particle not between the verb and the
complement. Take a look:

Negative Form
subject + main verb + not + complement
You are not ready to go behind the scenes.

Vocês não estão prontos para ir aos bastidores.
In the previous sentence, the subject is you, followed by the main verb to be
conjugated as are, the particle not, and the complement, ready to go behind the
scenes. Note that the structure here is subject + main verb + not + complement.
Take a look at another example:

Negative Form
subject + main verb + not + complement
Entertainment is not just a hobby.

Entretenimento não é só um passatempo.

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Here, the subject is entertainment, followed by the main verb to be conjugated

as is, the particle not, and the complement, just a hobby. Note that the particle
not always comes after the verb to be.
In this chapter, you learned different ways a verb can appear in

a sentence, from its most basic forms to specific conjugations. If
you want to learn more about these topics, you can refer to the
Grammar Guide section at the end of your book.
GRAMMAR GUIDE
Infinitive Form Page 313

Modal Verb Can Page 318
Simple Present – Other Verbs Page 352
Simple Present – Verb To Be Page 358

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Part 5.
Activities
A. Change the sentences into the negative or interrogative form:
1. Love movies touch my heart.

Filmes de amor tocam meu coração.
( negative)
2. Arnold plays the piano in his spare time.

(interrogative)
3. Homemade pizza has a delicious smell.

( negative)
4. Some people like to watch soap operas.

Algumas pessoas gostam de assistir a novelas.
(interrogative)
5. I am a fan of heavy metal.

Eu sou fã de heavy metal.
( negative)
6. Entertainment is more than just a hobby.

Entretenimento é mais do que um passatempo.
(interrogative)
7. Salvador Dalí and Frida Kahlo are my favorite artists.

Salvador Dalí e Frida Kahlo são meus artistas favoritos.
( negative)

39
8. We are at a movie set.

Nós estamos em um set de filmagens.
(interrogative)
B. Fill in the blanks with the missing words:
1. You the artwork in the museum.

Você não pode tocar as obras de arte no museu.
2. Does Patricia to music?

A Patrícia escuta música?
3. The cook the fish before preparing it.

O cozinheiro tem que cheirar o peixe antes de prepará-lo.
4. Jeff without his glasses.

O Jeff não consegue enxergar sem seus óculos.
5. They the arrangements of the song.

Eles têm que fazer os arranjos da música.
6. I something burning.
Eu estou sentindo o cheiro de algo queimando.
8. Are we at a movie set?

7. Salvador Dalí and Frida Kahlo are not / aren’t my favorite artists.
6. can smell 6. Is entertainment more than just a hobby?
5. have to make 5. I am not / I’m not a fan of heavy metal.
4. cannot / can’t see 4. Do some people like to watch soap operas?
3. has to smell 3. Homemade pizza does not / doesn’t have a delicious smell.
2. listen 2. Does Arnold play the piano in his spare time?
1. cannot / can’t touch 1. Love movies don’t / do not touch my heart.
Activity B – Answers Activity A – Answers

40
2
A Series
A Series of
ofInvestments
Investments
Part 1.
In this chapter, you will learn about the functions of different classes of words
and affixes, as well as some collocations, finance vocabulary, and how to
express existence. You will also see some important vocabulary and grammar
topics.
Now look at the script of A Series of Investments.
A SERIES OF INVESTMENTS
In the last episode, we reflected a little on the amount of work that

is behind each artistic production, and we could realize how much it
sometimes goes unnoticed. We also concluded that it would be pretty
boring to live with no entertainment whatsoever. No wonder the
demand for more content has increased so much…
For instance, have you noticed how many series have been released in
recent years? With the arrival of streaming platforms, watching series
has become a habit, putting this entertainment format in the spotlight.
In fact, there are series for all tastes and styles, and on the most varied
subjects. And we can see two large formats: there are some whose
episodes are released all at once for the binge-watching audience, and
others that air each new episode weekly.
The truth is that there is a huge demand for this type of entertainment.
And, in the business world, when we have a well-defined demand,
there lie good profit opportunities. And that’s exactly what we’re going
to see in this episode: the financial aspect involved in the production of
a series.
Have you ever noticed that some series have multiple seasons
while others are simply canceled? To understand the reason why it
happens, we need to go through the financing strategies used in the
entertainment market.
Try to picture yourself as a producer and imagine that you are thinking
about producing a new series. When making the preliminary budget for
the project, you check each of the costs involved: the cast, set design,
equipment, costumes, make-up, and so on.

42
The list goes on and on and when you finish it, you find that the cost of
production is extremely high. It is far beyond what you could ever afford
to invest on your own.
What now? Well, one solution is to look for investors who are willing to
put money into the project. But it turns out that just convincing investors
that your product is good will not be enough to attract investment.
And the reason for this is obvious: those who invest in something do
so expecting a certain return. The producer needs to give the investor
compensation. In general, this is done in the form of profit-sharing,
which will be proportional to the amount of money that the investor
initially put in.
For example, if you have a project budget of 100 and the investor has
put in 20, he will have a 20% profit share. It’s that simple! But what if
the project doesn’t make a profit? 20% of nothing is still nothing. That’s
why investors will always prefer a series that has a lower risk of going
wrong. And one of the ways to reduce the risk of a project for a new
series is to bring in a strong, super famous cast that will attract the
target audience and, as a result, bring more visibility to the project.
As you can imagine, the paycheck of a famous star, with the potential to
attract thousands of viewers, will mean a good part of the series budget.
To reduce this cost, the producers make use of another financing
strategy: they give a share in the project’s profits to the main actors
of the cast as well. Thus, it is possible to greatly reduce the actor’s
fee. Think about it! If the actor’s normal paycheck is US$ 10,000, the
producer can offer him 2,000 plus 5% profit sharing, for example. When
this happens, it is common for the actor’s name to be placed in the
series credits as an executive producer.
Despite not being a traditional executive producer, this actor has a very
important role in financing the project, as well as dramatically increasing
the chances of the series becoming a favorite of the public. And do
you know why? Well, that question is easy! It is thanks to him that the
producer will not need to spend big bucks to start production.
Here’s another perspective that we need to consider: large studios,

production companies, TV stations, and streaming platforms often
decide to fund their series projects with their own resources. But where
does that money come from? – you might ask yourself.
Well, the main source of the income for the studios and production
companies comes from selling the exhibition or broadcast rights to
TV channels. Streaming platforms also receive a monthly fee from the
subscriptions their customers pay, while a TV broadcaster earns a lot
from advertising. This all goes into production financing.

43
Some streaming platforms may even offer an ad-supported

subscription, which will make it more affordable. In addition, when a
series is popular with the public, it can generate what we call “derivative
products”, such as notebooks, backpacks, clothes, toys, any product
that has the brand name or characters of the series, turning a profit for
whoever produced it as well.
As you can see, advertising is a great financing strategy, and it has been
widely used in the entertainment world for quite a long time. How many
times have you not been watching a movie, soap opera, or series, and
saw the cast interacting with famous brand products – cars, laptops,
soft drinks, cell phones, and so on? These companies pay to insert
their products into shows they think will reach their target audience.
This is called merchandising, and it is also considered a great financing
strategy.
But it turns out that, while the traditional market sells units of a
particular product, the entertainment business focuses its efforts on
selling experiences. And there’s no denying that it’s very difficult to
know whether the audience will rate it as a good or bad experience
before it actually happens. This makes investing in the entertainment
market extremely risky. I bet you’ve seen shows get canceled, haven’t
you? They are generally those that have failed to make viable any of the
financing strategies we have seen so far. No wonder that it has become
a trend to produce a series with an exact number of episodes, with no
prospect of continuity into other seasons. It practically abolishes the
risks of getting canceled.
On the other hand, some productions get so famous that they end up
being copied or imitated. And so, what can be done when this type
of thing happens? Is there any way for the producers and investors to
protect themselves from it?

44
UMA SÉRIE DE INVESTIMENTOS
No último episódio, falamos da importância do entretenimento em

nossas vidas. Refletimos um pouco sobre a quantidade de trabalho
que há por trás de cada produção artística, e pudemos notar o quão
despercebido isso nos passa às vezes. Pensamos também que seria
muito sem graça viver sem nenhum entretenimento. Não é de se
espantar que a demanda por mais conteúdo tem aumentado tanto.
Por exemplo: vocês já repararam em quantas séries foram lançadas

nos últimos anos? Com a chegada das plataformas de streaming,
assistir a séries se tornou um hábito, e fez com que esse formato de
entretenimento ganhasse muito destaque. De fato, existem séries para
todos os gostos e estilos, e sobre os mais variados assuntos. E podemos
observar dois grandes formatos: há séries cujos episódios são lançados
de uma só vez para o público maratonar, e outras que têm um episódio
novo a cada semana.
A verdade é que há uma demanda imensa por esse tipo de

entretenimento. E no mundo dos negócios, quando há uma demanda
bem definida, há boas oportunidades de lucro. E é exatamente isso
o que vamos ver neste episódio: o aspecto financeiro envolvido na
produção de séries.
Vocês já repararam que algumas séries têm diversas temporadas,

ao passo que outras são simplesmente canceladas? Para entender a
razão pela qual isso acontece, precisamos pensar nas estratégias de
financiamento usadas no mercado de entretenimento.
Imaginem que vocês são produtores, e que estejam pensando em

produzir uma série nova. Ao fazer o orçamento preliminar do projeto,
vocês verificam cada um dos custos envolvidos: elenco, cenografia,
equipamentos, figurino, maquiagem, e por aí vai. A lista não tem fim... e,
ao terminar o orçamento, vocês descobrem que o custo de produção é
altíssimo. É muito mais do que vocês poderiam investir sozinhos.
E aí? O que fazer? Bem, a solução é buscar investidores que topem

aplicar dinheiro no projeto. Mas acontece que somente convencer os
investidores de que seu produto é bom não vai ser o suficiente para
atrair o investimento. E o motivo disso é óbvio: aqueles que investem
em algo, o fazem esperando um retorno certo. O produtor precisa
oferecer ao investidor uma contrapartida. Em geral, isso é feito na forma
de participação nos lucros, que vai ser proporcional ao valor que o
investidor aplicou inicialmente.

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Por exemplo: se o orçamento do projeto é de 100 e o investidor aplicou 20,

ele terá 20% de participação nos lucros. Simples assim! Mas e se o projeto
não der lucro? 20% de nada continua sendo nada. Por isso, os investidores
vão sempre preferir uma série que apresente o menor risco possível de dar
errado. E uma das maneiras de reduzir o risco de um projeto de uma nova
série é conseguir um elenco de peso, superfamoso, que vai atrair o público-
alvo e, como consequência, dar mais visibilidade à produção.
Como vocês devem imaginar, o cachê de um ator famoso, com potencial

para atrair milhares de espectadores, vai significar uma boa parte do
orçamento da série. Para reduzir esse custo, os produtores lançam mão
de uma outra estratégia de financiamento: dar participação nos lucros
da obra também aos principais atores do elenco. Dessa forma, é possível
reduzir bastante o valor do cachê. Pense bem! Se o cachê normal desse
ator for de 10 mil dólares, o produtor pode oferecer para ele 2 mil mais
5% de participação nos lucros, por exemplo. Quando isso acontece, é
comum que o nome do ator seja colocado nos créditos da série como
um produtor executivo.
Apesar de não ser um produtor executivo tradicional, esse ator tem um

papel muito importante no financiamento do projeto, além de aumentar
drasticamente as chances da série se tornar uma das favoritas do
público. E sabe por quê? Bem, essa pergunta é fácil! É graças a ele que o
produtor não precisará desembolsar um alto valor pra iniciar a produção.
Eis outra perspectiva que precisamos considerar: muitas vezes, os

grandes estúdios, produtoras, emissoras de TV e plataformas de
streaming resolvem bancar seus projetos de série com recursos
próprios. Mas de onde vem esse dinheiro pra investir? – vocês podem se
perguntar.
Bem, a principal fonte de renda dos estúdios e produtoras é a venda

dos direitos de exibição ou transmissão da série para os canais de TV.
As plataformas de streaming também recebem um valor mensal das
assinaturas que seus clientes pagam, ao passo que uma emissora de
TV ganha muito com publicidade. Isso tudo entra no financiamento da
produção.
Algumas plataformas de streaming também oferecem uma assinatura

mais em conta, em que há a inserção de comerciais. Além disso, quando
uma série cai no gosto do público, ela pode gerar o que chamamos de
“produtos derivados”, ou seja, cadernos, mochilas, roupas, brinquedos,
qualquer produto que tenha a marca ou os personagens da série, o que
também gera lucro para quem a produziu.

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Como vocês podem ver, a publicidade é uma ótima estratégia de

financiamento, bastante utilizada no mundo do entretenimento há
muito tempo. Quantas vezes vocês não estavam assistindo a um filme,
novela, ou série, e viu o elenco interagindo com produtos de marcas
famosas? Carros, computadores portáteis, refrigerantes, celulares, e por
aí vai... Essas empresas pagam para inserir seus produtos nas obras
em que elas acham que vão atingir seu público-alvo. Isto é chamado
de merchandising, e também é considerado uma ótima estratégia de
financiamento.
Acontece que, ao passo que o mercado tradicional vende unidades de

um determinado produto, o mercado de entretenimento centra seus
esforços em vender experiências. E não dá para negar que é muito
difícil saber se o público vai achar uma experiência boa ou ruim antes
que ela realmente aconteça. Isso torna o investimento no mercado de
entretenimento extremamente arriscado. Aposto que vocês já viram
séries serem canceladas, não é? Geralmente, são aquelas que não
conseguiram viabilizar nenhuma das estratégias de financiamento
que vimos até aqui. Não é de se espantar que produzir séries com um
número exato de episódios, sem perspectiva de continuidade em outras
temporadas, se tornou tendência. Isso praticamente elimina o risco de
elas serem canceladas.
Por outro lado, algumas produções se tornam tão famosas que acabam
sendo copiadas ou imitadas. E o que pode ser feito quando esse tipo de
coisa acontece? Será que tem algum jeito de produtores e investidores
se protegerem disso?

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Part 2.
Large entertainment productions involve equally large amounts of money. To

better understand how the entertainment business works:
We need to go through the financing strategies used in the

entertainment market.
Nós precisamos pensar nas estratégias de financiamento usadas no
mercado de entretenimento.
In the previous sentence, note that financing strategies is a compound noun

formed by two words.
Strategies is the plural form of strategy, which is a noun that means a detailed
plan for doing something in pursuit of a goal. Note that, in the plural, we drop
the last letter of the noun, -y, and add -ies.
Financing is also a noun, and it refers to the money you need to accomplish
something, or a way to get that money. We can form other compound nouns
with this noun, such as:
COMPOUND NOUNS
financing package financing plan

pacote de financiamento plano de financiamento
financing deal
acordo de financiamento
Financing package is a set of different forms of funding; financing plan refers to

the way a person or a business will afford its strategic goals and objectives; and
financing deal is an agreement around a financial transaction.

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The noun financing comes from the verb to finance, which means to provide
the money needed for something to happen. Take a look:
TO FINANCE VERB
financiar
John finances independent projects in his city.

John financia projetos independentes em sua cidade.
In the former example, the verb to finance is used to say that John funds
projects, that is, he provides money for them to happen.
As previously mentioned, the noun financing derives from the verb to finance.
It is important to remember that nouns name things, people, animals, feelings,
among other things, whereas verbs express an action, state, or experience.
We can form different words with different functions and the same root by using
suffixes. Suffixes are a set of letters added to the end of a root word, forming a
new word. Look at the formation of the noun financing, for example:
verb + suffix = noun
to finance + -ing = financing

financiar financiamento
In the previous example, we have the verb to finance plus the suffix -ing forming
the noun financing. Note that the structure for the formation of the new word
here is: verb + suffix = noun.
The suffix -ment is also quite common in the formation of nouns from verbs.
Check it out:
to entertain + -ment = entertainment

entreter entretenimento

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Now, we have the verb to entertain plus the suffix -ment forming the noun
entertainment.
As we have just seen, the suffixes -ment and -ing can be used to form nouns
from verbs. It is also possible to use suffixes to form adjectives. For instance:
verb + suffix = adjective
to finance + -ial = financial

financiar financeiro
In the previous example, we have the suffix -ial added to the verb to finance,
forming the adjective financial. It describes things related to money or to how
money is managed.
Adjectives, as we have studied in the first chapter of this module, are a class of
words that qualify nouns. For example:
FINANCIAL ADJE CTIVE

financeiro
That’s exactly what we’re going to see in this episode: the financial aspect
involved in the production of a series.
É exatamente isso o que vamos ver neste episódio: o aspecto financeiro
envolvido na produção de séries.
In the former example, the adjective financial is characterizing the noun aspect,
creating financial aspect, that is, the attributes related to the money involved in
some activity or project.
However, some adjectives are more commonly used with certain nouns than others,
forming what we call collocations. Take a look at the following examples with the
adjective financial:
COLLOCATIONS WITH FINANCIAL
financial transactions financial assistance financial support

transações financeiras assistência financeira apoio financeiro

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The collocation financial transactions refers to the exchange of money between

people or companies. There is also financial assistance, which refers to any type
of monetary help or aid that a person, organization, or government receives.
Finally, financial support refers to the money provided to enable an organization
or event to continue.
Financial support is paramount in the entertainment world, as many projects
struggle to be carried out with just one source of investment. However, some
initiatives end up happening in a slightly different way. Take a look:
Large studios, production companies, TV stations, and streaming

platforms often decide to fund their series projects with their own
resources.
Muitas vezes, os grandes estúdios, produtoras, emissoras de TV e
plataformas de streaming resolvem bancar seus projetos de série com
recursos próprios.
In the previous sentence, there are two words to be highlighted: resources, which
is the plural form of resource, and to fund.
Resource is a noun that means a useful or valuable possession a person, a
country or a company has. It also forms compound nouns, such as:
COMPOUND NOUNS
financial resource natural resource

recurso financeiro recurso natural
Financial resources refer to the money available to carry out a project.

But the noun resource is also used in the environmental context, as in the
compound noun natural resource, which is any natural material existing in nature
that can be used by people, such as water.
The other element highlighted was the verb to fund, which means to provide
money for some activity, organization, or event. To finance can also be used
with the same meaning.
The verb to fund is also the root for a noun. Take a look:

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TO FUND VERB FUND SINGUL AR NOUN

bancar / custear / financiar fundo
Mia’s investment fund will be used to pay for her kid’s college.
O fundo de investimentos de Mia vai ser usado para pagar a faculdade
do filho dela.
Fund is a singular noun that means an amount of money that is collected and
kept for some purpose. In the previous example, we can understand that Mia
has kept some money invested with the purpose of paying for her kid’s college.
The plural form, funds, has another meaning. Take a look at the following
example:
FUNDS PLURAL NOUN

fundos / recursos
The church will raise funds to help the poor.

A igreja vai arrecadar fundos para ajudar os pobres.
Funds refer to resources or assets, that is, the money itself, necessary or
available to be spent on something. In the context of the previous sentence, the
money the church will raise to help poor people.
By adding the prefix re- to fund, we form two words with different functions.
Prefixes are a set of letters added to the beginning of words to create new ones.
Take a look at the first one:
REFUND NOUN
reembolso
The store gives you a refund.

A loja dá um reembolso a você.
Refund can be used as a noun, and it refers to an amount of money that is

returned to someone. This is especially common when a client or a customer
regrets the purchase of a product, and the store gives their money back.
We can also use refund as a verb. For example:

52
TO REFUND VERB
reembolsar
The store refunds the client.

A loja reembolsa o cliente.
The verb to refund means to pay back money received or spent. In the previous
example, the store pays back money the client spent. We can also replace the
verb to refund with to return one’s money and say:
TO RE TURN ONE’S MONE Y

devolver o dinheiro de alguém
The store returns the client’s money.

A loja devolve o dinheiro do cliente.
The verb to return, in this context, means to give something back to someone.
It can also originate the noun return. Take a look:
to return verb return noun

retornar / devolver retorno
As a noun, return can mean the profit a company or a person gets from an
investment.
In the entertainment business, it is important that the content produced yields
some return to the investor. And this return will come if the production is
profitable. Check it out:
In the business world, when we have a well-defined demand, there lie

good profit opportunities.
No mundo dos negócios, quando há uma demanda bem definida, há boas
oportunidades de lucro.

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From the previous sentence, observe the constructions there lie and profit
opportunities.
Notice that the verb to lie is being used in a specific construction with the word
there, which refers to a place that is far. In this context, the verb to lie conveys
existence.
It would be also possible to use the construction there + be to convey the same idea,
as in:
THERE + BE
There are good profit opportunities where the demand is well-defined.

Há boas oportunidades de lucro onde a demanda é bem definida.
In the previous example, we used there are, with the verb to be conjugated in the
present and in the plural, because the construction there + be, in this case, refers to
the existence of profit opportunities, which is a plural noun.
Profit opportunities is the plural form of profit opportunity, a compound noun. The
word profit refers to the money a business earns above the costs of production;
opportunity means a situation that makes it possible to do something. So, we can
infer that the investment initially made has a high possibility of paying off if we have
a well-defined demand.
The noun profit is used in a number of interesting collocations that are worth
mentioning. For example:
COLLOCATIONS WITH PROFIT
to make a profit = to profit

ter lucro / obter lucro = lucrar
to turn a profit / to earn a profit / to show a profit

ter lucro / obter lucro
To make a profit is the same as to profit, which means to earn money or

benefit from an activity. We also have to turn a profit, to earn a profit, and
to show a profit, with the same meaning. We can use these collocations to
mention the amount of profit, as in:

54
The company shows a profit of 10% every term.

A empresa obtém um lucro de 10% a cada semestre.
In the previous example, shows a profit could be replaced with the collocations
to turn a profit, to earn a profit, or to make a profit.
Notice that when we mention the amount, we use the indefinite article a before
the word profit and the preposition of before the amount: a profit of 10%.
Take a look at some other collocations with profit:
to generate profit to boost profit

gerar lucro aumentar o lucro
For example:
The producer wants to boost the channel’s profit with this TV show.
O produtor quer aumentar o lucro do canal com este programa de TV.
In the previous sentence, to boost profit implies the producer wants to increase
the earnings of a TV channel with a certain show.
In the business world, profit is sought as a result of what was invested, and it is
no different in the entertainment industry:
Those who invest in something do so expecting a certain return. The

producer needs to give the investor compensation.
Aqueles que investem em algo, o fazem esperando um retorno certo. O
produtor precisa oferecer ao investidor uma contrapartida.

55
In the first sentence, note the noun return. In this context, it refers to the idea of a
compensation, that is, something offered in exchange for something else.
Now, pay close attention to two topics mentioned in the previous example: invest
in something and investor.
The construction to invest in something, in this case, has the same meaning as
to invest money in something, since the noun money is implicit in the context:
to invest ( money) in something = to put money into / in something

investir / aplicar (dinheiro) em alguma coisa
Note that we use the preposition in after the verb to invest in the construction to
invest in something or to invest money in something. Another way to say this
would be to put money into or to put money in something. Notice that here we
also use prepositions: in and into.
The verb to invest is also the root for some nouns, such as investor–the person
who invests money into something. Take a look at another noun derived from
the verb to invest:
Just convincing investors that your product is good will not be enough
to attract investment.
Somente convencer os investidores de que seu produto é bom não vai ser o
suficiente para atrair o investimento.
In addition to investors, the plural of the noun investor, there is the noun
investment. Note that it derives from the verb to invest plus the suffix -ment.
Also, note the word enough, which means satisfactory or sufficient. To say that
something is insufficient, we say it is not enough. The opposite of enough is not
formed with a prefix; however, the opposite of sufficient is:

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prefix + adjective = opposite adjective
in- + sufficient = insufficient

suficiente insuficiente
To make sure that the amount of money is sufficient for a purpose, planning is
very important:
When making the preliminary budget for the project, you check each
of the costs involved.
Ao fazer o orçamento preliminar do projeto, vocês verificam cada um dos
custos envolvidos.
From the previous sentence, it is worth highlighting costs and preliminary

budget. The preliminary budget is the one planned in advance, before starting
a project. And cost means the amount of money needed to buy, do, or make
something.
The noun costs is the plural form of cost. Take a look:
COST NOUN
custo
The cost of this project is a million dollars.

O custo deste projeto é de um milhão de dólares.
A million dollars is the amount of money necessary to carry out the project, that
is, the project’s cost.
There are a number of collocations to express different types of costs. For
example:
COLLOCATIONS WITH COST
high cost of something low cost of something

alto custo de alguma coisa baixo custo de alguma coisa

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High cost of something refers to something that is expensive; the opposite idea
is conveyed by low cost of something, which refers to something that is cheap.
Take a look at other collocations with cost:
COLLOCATIONS WITH COST
additional cost average cost estimated cost

custo adicional custo médio custo estimado
Additional cost is an extra amount of money spent, usually due to an unforeseen event;
average cost is the sum of the general expenses divided by the number of items; and
estimated cost is the projection of the amount of money that you will need for a project.
It turns out the word cost can also be a verb. Take a look:
TO COST VERB
custar
This project costs a million dollars according to its preliminary budget.

Este projeto custa um milhão de dólares de acordo com o orçamento preliminar.
The verb to cost is synonymous with be priced at or be valued at a certain amount.

As aforementioned, preliminary budget is the first financial setup for something.
Preliminary is an adjective that indicates something that comes before a more important
action. Budget means the amount of money you have available to spend.
To know the costs involved in a project, it is important to make a budget. That is, to list all
the costs of carrying out a project. For example:
TO MAKE A BUDGE T
fazer um orçamento
Producers have to make a budget for this movie as quickly as possible.

Os produtores precisam fazer um orçamento para este filme o mais rápido possível.

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There are some other collocations with budget referring to different steps of the process.
Observe:
COLLOCATIONS WITH BUDGE T
to approve a budget to have a budget to overspend a budget

aprovar um orçamento ter um orçamento ultrapassar um orçamento
to keep within the budget / to balance the budget

manter-se no orçamento
The word budget can also be a verb. Check it out:
TO BUDGE T VERB
orçar / fazer um orçamento
Producers have to budget all costs for the cast costumes.

Os produtores têm que orçar todos os custos para os figurinos do elenco.
To budget means to plan how much money you will spend on something.
In the previous example, it means to plan how much money will be spent in
costumes. It is easy to see that cost and budget go together, because when we
budget, we evaluate the costs of things.
The budget is usually presented to investors, who will take part in the project
in case they can see it will bring them some kind of compensation. One way to
negotiate compensation with investors is as follows:
This is done in the form of profit-sharing, which will be proportional to

the amount of money that the investor initially put in.
Isso é feito na forma de participação nos lucros, que vai ser proporcional ao
valor que o investidor aplicou inicialmente.

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Profit-sharing is a compound noun, formed by the nouns profit and sharing.

In short, the investor will get back a proportional part of the money initially
invested.
The following excerpt gives an example of how it works:
If you have a project budget of a hundred and the investor has put in
twenty, he will have a twenty-percent profit share.
Se o orçamento do projeto é de cem e o investidor aplicou vinte, ele terá
vinte por cento de participação nos lucros.
Observe the numbers a hundred, twenty, and twenty percent. They represent
amounts or quantities in the form of cardinal numbers.
The noun sharing we have just learned derives from another noun, share. Share
means a part of something that has been divided. Profit share is the amount of
money itself that you get as compensation. In the case of the previous example,
you get a profit share of twenty percent.
Share can also refer to one of the equal parts the ownership of a company is
divided into, which can be bought by members of the public in the stock market.
A synonym for share in this context is stock. They are both nouns:
NOUNS
share / stock
ação (Bolsa de Valores)
There are some very common collocations with share in this sense. For example:
COLLOCATIONS WITH SHARE
to have / to hold / to own shares to invest in shares

ter ações ( na bolsa de valores) investir em ações
to sell shares ≠ to buy shares to trade in shares

vender ações ≠ comprar ações negociar ações

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Note that to sell shares implies the opposite of the collocation to buy shares.
When we deal with buying and selling in general, there is always some level of risk. In the
entertainment business, it is no different, especially when it comes to producing a series.
A widely-used strategy to mitigate this risk is as follows:
Investors will always prefer series that have a lower risk of going wrong.
Os investidores vão sempre preferir séries que apresentam um menor risco de dar errado.
In the previous example, we have the collocation lower risk, formed by the words
lower and risk. Lower is an adjective, and it is the comparative form of low.
Their opposites are not formed by adding prefixes. Observe:
OPPOSING ADJE CTIVES
low ≠ high lower ≠ higher

baixo ≠ alto menor ≠ maior / mais alto
Lower and higher are the comparative forms of low and high.
These are adjectives commonly used with risk. However, pay attention to the
following:
noun + suffix = adjective
risk + -y = risky
risco arriscado
The word risk is a noun. When we add the suffix -y to it, we form the adjective
risky, which means dangerous, unsafe. Note the difference in pronunciation
between these two words: the noun risk ends with a voiceless k, as in /ˈrisk/; on
the other hand, the adjective risky ends in -ky, and the the letter -y has a vowel
sound, as in /ˈri-skē/.
There are some collocations with risk which are very common in the financial
sector.
Note that all these collocations are formed with adjectives plus the noun risk.
Check them out:

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COLLOCATIONS WITH RISK
low risk high risk

baixo risco alto risco
a considerable risk a potential risk

um risco considerável um risco em potencial
an increased risk a reduced risk

um risco maior um risco reduzido
One way of having lower risks of losses is to seek more financial resources. One
strategy for that is described as follows:
Streaming platforms also receive a monthly fee from the subscriptions

their customers pay.
As plataformas de streaming também recebem um valor mensal das
assinaturas que seus clientes pagam.
Monthly fee is a compound noun. Fee is a noun meaning the price charged for
a service, in this case, a streaming service. So, the monthly fee charged for the
streaming service is one way to increase the resources.
Monthly is an adjective that refers to something that happens once a month, and
it qualifies the term fee. We could also say:
COLLOCATIONS WITH FEE
daily fee annual fee

valor diário valor anual
Daily fee refers to an amount of money charged per day, and annual fee refers to
an amount of money charged once a year. Daily and annual are also adjectives.

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Another investment strategy is to get money through advertising:
A TV broadcaster earns a lot from advertising.

Uma emissora de TV ganha muito com publicidade.
In the previous sentence, note the verb to earn. In this context, it is the same as
to profit, that is, to have more money than you had before.
The opposite idea can be expressed by the verb to lose, which means to have
less money than you had before. For example:
TO LOSE MONE Y ON SOME THING

perder dinheiro em alguma coisa
Ernest loses a lot of money on bad investments.

Ernest perde muito dinheiro em investimentos ruins.
Note that the verb to lose comes within the construction to lose money on something,
with the preposition on.
Another common financial strategy in the entertainment industry is executive
production, in which famous actors may become executive producers. Since that ends
up attracting more attention to the production, the main advantage of this strategy is the
following:
TO SPEND BIG BUCKS = TO SPEND A LOT OF MONE Y

gastar muito dinheiro
The producer will not need to spend big bucks to start production.
O produtor não vai precisar desembolsar um alto valor para iniciar a produção.
The expression to spend big bucks is an informal way of saying to spend a lot of
money or, in other words, to put in a large amount of money. The verb to spend, in
this context, means to give money as payment for something.
There are other very common verbs to talk about money. For example:

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VERBS REL ATED TO MONE Y
to waste to save
desperdiçar economizar / poupar / guardar
To waste has a similar meaning to that of to spend; however, it has a negative

connotation, which is to use money unnecessarily or in the wrong way.
The opposite idea is expressed by the verb to save. In the financial context, to save
means to reserve money, to economize, or to set money aside, usually in the bank or
some similar institution.
It is worth mentioning that money comes in many different forms. Check it out:
T YPES OF MONE Y
cash bills coins

dinheiro em espécie / notas moedas
"dinheiro vivo"
The money officially used in a particular country–such as dollar, real, euro–is named
currency. And there are also non-tangible forms of money, such as: credit card, debit
card, and even electronic money, or e-money. Take a look:
T YPES OF MONE Y
currency credit card

moeda corrente (de um país) cartão de crédito
debit card electronic money / e-money

cartão de débito dinheiro eletrônico

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There are also some transactions that are made with money, and some verbs are
commonly used to do so. For example:
TO WITHDRAW MONE Y
sacar / retirar dinheiro
I will withdraw fifty dollars from the ATM.

Eu vou sacar cinquenta dólares do caixa eletrônico.
To withdraw means to take money out of an account, usually in the form of cash.
However, to refer to an electronic transaction, you can say:
TO WIRE MONE Y
transferir dinheiro
I will wire fifty dollars to your account.

Eu vou transferir cinquenta dólares para a sua conta.
The verb here is to wire, which means to transfer, in the sense of making an online
transaction of money between accounts.
Now you know many different words within the financial

context, as well as a little more about the formation of words
with affixes and their different uses.

65
Part 3.
Activities
A. Number the columns according to the translation of the words.
( 1 ) reembolsar ( 7 ) aumentar o lucro ( ) to fund ( ) funds / resources
( 2 ) transações ( 8 ) estourar um ( ) to boost profit ( ) average cost

financeiras orçamento
( ) to refund ( ) financial
( 3 ) apoio financeiro ( 9 ) custo médio transactions
( ) to own shares
( 4 ) bancar / custear / ( 10 ) ter ações ( ) to save
( ) to overspend a
financiar
( 11 ) economizar / budget ( ) to make a profit
( 5 ) fundos / recursos poupar
( ) to waste ( ) financial support
( 6 ) ter lucro / ( 12 ) desperdiçar
obter lucro
B. Fill in the blanks with the appropriate words according to the translation:
1. Large studios, production companies, TV stations, and streaming platforms often decide
their series projects with their own resources.
Muitas vezes, os grandes estúdios, produtoras, emissoras de TV e plataformas de streaming
resolvem bancar seus projetos de série com recursos próprios.
2. Ernest a lot of money on bad investments.

Ernest perde muito dinheiro em investimentos ruins.
3. Investors will always prefer series that have a of going wrong.

Os investidores vão sempre preferir séries que apresentam um menor risco de dar errado.
4. In the business world, when we have a well-defined demand, there lie good
.
No mundo dos negócios, quando há uma demanda bem definida, há boas oportunidades de lucro.
5. I will fifty dollars to your account.

Eu vou transferir cinquenta dólares para a sua conta.

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6. This is done in the form of , which will be proportional to the

amount of money that the investor initially put in.
Isso é feito na forma de participação nos lucros, que vai ser proporcional ao valor que o investidor
aplicou inicialmente.
6. profit-sharing 12. to waste 6. to make a profit

5. wire 11. to save 5. funds / resources
4. profit opportunities 10. to own shares 4. to fund
3. lower risk 9. average cost 3. financial support
2. loses 8. to overspend a budget 2. financial transactions
1. to fund 7. to boost profit 1. to refund

67
Part 4.
In this chapter, we turned our attention to the financial character of the

entertainment industry. And when we talk about finance, one thing that comes
to mind is numbers.
In the vocabulary section of this chapter, we saw the following sentence:
CARDINAL NU MBERS
If you have a project budget of one hundred and the investor has put in
twenty, he will have a twenty-percent profit share.
Se o orçamento do projeto é de cem e o investidor aplicou vinte, ele terá
vinte por cento de participação nos lucros.
One hundred and twenty are cardinal numbers. They express quantity, that is,
they indicate the exact amount of something or a percentage.
Percentage is an amount of something expressed as a number out of a hundred.
Each fraction out of one hundred is called percent. In general, we see percent
represented by the symbol %. In the case of the example we have just seen,
twenty percent represents a fraction of twenty out of a hundred.
It is possible to define percentages using other cardinal numbers, such as:
CARDINAL NUMBERS AND PERCENTAGES
two / three / four / five / six / seven /

one percent eight / nine / ten / eleven / twelve percent
um por cento dois / três / quatro / cinco / seis / sete /
oito / nove / dez / onze / doze por cento

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One percent is one out of a hundred; five percent is five out of a hundred; ten
percent is ten out of a hundred, and so on.
UNCOUNTABLE NOUNS
Marco spends five percent of his money on streaming platforms

every month.
Marco gasta cinco por cento de seu dinheiro em plataformas de streaming
todos os meses.
In the former sentence, we have the cardinal number five quantifying the
percentage of money Marco spends on streaming platforms.
Even though we are talking about an amount, money is an uncountable noun.
Uncountable nouns are nouns we cannot count using numbers; however, we
can count the percentage of things, including money. In this case, we will have
the parts in every hundred. Observe:
UNCOUNTABLE NOUNS
Money
one money, two moneys

um dinheiro, dois dinheiros
five percent of his money

cinco por cento do dinheiro dele
Note we can say five percent of his money to indicate an amount of the money a
man has.
To refer to exact amounts, we do not use the word money. Instead, we name the
currency, such as dollars, reais, or euros, for example. Currencies are countable
nouns. So, we could say:

69
COUNTABLE NOUNS
dollars / reais / euros
one dollar, two dollars

um dólar, dois dólares
Dollar is the name of a currency, that is, the money used in a particular country.
Then, we have one dollar, two dollars, and so on. For example:
Marco has three hundred dollars.

Marco tem trezentos dólares.
Three hundred dollars is the real amount of money Marco has. If he spends five
percent of his money, we can conclude that:
Marco spends fifteen dollars on streaming platforms.

Marco gasta quinze dólares em plataformas de streaming.
As dollar is a countable noun, we can count the actual amount of dollars spent
using cardinal numbers. In this case, fifteen.
Each number up to twelve has a different name, as listed before. After that,
between thirteen and nineteen, the numbers end with the same suffix, -teen, as
we have just seen with fifteen. Take another example:
CARDINAL NUMBERS
Anna earns thirteen dollars per hour of work.

Anna ganha treze dólares por hora de trabalho.
Thirteen is the next cardinal number after twelve. Note that -teen is pronounced
with a long sound of the letter -e, as in /ˈtēn/.
After nineteen, the numbers have different endings. For example:

70
CARDINAL NUMBERS
Anna earns thirty dollars per hour of work.

Anna ganha trinta dólares por hora de trabalho.
In the previous example, we have the cardinal number thirty, ending in -ty, as all
numbers from twenty to ninety. Note the -y is pronounced with a short vowel
sound, as in /tē/.
It is important to pay attention to both the writing and pronunciation of
these numbers, since the difference in value between them is big, and
misunderstandings, especially when it comes to money, can cause a lot of trouble.
Take a look at other examples:
CARDINAL NUMBERS
nineteen ninety
dezenove noventa
seventeen seventy
dezessete setenta
fourteen forty
quatorze quarenta
Note that nineteen ends in -teen; whereas ninety ends in -ty; seventeen also ends
in -teen, and seventy ends in -ty. Notice the difference not only in writing, but also in
pronunciation: -teen is pronounced as /ˈtēn/, and -ty is pronounced as /tē/.
Now, be aware of the following pair:
CARDINAL NU MBERS
fourteen forty
quatorze quarenta

71
Fourteen ends with the suffix -teen, and it is written with the letter u in four-.
So, just take the number four and add the suffix. On the other hand, forty ends in
-ty, but we remove the letter u.
Numbers from twenty to ninety are sets of tens. That is, we have two sets
of tens in twenty; there are nine sets of tens in ninety, and so on. To refer to
quantities in between these sets of tens, we use compound words.
In general, compound words are formed by more than one word of the same
class or of different classes, forming a third word with a unique meaning. With
numbers, the first word represents the set of ten. It is followed by a hyphen and
the number that represents the unit. For example:
CARDINAL NUMBERS – COMPOUND NOUNS
40 + 2 = 42
forty + two = forty-two
quarenta + dois = quarenta e dois
Forty-two is a compound word. We have forty, that represents a set of ten,

followed by the hyphen, and the unit, two. Observe that number in a sentence:
COMPOUND NOUN
Cory has forty-two CDs in his collection.

Cory tem quarenta e dois CDs na coleção dele.
Note that we are counting CDs, a countable noun, that is, something that can be
quantified with exact amounts.
After the number ninety-nine, we have hundreds. Take a look:
CARDINAL NU MBERS
a/one hundred = 100 two hundred = 200

cem duzentos
three hundred = 300 four hundred = 400

trezentos quatrocentos

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One hundred is the same as a hundred; they express the same amount. For
the other hundreds, the formation follows the same logic, changing the number
before hundred, as in two hundred, three hundred, four hundred, and so on.
The same logic applies to thousands. For example:
CARDINAL NUMBERS
a/one thousand = 1,000 fifty thousand = 50,000

mil = 1.000 cinquenta mil = 50.000
A thousand is the same as one thousand. So, if we have fifty units of thousands,
we have fifty thousand. Note that thousands are marked with a comma, as in
1,000.
We also have millions and billions. Take a look:
CARDINAL NU MBERS
a/one million = 1,000,000 sixteen million = 16,000,000

um milhão = 1.000.000 dezesseis milhões = 16,000,000
a/one billion = 1,000,000,000 ten billion = 10,000,000,000

um bilhão = 1.000.000.000 dez bilhões = 10.000.000.000
When it comes to a million or one million, we will find two commas, as in

1,000,000. The same goes for other units of million, as in sixteen million, or
16,000,000.
After millions, we get to billions, marked by three commas. So, we can say a
billion or one billion, as in 1,000,000,000; or other quantities, as in ten billion, or
10,000,000,000.
It is important to point out that the words hundred, thousand, million, and billion
will not be in the plural form. When we say hundreds or thousands, for example,
we are referring to the whole set of numbers, not a specific quantity.
Now that we know a little bit how the formation of numbers works, it is
important to know that they can be used to form compound adjectives. Take a
look at the following example:

73
COMPOUND ADJE CTIVES WITH CARDINAL NUMBERS
Johnny has a five-million-dollar contract.

Johnny tem um contrato de cinco milhões de dólares.
Five-million-dollar is a compound adjective, formed by five, then a hyphen,

the word million, another hyphen, and the currency in the singular, dollar. Five-
million-dollar qualifies the noun contract. Since it is an adjective, we drop the
letter -s in the end, for adjectives do not have a plural in English. Contract is
a countable noun; therefore, notice that we are not talking about five million
contracts, but about a single contract worth five million dollars.
It is the same as saying:
Johnny has a contract of five million dollars.

Johnny tem um contrato de cinco milhões de dólares.
In this case, we use of to convey the value of the contract, and we do not use the
cardinal number five million as an adjective.
COMPOUND WORDS – ADJE CTIVES WITH NUMBERS
Louis pays his employees with lots of two-dollar bills.

Louis paga seus funcionários com muitas notas de dois dólares.
Two-dollar is a compound adjective formed by the cardinal number two and

dollar. Since we are forming an adjective, the -s in dollars is removed. That is,
two-dollar bills means paper money worth two dollars. It is the same as saying:
Louis pays his employees with lots of bills of two dollars.


74
Note that in both previous examples there is the quantifier lots of, which means a
large quantity of something.
Quantifiers are words that express quantity. Cardinal numbers are a type of
quantifier used to express exact quantities.
However, we can only use numbers to quantify nouns that are countable. There
is a group of nouns that we cannot count using numbers, called uncountable
nouns.
It does not mean we cannot quantify them in any way: we use specific quantifiers
to determine uncountable nouns. To express a small quantity, we have:
QUANTIFIERS – SMALL QUANTIT Y

Uncountable Nouns
Little
pouco / pouca
For small amounts of uncountable nouns, we use little. For example:

Uncountable Nouns
Little money
Pouco dinheiro
Little money expresses a small quantity of money. Note that the noun money
does not have a plural form.
It is important to highlight that, although similar, little and a little imply different
ideas. To better understand it, take a look at the following context:
Suppose I have a budget of twenty dollars. I want to invest in the stock

market and buy a stock that costs thirty dollars.
Vamos supor que eu tenha um orçamento de vinte dólares. Eu quero investir
na Bolsa de Valores e comprar uma ação que custa trinta dólares.

75
In that case, we could say:
I have little money to buy this stock.

Eu tenho pouco dinheiro para comprar esta ação.
If the stock costs thirty and I have twenty, it means my money is not enough to
buy it; therefore, we use little to quantify money. When we use little, we speak
of a quantity that is small and insufficient for some purpose. In this case, it would
be the same as saying:
I do not have enough money to buy this stock.

Eu não tenho dinheiro suficiente para comprar esta ação.
Enough is a type of quantifier too, which means sufficient. We use not enough to
say that something is not sufficient.
Now, take the following excerpt into consideration:
Suppose I saved some money, and my budget is of thirty-five dollars. I

want to invest in the stock market and buy a stock that costs thirty dollars.
Vamos supor que eu economize algum dinheiro e meu orçamento seja de trinta
e cinco dólares. Eu quero investir na Bolsa de Valores e comprar uma ação que
custa trinta dólares.
Then, we could say:
I have a little money to buy this stock.

Eu tenho um pouco de dinheiro para comprar esta ação.
In the previous example, we used a little to refer to a small amount of money. By

a little we can understand that the amount is enough or sufficient to buy a thirty-
dollar share. So, we could also say:
I have enough money to buy this stock.

Eu tenho dinheiro suficiente para comprar esta ação.

76
In the previous example, we use enough, which means the quantity is sufficient.
In short:
QUANTIFIERS
Uncountable Nouns
little not enough a little enough

pouco insuficiente um pouco de suficiente
Both little and a little are only used with uncountable nouns.
On the other hand, for countable nouns, we use another quantifier. Take a look:

Countable Nouns
few
poucos / poucas
For unspecified small amounts of countable nouns, we use few. For example:

Countable Nouns
few dollars
poucos dólares
Few dollars means a small quantity of dollars. Note that the countable noun comes in the
plural form after the quantifier, even though the quantity is not specific.
Now, it is worth mentioning that few and a few have different connotations as well. Take the
following context:
I have a budget of twenty dollars, and I want to buy a stock that costs thirty.
Eu tenho um orçamento de vinte dólares, e eu quero comprar uma ação que custa trinta.

77
So, we could say:
I have few dollars to buy this stock.

Eu tenho poucos dólares para comprar esta ação.
In the previous sentence, few conveys the idea that we have an insufficient
number of dollars to buy the stock. It is the same as saying:
I do not have enough dollars to buy this stock.

Eu não tenho dólares o suficiente para comprar esta ação.
By using not enough, we convey the same idea of insufficiency. Note that
enough is a quantifier that can be used with both uncountable and countable
nouns.
Now, take a look at the following context:
I saved some money and have a budget of thirty-five dollars. I want to

buy a stock that costs thirty.
Eu guardei um pouco de dinheiro e tenho um orçamento de trinta e cinco
dólares. Eu quero comprar uma ação que custa trinta.
Thirty-five dollars is not much, but it is enough to buy a share that costs thirty.
So, we can say:
I have a few dollars to buy this stock.

Eu tenho alguns dólares para comprar esta ação.
A few conveys the idea of a small, but sufficient quantity. Notice that, after few
and a few, the countable noun comes in the plural.
We can also use enough and say:
I have enough dollars to buy this stock.

Eu tenho dólares o suficiente para comprar esta ação.

78
In short:
QUANTIFIERS
Countable Nouns
few not enough a few enough

poucos / poucas insuficiente alguns / algumas suficiente
To talk about large quantities, we use lots of or a lot of, for both countable and
uncountable nouns. Check it out:
QUANTIFIERS
Large quantities – lots of / a lot of
UNCOUNTABLE NOUNS
They have a lot of / lots of money to fund the project.

Eles têm muito dinheiro para financiar o projeto.
Money is an uncountable noun. By a lot of or lots of money, we get the idea of a

large amount of money.
We can also use a countable noun and say:
QUANTIFIERS
Large quantities – lots of / a lot of
COUNTABLE NOUNS
They have a lot of / lots of dollars to fund the project.

Eles têm muitos dólares para financiar o projeto.
Dollars, as mentioned earlier in this part of the chapter, is a countable noun. It is

also possible to use both lots of and a lot of with countable nouns.
Some quantifiers used to talk about large quantities have specific uses.

79
Much is only used with uncountable nouns. Its use is more recurrent in negative
or interrogative sentences. For example:
QUANTIFIERS
Large quantities – much
UNCOUNTABLE NOUNS
Interrogative sentence
Do they have much money?

Eles têm muito dinheiro?
In the previous example, we have a sentence in the interrogative form of the

simple present; we use much to ask if someone has a large quantity of money.
Now, take a look at the following example:
QUANTIFIERS
Large quantities – much
UNCOUNTABLE NOUNS
Negative sentence
Not really. They don’t have much money to fund the project.
Na verdade, não. Eles não têm muito dinheiro para financiar o projeto.
The previous sentence is in the negative form of the simple present. We use
much in a negative sentence to say that people do not have a large amount of
money.
To express large quantities of countable nouns, it is possible to use many. For
example:
QUANTIFIERS
Large quantities – many
COUNTABLE NOUNS
There are many series on TV currently.

Há muitas séries na TV atualmente.

80
In the previous example, we have many referring to series, a countable noun. It does
not work for uncountable nouns. However, this quantifier sounds more formal in
affirmative sentences, being more common in everyday life to use a lot of or lots of.
Now, pay attention to the use of another construction we have in the previous
sentence: there are.
There are is a conjugation in the plural of the construction there + be. This
construction is used to express existence in the present. It can be used to talk about
the existence of countable nouns as well as uncountable nouns. For example:
THERE ARE – PLURAL

Affirmative form

Há boas oportunidades de lucro onde a demanda é bem definida.
Profit opportunities is the plural of the countable compound noun profit opportunity.
Therefore, we conjugate there + be as there are in the affirmative form to talk about
its existence. Also note that the adjective good is qualifying the noun.
If we want to form a negative sentence, we add not after there are. Take a look:

Negative form
There are not / there aren’t good profit opportunities in risky productions.
Não há boas oportunidades de lucro em produções arriscadas.
There are not refers to the nonexistence of good profit opportunities. We can also
use its contracted form, there aren’t.
To use the interrogative form, we say:

Interrogative form
Are there good profit opportunities in risky productions?

Há boas oportunidades de lucro em produções arriscadas?

81
In the interrogative form, we need to invert the position of are and there. In the
former example, we are asking about the existence of good profit opportunities.
To talk about the existence of something in the singular form, or of something
uncountable, we use there is.
In the affirmative, we have:
THERE IS – SINGUL AR
Affirmative form
uncountable noun
There is a lot of money in this investment fund.

Há muito dinheiro neste fundo de investimento.
As money is uncountable, we conjugate there + be as there is to talk about its

existence. The same would happen if we used a singular countable noun, such as in:
Affirmative form
countable noun
There is one dollar in my wallet.

Há um dólar na minha carteira.
In the previous example, we are talking about the existence of one dollar. Since
we have a singular countable noun, we also use there + be conjugated as there
is.
In the case of the negative form, just add not after there is. Take a look:
Negative form
There is not / there isn’t a lot of money in this investment fund.

Não há muito dinheiro neste fundo de investimento.
There is not / there isn’t one dollar in my wallet.

Não há um dólar na minha carteira.

82
In both previous examples, we have there is not to talk about the nonexistence
of a lot of money–an uncountable noun–, and one dollar–a countable noun. We
could also use its contracted form, there isn’t.
In the interrogative form, we also invert the positions. For example:
Interrogative form
Is there a lot of money in this investment fund?

Há muito dinheiro neste fundo de investimento?
Is there one dollar in my wallet?

Há um dólar na minha carteira?
So we have is, followed by there in the interrogative form.
In this chapter, you have learned about countable and

uncountable nouns and the quantifiers that go with them.
You have also learned cardinal numbers, as well as how to
talk about existence using there + be. If you want to learn
more about these topics, you can refer to the Grammar
Guide section at the end of your book.
GRAMMAR GUIDE
Cardinal Numbers Page 288

Compound Words Page 297
Countable and Uncountable Nouns Page 305
There + Be Page 368

83
Part 5.
Activities
A. Write the numbers in parentheses in English:
1. (2,000)
2. (30)
3. (14)
4. (42)
5. (100)
6. (13)
7. (500)
8. (99)
1. There are series on TV currently.

Há muitas séries na TV atualmente.
2. Not really. They don’t have money to fund the project.

Na verdade, não. Eles não têm muito dinheiro para financiar o projeto.
3. They have dollars to fund the project.

Eles têm muitos dólares para financiar o projeto.
4. I have dollars to buy this stock.

Eu tenho alguns dólares para comprar esta ação.

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85
1. two thousand 1. many / lots of / a lot of
2. thirty 2. much / a lot of / lots of
3. fourteen 3. a lot of / lots of / many
4. forty-two 4. a few / enough
5. one hundred / a hundred 5. few
6. thirteen 6. two-dollar bills / bills of two dollars
7. five hundred
8. ninety-nine
. 6. Louis pays his employees with lots of
Eu tenho poucos dólares para comprar esta ação.
dollars to buy this stock. 5. I have
3
Intellectual
Intellectual
Property
Property
Part 1.
In this chapter, you will learn how to form words with prefixes and suffixes.
You will also learn how to express opinions and preferences, as well as some
vocabulary related to rights and duties.
Now, look at the script of Intellectual property.
INTELLE CTUAL PROPERT Y
In the previous episode, we saw that taking an idea off paper and
turning it into a series involves putting good funding strategies into
practice. But that’s just the beginning. Besides, producers need to be
aware of the legal aspects of a project.
Have you ever considered that professionals working in a TV series

have employment contracts to formalize the agreement made with the
producer? When we talk about actors and actresses, it becomes even
more important! Everything has to be legally drawn up to guarantee the
presence of that star from beginning to end. The producer also needs to
sign a contract with the television channel, or streaming platform, that
will air the series. The same happens with suppliers, sponsors, investors,
and business partners.
So far, so good, right? All companies use contracts to protect the

parties involved. But the entertainment market has its quirks. A lot of
businesses in this industry are based on creativity, which is the raw
material to develop content that is both original and exciting.
It is because of this type of creative work that the audience identifies

with the characters and relates to them. In other words, a series only
exists because the professionals involved in the production have a knack
for telling a good story.
In fact, these people use several techniques and skills to create and
apply their ideas in the production of the series. The director and
screenwriters are the great conductors to accomplish this task. They
polish and modify the team’s ideas until they reach the desired result.

87
But how can we know if these ideas are really original and have not
been copied from elsewhere without permission? Have you ever
thought about what could happen if a screenwriter plagiarized an idea
from another series? The author of the original idea would learn that it
was copied without authorization, and this could get both the producer
and the television channel or streaming platform into serious trouble.
In addition to the director and screenwriters, there are several other

professionals whose creations will be copyrighted. For instance, the
costume designers, who designed the clothes, the set designers, who
designed the set, the art directors, who created the decoration, the
scriptwriters, who wrote everything that is happening in the series...In
short, creative functions are present in several aspects. As you can see,
there is a lot of copyright involved in producing a series.
The television channel and streaming platform that will show the series
have to protect themselves from the risk of plagiarism. That’s why they
ask the producer to provide something called chain of title. It seems
quite obvious at first but guaranteeing that the screenwriter and all the
other professionals involved will authorize the producer to use their
creative work is of fundamental importance.
It’s as if an acquaintance of yours decided to sell your car without telling

you. Wouldn’t that be crazy? He might even be able to negotiate with
someone interested in buying your car. But then, when closing the deal,
a problem would arise. Since your acquaintance does not really own the
car, he would not have the right to sell it. After all, only you, the vehicle
owner, could do that.
It’s the same thing in a TV series, for example. The producer cannot sell
his team’s creative work if he does not own that work. By ensuring the
chain of title, the producer gathers in his company all the rights related
to the creative work of the professionals who are in the project. Since
he centralizes all the rights in the producing company, he has a legal
guarantee that the project is original and can be sold in the market
without the risk of being sued for plagiarism.
In addition to authorship, another important aspect of chain of title is

related to the image of the cast. Guess what would happen if a producer
hired a super star, and then forgot to negotiate the use of their image for
the launch campaign? I’ll tell you…If someone’s image is used without
authorization, the producer runs the risk of having to pay some sort of
compensation. He would also be forced to take the launch campaign off
the air. What a terrible headache, right? Not to mention a huge financial
loss…

88
Only when the so-called chain of title is in the hands of the producer,
can the production of the series really start.
So, does that mean it’s time to get the whole gang together, get the
cameras, and let the magic of the movies and TV happen? Oh, calm
down, guys, it’s not that simple...All this magic is actually the result of a
lot of planning that is yet to come...
PROPRIEDADE INTELE CTUAL
No episódio anterior, vimos que tirar uma ideia do papel e transformá-

la numa série envolve colocar em prática boas estratégias de
financiamento. Mas isso é só o começo. Além disso, os produtores
precisam estar atentos aos aspectos legais de um projeto.
Já pensou que os profissionais que trabalham numa série possuem

contratos de trabalho para formalizar o acordo feito com o produtor?
Quando falamos em atores e atrizes é, então, ainda mais importante.
Tudo tem que estar juridicamente acertado para garantir a presença
daquela estrela do início ao fim. O produtor também precisa fazer
um contrato com o canal de televisão, ou plataforma de streaming,
que irá exibir a série. A mesma coisa ocorre com os fornecedores,
patrocinadores, investidores e parceiros comerciais.
Até aqui, tudo bem, certo? Todas as empresas usam contratos para
proteger as partes envolvidas. Mas o mercado do entretenimento tem
as suas peculiaridades. Muitos negócios nessa indústria são baseados
na criatividade, que é a matéria-prima para o desenvolvimento de
conteúdos ao mesmo tempo originais e instigantes.
É por causa desse tipo de trabalho criativo que o público se identifica

com os personagens e se envolve com eles. Em outras palavras, uma
série só existe porque os profissionais envolvidos na produção têm um
tipo de talento para contar uma boa história.
Na verdade, essas pessoas usam diversas técnicas e habilidades para

criar e aplicar suas ideias na produção da série. O diretor e os roteiristas
são os grandes maestros nessa tarefa. Eles aperfeiçoam e modificam as
ideias da equipe até chegarem ao resultado desejado.

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Mas como saber se essas ideias são realmente originais e não foram
copiadas de outro lugar sem autorização? Você já pensou no que
poderia acontecer caso um roteirista plagiasse uma ideia de outra
série? O autor da ideia original ficaria sabendo que ela foi copiada sem
autorização, e isso poderia colocar tanto o produtor quanto o canal de
televisão ou plataforma de streaming em sérios apuros.
Além do diretor e dos roteiristas, há vários outros profissionais cujas

criações são asseguradas por direitos de autoria. Por exemplo, os
figurinistas que desenharam as roupas, os cenógrafos que projetaram
os cenários, os diretores de arte que criaram a decoração, os roteiristas
que escreveram tudo o que está acontecendo na série... Resumindo, as
funções de criação estão presentes em diversos aspectos. Como você
pode ver, há muito direito autoral envolvido na produção de uma série.
O canal de televisão e a plataforma de streaming que vão exibir a série

têm que se proteger do risco de plágio. É por isso que eles pedem
ao produtor que providencie algo conhecido como cadeia de direitos.
Parece óbvio à primeira vista, contudo, garantir que o roteirista e todos
os outros profissionais envolvidos autorizem o produtor a utilizar suas
ideias originais na produção da série é de importância fundamental.
É como se um conhecido seu resolvesse vender o seu carro sem

lhe avisar. Seria uma loucura, né? Ele até poderia negociar com um
interessado em comprar o carro. Mas aí, na hora de fechar a negociação,
um problema iria aparecer. Como o seu conhecido não é o dono do
carro, ele não teria o direito de vendê-lo. Afinal, apenas você, o dono do
veículo, pode fazer isso.
E a mesma coisa ocorre numa série de TV, por exemplo. O produtor

não pode vender o trabalho criativo da sua equipe se ele não for dono
desse trabalho. Ao garantir a "cadeia de direitos", o produtor reúne
na sua empresa todos os direitos relacionados ao trabalho criativo
dos profissionais que estão no projeto. Uma vez que ele centraliza
na produtora todos os direitos, ele tem uma garantia jurídica de que
aquele projeto é original e pode ser vendido no mercado sem risco de
processos por plágio.
Além da autoria, há um outro aspecto importante na cadeia de direitos

que está relacionado à imagem do elenco. Já imaginou o que aconteceria
se um produtor contratasse um grande astro e se esquecesse de
negociar com ele o uso da imagem para a campanha de lançamento?
Eu vou contar pra vocês... Se a imagem de alguém é utilizada sem
autorização, o produtor corre o risco de ter que pagar algum tipo de
indenização.

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Ele também seria obrigado a tirar a campanha de lançamento do ar. Que

dor de cabeça, né? Isso sem falar do enorme prejuízo financeiro...
Somente quando a cadeia de direitos estiver nas mãos do produtor ele

pode dar início à produção da série.
Então, isso quer dizer que chegou a hora de reunir a turma toda, pegar
as câmeras e deixar a magia do cinema e da TV acontecer? Ah, calma,
gente, não é tão simples assim... Essa magia toda é na verdade fruto de
muito planejamento ainda por vir...

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Part 2.
In the previous chapter, we approached some of the aspects from behind the
scenes of the entertainment industry, starting with the financial aspects and
investment plans involved.
Now, we are addressing another very important aspect of this industry:
intellectual property, which is every idea, creation, or invention that can be
protected by law. In this regard, take a look at the following excerpt:
Producers need to be aware of the legal aspects of the project.

Os produtores precisam estar atentos aos aspectos legais do projeto.
To be aware of something means to realize or to know that something exists,

or to be attentive to something.
The opposite of the adjective aware is formed by adding the prefix un- to it:
AWARE ≠ UNAWARE
to be aware of something to be unaware of something

estar atento a / ciente de algo não estar atento a / ciente de algo
For example:
The general public is unaware of all the

legal aspects behind the movies.
O público em geral não está ciente de todos os
aspectos legais por trás dos filmes.

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In the previous example, we used the expression to be unaware of something to

convey the idea that the general public does not know the legal aspects of the
movies they watch.
Legal is an adjective that means connected with or allowed by law. In this sense,
the opposite idea of legal is illegal, that is, not allowed by law. Take a look:
LE GAL ≠ ILLE GAL
legal
legal, relativo à / em conformidade com a lei
illegal
ilegal / não permitido pela lei
Note that, to convey the opposite idea, we add the prefix il- to the adjective legal,
forming illegal. Notice that we do not drop the letter L at the beginning of the root
word.
Prefixes are a set of letters added to the beginning of a root word in order to
convey different ideas. Another very common prefix in the formation of negative
opposites is un-. Check it out:
COOL ≠ UNCOOL
cool = nice uncool = bad

legal / bom ruim / nada legal
In the previous example, we have the adjective cool, which means the same
as nice in informal contexts. Now, the opposite of nice is bad, a distinct word,
without affixes in its formation. However, the opposite of cool is uncool, formed
by adding the prefix un- to the root word. Remember that cool and uncool are
informal words, not appropriate in a formal context of legal procedures and
vocabulary.
Speaking of the law, we have to do our best to comply with it. This requires a lot
of caution, research, clear communication, and lots of paperwork.
Within the context of business, one of the most common processes is
establishing contracts in order to clarify conditions within business relationships.
For example:

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Professionals have employment contracts to formalize the agreement

made with the producer.
Os profissionais possuem contratos de trabalho para formalizar o acordo
feito com o produtor.
In the previous sentence, note that professionals is the plural of the noun
professional, which means people who work professionally at a certain
business. In this case, it is a noun.
Employment contracts is a compound noun formed by employment and
contract, and it means the contract someone signs before starting to work for a
company or project and being paid for it.
Employment is formed from the verb to employ and the suffix -ment. The same
goes in the formation of the other noun we highlighted here, agreement, which is
formed by the verb to agree and the same suffix. Take a look:
WORD FORMATION
employ + -ment = employment

empregar emprego / trabalho
to agree + -ment = agreement

estar de acordo / concordar acordo
Note that the suffix is added to the end of the verb. The function of the
suffix -ment here is to create nouns from verbs.
We could also add the prefix dis- to the noun agreement and the verb to
agree to form their opposites. Check it out:

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WORD FORMATION
prefix dis- used to form opposites
dis- + agreement = disagreement noun

acordo desacordo / divergência
dis- + to agree = disagree verb

concordar discordar / divergir
The prefix dis- plus the noun agreement forms the noun disagreement, which means a
situation in which people do not share the same opinion.
Note that it is also possible to add the same prefix to the verb to agree, forming to
disagree. To agree to something is the same as to consent. The opposite idea is to
disagree with something, that is, to differ, to object, or to oppose to something. To
agree with someone is to share the same opinion, and the opposite is to disagree with
someone.
Agreeing and disagreeing usually imply sharing opinions that support the arguments
presented. That being said, it is important to know that there are some terms we can use
specifically for this in English. To introduce an opinion, we can say, for example:
INTRODUCING AN OPINION
In my opinion / To my mind In my view From my point of view

Na minha opinião A meu ver Do meu ponto de vista
All of the previous introductions refer to your perspective on a particular

subject. For example:
In my opinion, Louis MacDowell is the best actor in this series.

Na minha opinião, Louis MacDowell é o melhor ator desta série.
As we can see in the previous sentence, we used in my opinion to

expose a particular perspective on a subject, in this case, who would be
the best actor.

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We may agree or disagree with the opinions people expose to us. There are also
some terms we can use to introduce those thoughts. When we agree, we can
say:
AGREEING
I agree. I have the same opinion.

Eu concordo. Eu tenho a mesma opinião.
I share the same opinion.

Eu compartilho da mesma opinião.
I couldn’t agree more. formal

Eu concordo totalmente.
All the previous sentences show agreement with the shared idea. It is important
to mention that I couldn’t agree more sounds more formal and more emphatic.
Also note that, although it is a negative sentence, it implies agreement.
When we disagree with someone, we can say:
DISAGREEING
I disagree. I don’t share the same opinion.

Eu discordo. Eu não compartilho da mesma opinião.
I beg to differ. / I beg to disagree. formal

Eu discordo.
The previous sentences express disagreement with the shared idea. Now, it is
important to highlight that I beg to differ and I beg to disagree are more formal.
To exemplify the use of these expressions, consider the following situation:

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You hear a rumor that the lead actor of your favorite series has not
renewed his contract and his character is going to be canceled.
Você ouve um rumor de que o ator principal da sua série favorita não
renovou o contrato dele e seu personagem vai ser cancelado.
So, we could say:
I can’t believe it! It will ruin the whole series!

Eu não acredito nisso! Isso vai arruinar toda a série!
If someone agrees with the previous opinion, they can say:
AGREE ≠ DISAGREE
I couldn’t agree more! Walter Stan is such a cool character!

Eu concordo totalmente! Walter Stan é um personagem tão legal!
We used I couldn’t agree more to agree with the opinion stated previously. Note
that this expression is more emphatic than the others aforementioned. Also note the
adjective cool used in the previous sentence. It is considered a slang, that is, a very
informal word, used to say that someone or something is nice, or interesting.
Now, if someone disagrees with the same opinion, they can say:
AGREE ≠ DISAGREE
I disagree. Walter Stan is totally uncool.

Eu discordo. Walter Stan não é nada legal.
In the previous sentence, we used I disagree, which is a sentence in the simple

present with the verb to disagree. Also note that we have the adjective uncool to
qualify the character. That means the character is not cool, or not nice.
We can agree or disagree with preferences as well. There are also different ways to
express what we prefer or not. We can say, for example:

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PREFERENCES
I like I don’t like / I dislike

eu gosto eu não gosto / eu desgosto
I want I don’t want

eu quero eu não quero
Notice that to dislike is the opposite of to like, and it is formed by adding the
prefix dis- to the verb.
Take a look at other ways to express preferences:
PREFERENCES
I prefer I don’t prefer I enjoy

eu prefiro eu não prefiro eu gosto
I don’t enjoy I’m a big fan of

eu não gosto eu sou fã de
I’m not a big fan of

eu não sou muito fã de
I’m a big fan of is an informal expression, which is a way of saying that you
really like something; the opposite idea is expressed in I’m not a big fan of, with
the particle not after the verb to be.
When we expose our preferences, people can share them or not, and we have
different ways to express this feeling too. Take the following situation into
consideration:
We went to a friend’s house, and we are deciding on what to watch.

Nós fomos para a casa de um amigo, e estamos decidindo ao que assistir.

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Then, someone says:
I want to watch a horror movie.

Eu quero assistir a um filme de terror.
If we have the same preference, we can say:
AGREEING WITH POSITIVE STATEMENTS
I want to watch a horror movie too!

Eu quero assistir a um filme de terror também!
In the previous sentence, notice that we repeated the entire sentence and added
too at the end, in order to express that we think alike.
Instead of repeating the full sentence, we could say:
AGREEING WITH POSITIVE STATEMENTS
Me too!
Eu também!
It is important to highlight that the short answer me too is a lot more common in
everyday English, and it is quite informal. In both previous examples, notice that
we use too to express that we agree with a positive statement.
Now, if someone has a different preference, they can say:
DISAGREEING
Oh, no! I don’t want to watch a horror movie.

Ah, não! Eu não quero assistir a um filme de terror.
In the previous example, we have a negative sentence to express a preference

and say that someone does not want to watch horror movies. Also note that we
do not use the word too in this case.

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It is also possible to agree with a negative statement. For example, if someone

says:
I don’t like to watch documentaries.

Eu não gosto de assistir a documentários.
To state that we have the same preference, we can say:
AGREEING WITH NE GATIVE STATEMENTS
I don’t like to watch documentaries either.

Eu também não gosto de assistir a documentários.
Note that, here, we repeated the full sentence and added either at the end to
express the same preference. Either is used at the end of negative statements to
agree with them.
However, we can also say:
AGREEING WITH NE GATIVE STATEMENTS
Me neither!
Eu também não! / Nem eu!
In the previous expression, we use neither, instead of either, to agree with a

negative statement. This short answer is also more informal.
Now, to disagree or say that we have another preference when dealing with a
negative statement, we would say:
DISAGREEING
Not me. I like to watch documentaries.

Eu não. Eu gosto de assistir a documentários.

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In the previous example, we have an affirmative sentence that conveys an

opposite idea to what had been previously proposed.
So far, we have seen a few different ways of agreeing and disagreeing with
something or someone. In the business world, one of the things we can agree or
disagree with is the terms of a contract.
Contracts are essential to guarantee things happen according to plan, and there
is a whole process that a contract can go through. We have some collocations
regarding the word contract to express this process. Take a look:
COLLOCATIONS WITH CONTRACT
to draw up a contract to agree to a contract

elaborar um contrato concordar com um contrato
to sign a contract to have a contract

assinar um contrato ter um contrato
The first step is to draw up a contract, which means to create or to prepare a

contract.
Then, the second step might be to agree to a contract, which means to accept
the terms of the contract.
Finally, it is time to sign a contract, which is to sign your name to show you
officially agree with its terms. Take a look:
The producer needs to sign a contract with the television channel, or

streaming platform, that will air the series.
O produtor precisa assinar um contrato com o canal de televisão, ou
plataforma de streaming, que irá exibir a série.
In the previous sentence, note that to sign a contract is followed by the

preposition with, because we sign contracts with someone, in this case, with the
television channel. Also, notice the verb to air, which is the same as to broadcast,
in this context.
Once you have a contract with someone, there are two paths that can be
followed:

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COLLOCATIONS WIT H CONTRACT
to honor a contract to break a contract

honrar / cumprir um contrato quebrar um contrato
To honor a contract means to comply with what was agreed; the opposite is to
break a contract, which is the same as to breach or to violate what was agreed.
Note that to break is a verb. To refer to the condition of not complying with a
contract, we say:
COLLOCATIONS WIT H CONTRACT
breach of contract
quebra de contrato
In this case, we use the noun breach, which is the act of breaking the terms set
out in a contract.
Contracts must have a clause regarding its breach in order to protect the parties
involved in the agreement. Taking this into account, we can say:
All companies use contracts to protect the parties involved.

Todas as empresas usam contratos para proteger as partes envolvidas.
Parties is the plural form of party. In the previous context, party refers to a
person or a group of people involved in a contract agreement.
In a different context, party means celebration, with people, food, and drinks, but
it is not the case here.
There are numerous kinds of contracts, and the parties of a contract can be
named differently depending on the context. If you refer to an employment
contract, there will be the following parties:

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PARTIES OF A CONTRACT
partes de um contrato
hirer hiree / hired

contratante contratado
employer employee
empregador empregado
The hirer, or the employer, refers to the person or company that employs
people; hiree, hired or employee refers to the person hired or employed.
In case we are referring to a sales and purchase agreement, the parties will be
named as follows:
PARTIES OF A CONTRACT
partes de um contrato
promissor promisee
promitente / vendedor promissário / comprador
The promisor is the person or group that has made the promise to sell a
product or real estate; promisee is the person or group to whom a promise has
been made.
In the entertainment industry, contracts also protect intellectual property. It
means that the material produced will be covered by copyright. Check it out:
There is a lot of copyright involved in producing a series.

Há muito direito autoral envolvido na produção de uma série.
The word copyright means the legal right to control the production and selling
of a book, play, film, photograph, or piece of music.
Copyright is a compound noun formed by the words copy and right.
The word copy can belong to two different word classes:

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WORD CL ASSES
copy noun to copy verb

cópia / exemplar copiar / plagiar
As a noun, copy means replica, imitation, or reproduction. The verb to copy means
to reproduce something so that it is the same as an original piece of work.
Another verb that applies to this context is to plagiarize. There are two nouns that
belong to the same word family that are quite used in this context. Check it out:
WORD FAMILY
to plagiarize plagiarism plagiarist

plagiar plágio plagiador
To plagiarize means to use another person’s ideas or work and pretend that
it is your own. The noun plagiarism is the process or practice of using another
person’s idea or work and pretending that it is your own; and plagiarist is a
noun that refers to the person who commits plagiarism.
So, we could say:
Plagiarists have no right to use work that is not theirs.

Plagiadores não têm direito de usar um trabalho que não é deles.
The noun right, in this context, refers to what is legally or officially allowed. Take
a look at another example:
Since he centralizes all the rights in the producing company, he has a

legal guarantee that the project is original.
Uma vez que ele centraliza na produtora todos os direitos, ele tem uma
garantia jurídica de que aquele projeto é original.

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Rights is the plural form of the noun right. In the previous example, note that
we also have the adjective original, which means authentic. This means that, in
the context of the previous example, someone has guarantees that a project is
original.
In general, when we talk about rights, it is almost impossible not to think about
the other side of the coin–the duties.
Rights are things we can do freely, or basic things we should have, such
as access to health and to food, for example. On the other hand, duties are
obligations that we must fulfill.
Regarding rights, the Universal Declaration of Human Rights, by UNICEF,
states that:
HAVE THE RIGHT TO SOME THING

ter direito a algo
Everyone has the right to life, liberty, and security of person.

Todo indivíduo tem direito à vida, à liberdade e à segurança pessoal.
In the previous sentence, we have the collocation have the right to something,
which means to have the legal permission, privilege, or authority to have or
own something. In this case, we are talking about life, liberty, and security.
Another collocation with right can be:
BY RIGH T
por direito
Joseph is the only heir to a house. This house is Joseph’s by right.

Joseph é o único herdeiro de uma casa. Esta casa é de Joseph por direito.
The collocation by right means according to what is legally or morally correct.

That means, in the previous context, that it is legally correct that Joseph would be
the only owner of a house.
As for duties, we also have some common collocations to use. For example:

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COLLOCATIONS WITH DUT Y
to have a duty to do something

ter o dever de fazer algo
to do your duty / to fulfill your duty to fail your duty

cumprir seu dever falhar em cumprir seu dever
In entertainment, one of the existing duties is to respect the copyright of creative

content. Therefore, in order to avoid any legal complications, an employment
contract may mention the following:
TO AUTHORIZE SOMEBODY TO DO SOME THING

autorizar alguém a fazer algo
The screenwriter and all the other professionals involved will authorize
the producer to use their creative work.
O roteirista e todos os outros profissionais envolvidos vão autorizar o
produtor a utilizar suas ideias originais.
In the previous sentence, we have the verb to authorize. It is the same as

to allow, but it sounds more formal. Here, it comes within the expression to
authorize somebody to do something. Notice the second verb of this expression
comes in the infinitive form.
We can also grant permission by using other verbs, such as:
WAYS TO GRANT PERMISSION
to permit someone to do something

permitir que alguém faça algo
to allow someone to do something

permitir que alguém faça algo

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To permit someone to do something is also very formal and means the

same as to authorize. A neutral way to put it is with the verb to allow, as
in to allow someone to do something. Note that, in both cases, the second
verb also comes in the infinitive.
We could also use the verb to let within a slightly different construction.
Check it out:
WAYS TO GRANT PERMISSION
to let someone do something

deixar alguém fazer algo
To let someone do something is more informal than the other examples we

have just mentioned. Also note that, when we use the verb to let, the second
verb comes in the base form, that is, without the particle to.
When we do something we have not been granted permission to do, there will
almost certainly be consequences. That is why producers and investors must
always be aware of all the legal aspects of a production. As a consequence:
The project can be sold in the market without the risk of being sued.
O projeto pode ser vendido no mercado sem risco de ser processado.
In the previous sentence, we have the word sued, which comes from the verb
to sue. To sue is to take legal action against a person or organization. Take
another example:
TO SUE
processar
Julian will sue his manager for defamation.

Julian vai processar o empresário dele por difamação.
In the former example, note that we use the preposition for after the verb to sue
to introduce the element that motivates the lawsuit, in this case, defamation.
A lawsuit is a problem taken to a court of law by an ordinary person or
an organization in order to obtain a legal decision. There are also several
collocations with the noun lawsuit. For example:

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COLLOCATIONS WITH L AWSUIT
to file a lawsuit
mover uma ação judicial / mover um processo
to drop a lawsuit
retirar uma ação judicial / retirar um processo
To file a lawsuit means to start a process by which a court of law makes a

decision to end a disagreement between people or organizations. There is also
to drop a lawsuit, which means to interrupt a lawsuit or to give up on taking it
to a court.
Here are other collocations with the same noun:
COLLOCATIONS WITH L AWSUIT
to win a lawsuit
ganhar uma ação judicial / ganhar um processo
to lose a lawsuit
perder uma ação judicial / perder um processo
To win a lawsuit means to obtain a favorable result. The opposite idea is

expressed by to lose a lawsuit.
Now you know many collocations and expressions regarding

rights, duties, and the law. You have also learned some prefixes
and suffixes commonly used to form nouns and verbs.

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Part 3.
Activities
( 1 ) nada legal ( ) to agree
( 2 ) bom ( ) in my opinion / to my mind
( 3 ) ruim ( ) good / nice
( 4 ) empregar ( ) Me neither!
( 5 ) estar de acordo / concordar ( ) to sue
( 6 ) discordar / divergir ( ) bad
( 7 ) na minha opinião ( ) to disagree
( 8 ) Eu também! ( ) Me too!
( 9 ) Eu também não! / Nem eu! ( ) uncool
( 10 ) elaborar um contrato ( ) by right
( 11 ) por direito ( ) to draw up a contract
( 12 ) processar ( ) to employ
B. Fill in the blanks with the appropriate words, according to the translation:
1. Professionals have to formalize the agreement made with the producer.

Os profissionais possuem contratos de trabalho para formalizar o acordo feito com o produtor.
2. ! Walter Stan is such a cool character!

Eu concordo totalmente! Walter Stan é um personagem tão legal!
3. I want to watch a horror movie !

Eu quero assistir a um filme de terror também!
4. The producer needs to with the television channel, or streaming

platform, that will air the series.
O produtor precisa assinar um contrato com o canal de televisão, ou plataforma de streaming, que irá
exibir a série.

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5. Everyone has the life, liberty, and security of person.

Todo indivíduo tem direito à vida, à liberdade e à segurança pessoal.
6. Julian will his manager for defamation.

6. sue 12. to sue 6. to disagree

5. right to 11. by right 5. to agree
4. sign a contract 10. to draw up a contract 4. to employ
3. too 9. Me neither! 3. bad
2. I couldn’t agree more / I totally agree 8. Me too! 2. good / nice
1. employment contracts mind 1. uncool
Activity B – Answers 7. in my opinion / to my Activity A – Answers

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Part 4.
In the vocabulary part of this chapter, one of the subjects covered was our
relationship with rights and duties. We mentioned the following sentence:
NEED + INFINITIVE
Necessity
Producers need to be aware of the legal aspects of the project.

Os produtores precisam estar atentos aos aspectos legais do projeto.
The verb to need indicates a necessity, that is, something that is necessary to be done. Note
that we have need followed by a verb in the infinitive form, that is, the construction here is
need + infinitive.
It works just like have + infinitive, that is, the verb to have followed by another verb in the
infinitive form. So, we could also say:
HAVE + INFINITIVE
Necessity / Obligation
Producers have to be aware of the legal aspects of the project.

Os produtores têm que estar atentos aos aspectos legais do projeto.
We also use have + infinitive to talk about a necessity or an obligation. In this case, we used
have to be aware to convey the idea of the necessity of being aware of something.
A more emphatic way of talking about necessity and obligation is with the modal verb must.
So, we would say:
MODAL VERB MUST

Producers must be aware of the legal aspects of the project.

Os produtores devem estar atentos aos aspectos legais do projeto.

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Note that after must, the verb comes in its base form, that is, in the infinitive
without the particle to.
Must works as an auxiliary verb that adds an idea to the main verb, just like any
other modal verb. In the affirmative form, this idea can be a necessity or an
obligation, depending on the context. For example:
MODAL VERB MUST

Affirmative Form
subject + modal verb + main verb in the base form + complement

sujeito + modal verb + verbo principal na forma base + complemento
The actors must honor the contract with the executive producer.
Os atores devem honrar o contrato com o produtor executivo.
In the previous sentence, we have the subject the actors, followed by the modal
verb must, the main verb honor in the base form, and the complement the
contract with the executive producer. Here, we are talking about an obligation
that actors have in regard to the executive producer.
Note that the structure is the same as with other modal verbs, that is, subject +
modal verb + main verb in the base form + complement.
We can also use must to refer to obligations that are our duty. For example:
MODAL VERB MUST

Affirmative Form

You must pay your taxes on time.

Você deve pagar seus impostos em dia.

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In the previous sentence, we used must to talk about every citizen’s obligation to
pay taxes on time. So, we have the subject you, followed by the modal verb must,
the main verb in the base form pay, and the complement your taxes on time.
However, in the negative form, the modal verb must will not convey an idea of lack
of necessity or lack of obligation. Must not conveys a prohibition. Check it out:
MODAL VERB MUST

Negative Form
Prohibition
Actors and producers must not break contracts.

Atores e produtores não podem quebrar contratos.
Atores e produtores são proibidos de quebrar contratos.
In the previous example, we have must in the negative form to say these
people are prohibited to break the contract. So, we have the subject actors and
producers, followed by the modal verb must, the particle not, the main verb in
the base form break, and the complement contracts.
MODAL VERB MUST

Negative Form
Prohibition
You must not / mustn’t plagiarize other people’s creative work.

Você não pode plagiar o trabalho criativo de outras pessoas.
É proibido plagiar o trabalho criativo de outras pessoas.
Now, we also have must not used to talk about a prohibition, which is
plagiarizing other people’s creative work. Note that the main verb also comes
in the base form in negative sentences. It is also possible to use the contracted
form, mustn’t, which would sound less emphatic.
When we choose to use must, both in the affirmative and negative forms, we
imply that we are obligated to fulfill a certain duty or that we are not expected
to fail to do something. Otherwise, there may be legal consequences.
Another perspective we worked with in the vocabulary part of this chapter were
rights, which are things we are allowed to do. For example:

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AUTHORIZE / ALLOW / PERMIT SOME ONE TO DO SOME THING

autorizar / permitir que alguém faça alguma coisa
By signing a contract, the professionals authorize the producer

to use their creative work.
Ao assinar um contrato, os profissionais autorizam o produtor
a usar seu trabalho criativo.
The verb to authorize conveys an idea similar to that of the verb to allow, which means
to give permission for someone to do something. Notice that the basic structure is to
authorize or to allow someone to do something, in which the second verb comes in the
infinitive form. The same rule applies if we use the verb to permit.
Considering the entertainment context, we can say that, if a producer is allowed to use
someone’s creative work:
MODAL VERBS

MODAL VERB CAN PERMISSION
The producer can use their creative work.

O produtor pode usar o trabalho criativo deles.
In the previous sentence, we used the modal verb can to convey an idea of
permission. In other words, the producer has permission to use their creative work.
Now, compare the previous idea with that of the following sentence with must:
MODAL VERB MUST OBLIGATION
The producer must use their creative work.

O produtor deve usar o trabalho criativo deles.

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Must conveys the idea that the producer has an obligation to use the work of the
professionals, which is different from saying he has permission to do it.
Despite this change in ideas, note that the modal verbs share the same structure:
MODAL VERBS

There is also a difference in meaning between cannot and must not. While must
not expresses a prohibition, cannot will convey the idea of something milder,
similar to a lack of permission.
To better see this difference, let’s imagine the following situation:
You have paid for a meet and greet with your favorite artist, and you are
at the backstage door waiting to ask for an autograph.
Você pagou por um meet and greet com seu artista favorito e está na porta dos
bastidores esperando para pedir um autógrafo.
Meet and greet is a meeting that some artists have with their fans, usually a
paid one.
The main condition for attending the meet and greet was the following one:
MODAL VERBS
Affirmative Form
MUST Obligation
You must buy your after-show pass.

Você deve comprar seu passe pós-show.
Você tem que comprar seu passe pós-show.
Must is used in the previous example because we are talking about a mandatory
condition to meet the artist. You have to buy your after-show pass. The idea it
conveys is that of an obligation.
The after-show pass grants you that:

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MODAL VERBS
Affirmative Form
CAN Permission
You can have an autograph, three photos and a one-minute talk.

Você pode ter um autógrafo, três fotos e uma conversa de um minuto.
Now, note that in the previous sentence we have can in the affirmative form to
convey permission, because the idea here is that you are entitled to something;
however, there are some other aspects to be considered in the meet and greet:
MODAL VERBS
Negative Form
CANNOT Lack of permission
You cannot bring gifts.

Você não pode levar presentes.
In the former sentence, we have the negative form of the modal verb can–
cannot–to imply lack of permission, which is to bring gifts. Note that can and the
negative particle not become a single word, cannot. It could be contracted as
can’t, but it would sound less emphatic.
Now, compare:
MODAL VERBS
Negative Form
MUST NOT Prohibition
You must not enter the dressing room.

Você não pode entrar no camarim.
É proibido entrar no camarim.

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Must not states a prohibition, which is to enter the

dressing room. It sounds a lot stronger than if we had
used cannot. So, we could say that bringing a present is
something not allowed, but not a big of a problem as it
would be if you entered the dressing room.
Now, consider the following situation:
Your friend did not buy the after-show pass,

but he really wants an autograph.
Seu amigo não comprou o passe pós-show, mas
ele quer muito um autógrafo.
Then, he could ask the event organizer:
MODAL VERBS
Interrogative form
CAN Asking for permission
Can I ask for an autograph at least?

Posso pedir um autógrafo, pelo menos?
In the previous sentence, we have the interrogative form of the modal verb can,
used to ask for permission.
Note that the difference in structure compared to the affirmative is that the
position of the subject and the modal verb is now inverted. We start the
sentence with can, and then we have the subject I, followed by the main verb in
the base form ask, and the complement for an autograph at least.
To grant a request, we can say:
CAN GRANTING PERMISSION
Yes, you can ask for an autograph.

Sim, você pode pedir um autógrafo.
Yes, you can.

Sim, você pode.

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The first previous answer is a complete one, whereas the second one is a short
answer.
To deny permission, we can say:
CANNOT DENYING PERMISSION
No, you cannot ask for an autograph.

Não, você não pode pedir um autógrafo.
No, you cannot. / No, you can’t.

Não, você não pode.
First, we have a complete sentence in the negative form. We can also use a
short answer and stop the sentence in the particle not. Note that we can also
use the contracted form–can’t–but it would sound less emphatic.
Questions with must will sound like a validation of an obligation; however, they
are not very common and are used in very specific contexts.
For example, let’s go further on the meet and greet context:
You are in the nick of time to meet your idol.

Você está em cima da hora para encontrar seu ídolo.
To confirm how you should proceed, you can ask;
MODAL VERB MUST
Must I buy the after-show pass now?

Eu devo comprar o passe pós-show agora?

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In the previous sentence, we have the interrogative form of the modal verb must
used to confirm an obligation. Note that the logic of the structure is the same
as used with can: first, we have the modal verb must, followed by the subject,
the main verb in the base form, and the complement. This type of question is
usually asked in the first person singular, I, or in the first person plural, we.
As we have just seen in the previous examples, modal verbs follow the same
structures. However, they convey different ideas, so it is important to pay
attention to the context.
Take the modal verb will. For one, it indicates an immediate decision of a future
action. For instance:
Suppose the manager of a very famous artist named Julian has posted
several lies about him on social media.
Vamos supor que o empresário de um artista muito famoso chamado Julian
publicou diversas mentiras sobre ele nas redes sociais.
The next day, the following appears on the tabloids:
MODAL VERB WILL

Immediate decision for the future
Julian will sue his manager for defamation.

Note that by using will we are conveying an intention for this action to take place
in the future. To sue his manager is a decision that Julian made.
Notice how the structure is the same as with the other modal verbs: there
is the subject, the modal verb will, the main verb in its base form, and the
complement.
Now, consider the following context:
Suppose you have arranged with a friend to go to the movies, but

something unexpected happened and that friend cannot come anymore.
Vamos supor que você tenha combinado de ir ao cinema com um amigo,
mas algo inesperado aconteceu, e aquele amigo não pode ir mais.

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So, we could say:
MODAL VERB WILL

Immediate decision for the future
No problem. We’ll go tomorrow, then.

Sem problemas. Nós vamos amanhã, então.
Notice that will is being used again to imply a decision made at the moment of
speaking, which is going to the movies tomorrow.
Note that it is the same affirmative structure, with the only difference that the
modal verb will is contracted with the subject we, forming we’ll. This is a more
informal way of speaking, very common in everyday English.
The modal verb will is also used to make a prediction based on the speaker’s
intuition or experience. Take into consideration the following context:
Julian Louis did not renew his contract for the series Love Maniacs.
Julian Louis não renovou seu contrato para a série Maníacos do Amor.
So, a fan made the following comment:
MODAL VERB WILL

Predictions based on opinion or experience
It will ruin the whole series!

Isso vai arruinar toda a série!
The previous sentence is a prediction based on opinion or experience. It is not

possible to be sure that the actor’s leaving is actually going to ruin the show, but
it is possible to predict it, given that he is an important part of the cast.

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MODAL VERB WILL

Predictions based on opinion or experience
Sandra likes horror films. She will enjoy Cris and the Knife.
Sandra gosta de filmes de terror. Ela vai gostar de Cris e a Faca.
Based on the information that Sandra likes horror movies, we can predict or
assume that she will enjoy Cris and the Knife, a film of that same genre.
It is also possible to make a prediction about what will not happen. To do so, we
use the negative form of the modal verb will. Check out this example:
MODAL VERB WILL

Negative Form
Sandra doesn’t like documentaries. So, she will not / won’t enjoy
watching The Life of Dolphins.
Sandra não gosta de documentários. Então, ela não vai gostar de assistir a
A vida dos golfinhos.
Notice we add not after the modal verb will to make a prediction for the future
in a negative sentence. Based on the information that Sandra does not like
documentaries we can predict that she will not enjoy watching one about dolphins.
Note that we can also use the contracted form, won’t, which is more informal and
less emphatic.
Also note that in the second sentence of the previous example, there are two verbs:
enjoy, which is the main verb, and watching, which is part of the complement. Note
that watching is in the -ing form.
You have already learned that there are some verbs that work as part of the
complement of other verbs and that they are used in the infinitive. However, verbal
complements may also come in the -ing form.
What defines whether the verbal complement will come in one form or another is
the main verb, which is the one that precedes the complement. In the case of the
verb to enjoy, the verbal complement will always be in the -ing form. For example:
ENJOY + VERB -ING
Keith enjoys going to music concerts.

Keith gosta de ir a shows de música.

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Here, the main verb is to enjoy and the complement is going to music concerts.
Note that the verb to go in the complement comes in the -ing form, going.
The verb to like will accept both infinitive and -ing verbs as complement. So, we
can say:
TO LIKE + INFINITIVE OR -ING
Keith likes to listen to loud music.

Keith likes listening to loud music.
Keith gosta de escutar música alta.
In the first sentence, the complement has the verb to listen in the infinitive form,
whereas in the second it is listening, in the -ing form. That is because the verb to
like allows both forms.
The same goes for the verb to dislike. Take a look:
TO DISLIKE + INFINITIVE OR -ING
Joe dislikes to fail his duty.

Joe dislikes failing his duty.
Joe não gosta de falhar em cumprir seu dever.
With the verb to prefer it is the same. For example:
TO PREFER + INFINITIVE OR - ING
Greg prefers to watch comedy movies.

Greg prefers watching comedy movies.
Greg prefere assistir a filmes de comédia.
Note that the verb that gets conjugated in the simple present is the main one.
The verb that is part of the complement will not be conjugated.
You have just seen main verbs that accept both the infinitive and the -ing form as
complements. However, there are some verbs that will only take the infinitive.
That is the case of the verb to want. For example:

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TO WANT + INFINITIVE
Livia wants to draw up a new contract.

Livia wants drawing up a new contract.
Livia quer elaborar um novo contrato.
In the previous example, the verb to want is the main verb conjugated in the
simple present according to the subject. To draw up is the verbal complement of
the sentence, and it comes in the infinitive, because the verb to want only allows
this form of complement. So, using the verbal complement in the -ing form in this
sentence is not correct.
In this chapter, you have learned some of the various forms that
verbs can take in a sentence. You have also learned a little more
about modal verbs and some of their uses and meanings. If
you want to learn more about these topics, you can refer to the
Grammar Guide section at the end of your book.
GRAMMAR GUIDE

Modal Verb Must Page 327
Verbs + Infinitive or -ING Page 372

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Part 5.
Activities
A. Complete with the correct modal verb:
1. No problem. We go tomorrow, then. (Immediate decision for the future)

Sem problemas. Nós vamos amanhã, então.
2. You ask for an autograph. (Granting permission)

Você pode pedir um autógrafo.
3. You enter the dressing room. (Prohibition)

Você não pode entrar no camarim.
4. Julian sue his manager for defamation. (Immediate decision for the future)
5. You have an autograph, three photos, and a one-minute talk. (Permission)

Você pode ter um autógrafo, três fotos e uma conversa de um minuto.
6. You buy your after-show pass. (Obligation)

Você deve comprar seu passe pós-show.
7. You pay your taxes on time. (Necessity / Obligation)

Você deve pagar seus impostos em dia.
8. You ask for an autograph. (Denying permission)

Você não pode pedir um autógrafo.

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1. Livia wants a new contract.

Livia quer elaborar um novo contrato.
2. Greg prefers comedy movies.

Greg prefere assistir a filmes de comédia.
3. Keith enjoys to music concerts.

Keith gosta de ir a shows de música.
4. Keith likes to loud music.

Keith gosta de escutar música alta.
5. Joe dislikes his duty.

Joe não gosta de falhar em cumprir seu dever.
6. Sandra doesn’t like documentaries. So, she will not enjoy The Life of
Dolphins.
Sandra não gosta de documentários. Então, ela não vai gostar de assistir a A vida dos golfinhos.
8. cannot / can’t
7. must
6. watching 6. must
5. to fail / failing 5. can
4. to listen / listening 4. will
3. going 3. must not / mustn’t
2. to watch / watching 2. can
1. to draw up 1. will

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4
Pre-production
Pre-production
Part 1.
In this chapter, you will learn pre-production related vocabulary and formation
of adjectives with the suffix -able. You will also learn some uses of ordinal
numbers.
Now look at the script of Pre-production.
PRE-PRODUCTION
The businesses that permeate the entertainment industry are way more
complex than they appear to be.
So far, we’ve talked about its legal and financial aspects, which viewers
of a series are unlikely to think about. When you watch an epic war
scene in your favorite medieval series, with battles involving hundreds of
people, horses, even dragons, I bet you’re so mesmerized that it’s almost
inevitable to think, “how did they manage to do this?” Some people
attribute this to what they call “the magic of movies” or “the magic of
TV.”
Today, we are going to understand that all this magic is actually the
result of a lot of planning and hours of hard work.
In the entertainment industry, the creation of new content goes through

four major phases: development, pre-production, production, and post-
production. When a project reaches the end of this process, it is then
ready to be released. The development and pre-production phases
are dedicated to creative and executive planning. This means that the
scripts for the series will be written during this phase. Scriptwriters,
researchers, producers, and directors work at this stage, contributing
with their ideas and carefully improving the narrative. It’s a work that
most people don’t even know exists, but it’s fundamental for the story to
look interesting on screen.
Let’s look at an example to better understand the importance of the

development stage. Imagine that a very successful book will be made
into a series. The scriptwriters of this project will have to adapt the story
of the book to the series format.

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After all, the book has much more space to develop a narrative, while a
series usually has an average of ten hours per season. If the book were
being adapted to cinema, the screenwriters would only have an average
of two hours to tell the whole story. Can you see how challenging that is?
During the development stage, they will write several versions of the
script until they reach the expected result; the one they consider to
be viable. Once the scripts are finished, the project can then move on
to pre-production stage. Pre-production involves the organization of
everything that will need to be done during the filming of the series. If
the series has a war scene, with horses and dragons, for instance, that
will definitely be written in the script. As you can see, it is the basis for
the rest of the production. The project’s director and producer will then
read the script with a professional eye, to think about each camera shot
and each type of resource that will be needed to shoot the scenes, such
as special effects. In addition, the producer will map out all the other
resources the series needs and plan the filming. Unlike what many
people imagine, the scenes of a series are not shot in the same order
that we see in the final product. In fact, the director will be filming the
scenes according to favorable logistics.
Now, getting back to the medieval series that I previously proposed,

let’s imagine that some scenes will take place in a castle. To make it all
more believable, the producer might choose to shoot everything in a real
castle, which means traveling with the crew to a place that can be far
away from the studio. He’ll still need to bring clothes and period objects,
in addition to the cast and a few dozen extras. Can you imagine the
work involved in moving all of these resources to the filming location?
Not to mention the entire infrastructure, including equipment, dressing
rooms, security, food, and restrooms. See how high the investment in
a series like this can get? So, if you’re going to take a team trip to this
place, it’s best to shoot all the scenes that take place there at once. That
way, you won’t have to make all that effort again. And yes, financially
speaking, shooting all the scenes at once is way more productive.
That’s how important planning really is. The producer must always look
for the best way to optimize the resources and filming schedule. But
to film these scenes, even during the pre-production process, different
types of professionals are needed. They are in charge of providing each
of the items used in the series. Then, once the cast is defined, rehearsals
can start.
As you can see, the work pace in pre-production is really hectic! That’s
all very different from the rhythm you will experience when you are at
home, relaxed, and watching your favorite series. It is hard extensive
work that involves dozens of people. And the director is the conductor

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of the entire production, ensuring that different professionals work

together towards the same goal. And only after everything has been
planned and rehearsed will it be possible to enter the production stage.
This is when the director will finally say: lights, camera, action! And the
amazing magic of movies will finally happen...
A PRÉ-PRODUÇÃO
Os negócios que permeiam a indústria do entretenimento são muito

mais complexos do que parecem ser.
Até agora, nós falamos sobre os seus aspectos legais e financeiros,

sobre os quais os espectadores de uma série provavelmente não vão
pensar a respeito. Quando vocês assistem a uma cena épica de guerra
na sua série medieval favorita, com batalhas envolvendo centenas de
pessoas, cavalos, até dragões, aposto que ficam tão impactados que é
quase inevitável pensar: “Como eles conseguiram fazer isso?” Algumas
pessoas atribuem isso ao que chamam de “a magia do cinema”, ou “a
magia da TV”.
Hoje, nós vamos entender que essa magia toda é, na verdade, fruto de
muito planejamento e horas de trabalho.
Na indústria do entretenimento, a criação de novos conteúdos passa

por quatro grandes fases: desenvolvimento, pré-produção, produção,
e pós-produção. Quando um projeto chega ao final desse processo,
ele está pronto para ser lançado. As fases de desenvolvimento e de
pré-produção são dedicadas ao planejamento criativo e executivo do
projeto. Isso quer dizer que os roteiros da série serão escritos durante
essa fase. Roteiristas, pesquisadores, produtores e diretores trabalham
nesta etapa, contribuindo com suas ideias e lapidando cuidadosamente
a narrativa. É um trabalho que a maioria das pessoas nem imagina que
existe, mas ele é fundamental para que a história fique interessante na
tela.
Para entendermos melhor a importância do desenvolvimento, vamos a

um exemplo. Imagine que um livro de muito sucesso vai se tornar uma
série.

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Os roteiristas desse projeto vão ter que adaptar a história do livro para o
formato de série. Afinal, o livro tem muito mais espaço para desenvolver
uma narrativa, enquanto uma série costuma ter em média dez horas
por temporada. Se o livro fosse adaptado para o cinema, os roteiristas
só teriam duas horas em média para contar toda a história. Conseguem
perceber como é desafiador?
Durante o desenvolvimento, eles vão escrever diversas versões do roteiro

até chegar ao resultado que desejam e que seja viável. Uma vez prontos
os roteiros, o projeto pode, então, avançar para a etapa de pré-produção.
A pré-produção é a organização de tudo o que vai ser preciso fazer
durante as gravações da série. Se a série tem uma cena de guerra, com
cavalos e dragões, isso com certeza vai estar escrito no roteiro. Como
vocês podem perceber, ele é a base para todo o restante da produção.
O diretor e o produtor do projeto, em seguida, vão ler o roteiro com um
olhar técnico, para pensar cada plano de filmagem e cada tipo de recurso
que será necessário para a gravação das cenas, como efeitos especiais.
Além disso, o produtor vai mapear todos os outros recursos de que a
série precisa, e realizará o planejamento das gravações. Diferente do que
muita gente imagina, as cenas de uma série não são gravadas na mesma
ordem em que assistimos ao produto final. Na verdade, o diretor vai
filmar as cenas de acordo com uma logística favorável.
Vamos continuar tomando por base esta série medieval que eu propus.
Vamos imaginar que que ela tenha algumas cenas que ocorrem num
castelo. Para tornar tudo mais verossímil, o produtor pode optar por
gravar tudo em um castelo de verdade, o que pode significar viajar com a
equipe para um lugar que pode ficar bem longe do estúdio. Ele ainda vai
precisar levar roupas e objetos de época, além do elenco e de algumas
dezenas de figurantes. Dá para imaginar o trabalho que dá movimentar
todos esses recursos até o local das gravações? Isso sem falar em
toda a infraestrutura, que inclui equipamentos, camarins, segurança,
alimentação e banheiros. Estão vendo só como o investimento numa
série dessas é alto? Então, se você vai fazer uma viagem com a equipe
para esse lugar, é melhor que você grave todas as cenas que ocorrem
lá de uma vez só. Assim, não vai ser preciso fazer todo esse esforço
novamente. E, sim, financeiramente, gravar todas as cenas de uma vez é
também mais produtivo.
É por tudo isso que o planejamento é tão importante. O produtor precisa

sempre buscar a melhor maneira de otimizar os recursos e o cronograma
de gravação. Mas, para realizar essas cenas, ainda durante o processo
de pré-produção, diversos tipos de profissionais são necessários. Eles
são responsáveis por providenciar cada um dos itens usados na série. Aí,
uma vez definido o elenco, os ensaios já podem começar.

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Como vimos, o ritmo de trabalho na pré-produção é mesmo frenético!

Muito diferente do ritmo que vocês vão vivenciar quando estiverem em
casa, relaxados, assistindo à sua série favorita. É um trabalho árduo e
extenso, que passa por dezenas de pessoas. E o diretor é o maestro de
toda a produção, que garante que profissionais diferentes trabalhem
juntos em prol de um mesmo objetivo. E somente depois que tudo já foi
planejado e ensaiado será possível entrar na etapa de produção.
E é quando, finalmente, chega a hora de o diretor dizer: luz, câmera,

ação! E a incrível magia dos filmes vai acontecer...

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Part 2.
In this chapter, we are going to address several elements regarding pre-

production.
Pre-production involves everything that happens before filming starts. Especially
in high-end series, this process involves hundreds of professionals and
innumerous details, such as props, locations, costumes, and special effects.
They are able to put together such incredible productions that:
I bet you’re so mesmerized that it’s almost inevitable to think, “how did
they manage to do this?”
Eu aposto que vocês ficam tão impactados que é quase inevitável pensar:
“Como eles conseguiram fazer isso?”
First, notice the verb to manage within the expression to manage to do

something. It conveys the same meaning as to be able to do something, that is,
having the capacity to do something.
In the previous sentence, we also have the word inevitable, which is an adjective
that qualifies something that is not possible to avoid. You may have noticed that
this word ends in -able, but it is not the adjective, as in the expression to be able
to do something.
In the adjective inevitable, -able is a suffix, which is commonly used in the
formation of this word class. It conveys the idea that something is susceptible,
likely to something. In the case of inevitable, something is likely to not be
avoided.
The opposite of inevitable can be:
SUFFIX -ABLE
inevitable ≠ preventable / avoidable

inevitável evitável

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The adjectives preventable or avoidable can be considered opposites of

inevitable, as they convey the idea that something is able to be prevented or
avoided. Note that these two adjectives also end with the suffix -able.
As we have already mentioned in previous chapters, adjectives are words that
characterize nouns. We have also learned that suffixes are a set of letters added
to the end of words, and that they are a common feature in the formation of
adjectives from verbs. For example:
verb + suffix -able = adjective
to prevent preventable
prevenir evitável
to avoid avoidable
evitar evitável
The verb to prevent receives the suffix -able, forming preventable, and the verb
to avoid receives the same suffix, forming the adjective avoidable.
Take a look at another adjective formation with the same suffix:
verb + suffix –able = adjective
to wash washable
lavar lavável
The verb to wash plus the suffix -able forms the adjective washable, which
means able to be cleaned in water without damage. For instance:
Clothes are washable, but electronics are not.

Roupas são laváveis, mas eletrônicos não são.

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Here is another example with the same suffix:
to avail available
ser útil ou proveitoso disponível /
/ beneficiar / ajudar acessível
Now, we have the adjective available, which means present and ready for use,
able to be obtained or reached. Note that it comes from the verb to avail, which
originally means to benefit, or to help. However, this verb is no longer used
in this sense in everyday English, at least not in places with American English
influence. The adjective available is quite common, though.
There are more adjectives with the same formation. Take a look:
to believe believable
acreditar crível / plausível / verossímil
The verb to believe, which means to take something as true, plus the suffix
-able, forms the adjective believable. It means the same as credible, or plausible.
Also, note that we drop the last letter of the verb, -e, then we add the suffix
-able.
Check out another adjective formation:
to change changeable
mudar mutável / instável
Note that the verb to change forms the adjective changeable, which means
inconstant, unstable. Notice that we do not drop the letter -e when we add the
suffix to the root word.

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to manage manageable
conseguir manejável / alcançável
Note that the verb to manage forms the adjective manageable, which means
easy to control or deal with. In this case, we also keep the final vowel -e when
we add the suffix.
It takes several steps for a major series project to be manageable. For example:
We are going to understand that all this magic is actually the result of
a lot of planning and hours of hard work.
Nós vamos entender que essa magia toda é, na verdade, fruto de muito
planejamento e horas de trabalho.
In the previous sentence, we have the noun planning. Take a look at how it is
formed:
verb + suffix -ing = noun
to plan planning
planejar planejamento
Planning is formed from the verb to plan, which means to plot actions in
advance, and the suffix -ing. Note that the last letter doubles in this case,
becoming nn. -Ing is another quite common suffix in the formation of nouns from
verbs.
There are some interesting collocations formed by an adjective and the noun
planning. For example:
COLLOCATIONS WITH PL ANNING

adjective + planning
thorough planning
planejamento completo / minucioso

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Thorough planning is a plan that includes every possible detail. Its opposite is:

poor planning
mau planejamento
Poor planning means one without details or incomplete. Another collocation

with planning is:

forward planning
planejamento antecipado
Forward planning is a planning which takes into account future circumstances

or requirements, that is, we anticipate what can be avoidable in the future.
We can also qualify the process of planning in regard to time. For example:

long-term planning
planejamento de longo prazo
short-term planning
planejamento de curto prazo
Long-term planning refers to a process that sets actions to start now and
continue into the future. So, the final goal will be achieved later on. The opposite
idea is short-term planning, which refers to immediate actions to achieve
immediate results.

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Long-term and short-term are compound adjectives formed by two words: the adjectives
long and short, both combined with the noun term. A term is a period of time.
Planning is part of almost every successful process; then, it is necessary to evolve. With
that in mind, consider the following excerpt:
During the development stage, they will write several versions of the script until
they reach the expected result, the one they consider to be viable.
Durante a etapa de desenvolvimento, eles vão escrever diversas versões do roteiro
até chegar ao resultado que desejam e que seja viável.
First, notice that we have the adjective viable, which contains the suffix we have
just studied, -able. Viable means able to work as intended or able to succeed.
It is also interesting to mention several, which is a quantifier used with countable
nouns; in this case, versions. It indicates a quantity that is more than few but not
a lot.
Now, note the term development stage, a compound noun formed by the
nouns development and stage. Development can be the same as growth,
improvement, evolution. Take a look:
NOUNS
development stage stage

etapa de desenvolvimento estágio / etapa
development
desenvolvimento / evolução
The noun stage, in the context of development stage, is the same as step and
phase. Take a look:
NOUNS
step phase
passo / etapa fase

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The word stage, however, has yet another meaning. Take a look:
STAGE
palco
That artist is memorable on stage.

Aquele artista é memorável no palco.
In the previous sentence, stage refers to that raised area in the theater where
an artist stands on to perform. It cannot be replaced either by step or by phase in
this context.
Since we have just seen suffixes, you have probably noticed that the word
development is formed by adding the suffix -ment to the verb to develop. One
of the ideas the verb to develop conveys is that of to evolve. For example:
TO DE VELOP INTO
evoluir para
The narrative of the script develops into a series of misadventures.

A narrativa do roteiro evolui para uma série de desventuras.
In the former example, we use to develop into to refer to what something

becomes after evolving. Note that we have the preposition into in this
construction. In this case, the script evolves, and the result is a series of
misadventures.
Also note that misadventure is a noun with the prefix mis-, which implies
something negative. In other words, misadventure is the same as bad luck.
We can also use the verb to develop plus the preposition from when we want to
say the starting point from where something evolves. For example:
TO DE VELOP FROM
evoluir/desenvolver (a partir) de
The scene develops from the letters Anna finds on her desk.
A cena evolui a partir das cartas que Anna encontra em sua mesa.

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The scene develops from conveys the idea that the letters Anna finds are
a starting point for the scene, and everything that happens next goes from
there.
The verb to develop can also mean to start to have a feeling or an
awareness of something. For example:
TO DE VELOP (A FEELING OR AWARENESS)

desenvolver / começar a ter um sentimento ou noção
The main character develops an awareness of his own life after

the divorce.
O personagem principal desenvolve uma consciência de sua própria
vida após o divórcio.
In the previous example, when we say the main character develops an

awareness of his life, we imply he had not noticed how his life was prior to the
divorce.
TO DE VELOP (A FEELING OR AWARENESS)

desenvolver / começar a ter um sentimento ou noção
Carl develops an affection for Maria the first time he sees her.
Carl desenvolve afeto por Maria na primeira vez que a vê.
In the previous sentence, to develop an affection conveys the idea that Carl
starts to have feelings for Maria at that point.
To develop can also mean to create or to elaborate something. For example:
TO DE VELOP
desenvolver / criar / elaborar
The screenwriter has to develop new versions of the script until the
final one.
O roteirista deve desenvolver novas versões do roteiro até a final.

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Now, to develop new versions means to create or to elaborate new versions of the
script.
As a rule, the entire development process is done in stages. In the case of a script,
we have the following:
ORDINAL NUMBERS AS ADJE CTIVES
first version second version third version

primeira versão segunda versão terceira versão
First, second, and third are ordinal numbers, and they are used to indicate the
order of things. In the previous examples, these ordinal numbers are adjectives
characterizing the noun version.
ORDINAL NUMBERS
first (adjective)
The producer needs the first script.

O produtor precisa do primeiro roteiro.
In the previous sentence, first is also an adjective, because it modifies the noun
script. It defines which version of the script the producer needs, that is, the first
one.
We can also use ordinal numbers as adverbs, and they will modify a verb, that
is, an action or a state. For example:
ORDINAL NUMBERS
first (adjective)
We can’t start filming right now. The producer needs the script first.
Nós não podemos começar a filmar agora. O produtor precisa do roteiro
primeiro.

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In the previous example, first modifies the verb to need, indicating that the script
is the first thing to do before you start filming. In this case, first modifies the
whole situation, and works as an adverb.
In addition to modifying verbs, adverbs can also modify an adjective or yet
another adverb, but not nouns.
As adverbs, ordinal numbers can also be used as elements of coherence and
cohesion, indicating the order of topics within a speech. To better exemplify this,
consider the routine of a movie set:
ORDINAL NUMBERS AS ADVERBS

elements of coherence and cohesion
First
Primeiro
First, the crew must arrive on time.

Primeiro, a equipe deve chegar pontualmente.
In the previous example, we use first to introduce what happens before

everything else. We could also introduce the same sentence with:

In the first place Firstly

Em primeiro lugar Primeiramente
In the first place and firstly convey the same idea as that of first when
introducing what comes before everything else in a speech.
After that first topic, we can say:

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Second
Segundo
Second, lighting must be tested before the director’s arrival.

Segundo, a iluminação deve ser testada antes da chegada do diretor.
We use second to introduce the element that comes after the first. It is the same
as:

In the second place Secondly

Em segundo lugar Em segundo lugar
In the second place and secondly are other elements of coherence and cohesion
that can be used to introduce a second idea in a speech. After that, we can say:

Third
Terceiro
Third, actors must be ready half an hour before shooting.

Terceiro, os atores devem estar prontos meia hora antes das filmagens.
Third points out what happens following the second thing, which we could also
refer to as in the third place or thirdly:

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In the third place Thirdly

Em terceiro lugar Em terceiro lugar
We can conclude this sequence in the speech by saying:

Finally / At last
Finalmente / Por fim
Finally / At last, there must always be extra props available.

Por fim, sempre deve haver adereços adicionais disponíveis.
Finally or at last are used to introduce the conclusion of a sequence of topics. It

is important to mention that they are not ordinal numbers; however, they are also
adverbs used as elements of coherence and cohesion.
The sequence we have just seen is a very simple example of what can happen
inside a movie set. Within a real pre-production agenda, a lot of people are
involved, that is, in addition to the director, executive producer, screenwriter, and
cameramen, a lot of people set all the details before, during and after shooting.
For example, among the personnel involved in the production, there is one called
props manager. Take a look at the responsibilities of this job:
TO BE IN CHARGE OF DOING SOME THING

ser responsável por / estar encarregado de fazer algo
They are in charge of providing each of the items used in the series.
Eles são responsáveis por / estão encarregados de providenciar cada um
dos itens usados na série.

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In the previous sentence, there is the construction to be in charge of doing

something. This expression means to have the control of something; in the
case of the previous example, to have control over the provision of the items used
in the series. Note that, in this expression, we use the preposition of and then a
verb in the -ing form.
Another expression that can be used here is to be responsible for doing
something, with the same meaning. Take a look:
TO BE RESPONSIBLE FOR DOING SOME THING

ser responsável por fazer algo
They are responsible for providing each of the items used in the series.
Eles são responsáveis por providenciar cada um dos itens usados na série.
In the previous example, note that there is the preposition is for. Nonetheless,
note that the verb that follows the preposition remains in the -ing form,
providing.
In the expression to be responsible for doing something, we have the adjective
responsible which is related to the noun responsibility. So, we say:
RESPONSIBILIT Y
responsabilidade
Their responsibility is to provide each of the items used in the series.

A responsabilidade deles é providenciar cada um dos itens usados na
série.
Now, responsibility is a noun that is the subject of the previous sentence. Note
that we are describing this subject using the verb to be, followed by the verbal
complement in the infinitive form.
All the items that a certain part of the team will be responsible for providing, as
well as possible problems that might happen, are affected by bigger decisions.
One of these decisions is the location, that is, the place chosen for the production.
And that can vary enormously. Take a look:
To make it all more believable, the producer might choose to shoot

everything in a real castle.
Para tornar tudo mais verossímil, o produtor pode optar por gravar tudo em
um castelo de verdade.

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First, notice the word believable, formed by the verb to believe plus the suffix
-able.
Now, focus on the verb to shoot, which means to capture on camera a series of
moving images. Another possible verb here with the same meaning is to film.
For example:
TO FILM = TO SHOOT
gravar / filmar
The director will be filming scenes according to favorable logistics.

O diretor vai filmar as cenas de acordo com uma logística favorável.
First, note that the adjective favorable also ends in -able. It describes something
that is suitable and likely to be successful.
Now, note that we say the director will be filming. This means that filming is yet
to happen in the future. The verb to shoot could also be used in this context.
It turns out that the verb to shoot can also be used in different contexts. For
example:
TO SHOOT = TO PHOTOGRAPH
fotografar
Layla loves shooting the flowers in her garden.

Layla adora fotografar as flores em seu jardim.
In the previous sentence, we use to shoot with the same meaning as the verb to
photograph.
From the verb to shoot, we have the noun shot. One of the meanings for shot is
the same as picture or photograph, and there are some collocations with these
nouns. For example:
SHOT = PICTURE = PHOTOGRAPH NOUN

fotografia
To develop a shot / picture / photograph

Revelar uma foto

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To develop a shot or to develop a picture, or yet to develop a photograph have

another meaning of the verb to develop. It means to make a photograph out of
a photographic film by using chemicals. In this process, photographers use a
dark room, enlarge the picture on photographic printing paper, dip the paper in a
solution of developing agents, and then hang it to dry.
With the same nouns, there are also the collocations to take a shot, to take a
picture and to take a photograph. For example:
TO TAKE A SHOT / PICTURE / PHOTOGRAPH

(OF SOME ONE / SOME THING )
fotografar / tirar uma fotografia (de alguém / alguma coisa)
Come on, Lucy! Let me take a shot of you!

Vamos, Lucy! Deixe-me tirar uma foto sua!
To take a shot, to take a picture, or to take a photograph is when we capture

an image with a camera. Notice we take a shot of someone or something.
Now, in a different context, the collocation to take a shot has a different meaning.
Take a look:
TO TAKE A SHOT (AT SOME THING )

arriscar / dar uma chance (em/a alguma coisa)
I'm going to take a shot at this game.

Eu vou me arriscar neste jogo.
In the previous example, to take a shot means to make an attempt at doing

something. Note that the preposition now is at, that is, we take a shot at
something.
Now you know some pre-production related vocabulary, some

collocations, as well as the formation of adjectives with the
suffix -able and different uses of ordinal numbers.

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Part 3.
Activities
( 1 ) inevitável ( ) thorough planning
( 2 ) evitável ( ) stage
( 3 ) disponível / acessível ( ) second
( 4 ) planejamento completo / minucioso ( ) inevitable
( 5 ) mau planejamento ( ) first
( 6 ) planejamento antecipado ( ) to develop into
( 7 ) estágio / etapa ( ) to develop a shot
( 8 ) evoluir para ( ) available
( 9 ) arriscar / dar uma chance a alguma coisa ( ) forward planning
( 10 ) revelar uma foto ( ) to take a shot at something
( 11 ) primeiro ( ) preventable / avoidable
( 12 ) segundo ( ) poor planning
1. I bet you’re so mesmerized that it’s almost inevitable to think, “how did they
this?”
Eu aposto que vocês ficam tão impactados que é quase inevitável pensar: “Como eles conseguiram
fazer isto?”.
2. During the development stage, they will write several versions of the script until they reach the
expected result, the one they consider to be .
Durante o desenvolvimento, eles vão escrever diversas versões do roteiro até chegar ao resultado
que desejam e que seja viável.
3. That artist is memorable .


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4. The scene the letters Anna finds on her desk.

A cena evolui a partir das cartas que Anna encontra em sua mesa.
5. , there must always be extra props available.

Por fim, sempre deve haver adereços adicionais disponíveis.
6. They providing each of the items used in the series.

6. are in charge of / are responsible for 12. second 6. forward planning

5. Finally / At last 11. first 5. poor planning
4. develops from 10. to develop a shot 4. thorough planning
3. on stage 9. to take a shot at something 3. available
2. viable 8. to develop into 2. preventable / avoidable
1. manage to do 7. stage 1. inevitable

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Part 4.
In the previous chapters throughout this module, we have seen different forms
and uses of verbs in English, from the most basic form of the verb to some
variations in conjugation.
The verb whose conjugation varies the most is to be, mainly in the simple
present. We saw this topic in the first chapter of this module.
As the verb to be is regularly used in English, chances are you will come across
it frequently. For example, in the vocabulary part of this chapter, we saw it in the
following sentence:

Fact
They are in charge of providing each of the items used in the series.
In the previous sentence, the verb to be is within to be in charge of doing

something, which is an idiom. Idioms are groups of words whose meaning is
different from the meanings of the individual words.
The subject of the sentence is the third person plural, they; then, there is the verb
to be conjugated accordingly as are.
We can understand this sentence as a fact about the props manager, who is
responsible for doing this kind of job. Note that the verb to be is the main verb of
the sentence, and to provide is part of the complement, in the -ing form.
In addition to forming idioms and expressing facts, the verb to be in the simple
present can also be used to make descriptions. To do so, we may use adjectives.
For example:

Descriptions
That actor is memorable on stage.

Aquele ator é memorável no palco.

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In the former example, the verb to be is describing the subject that actor,
which corresponds to the third person singular he. Therefore, the verb to be is
conjugated as is.
Also note that the verb to be is followed by the adjective memorable, used to
refer to something or someone who stands out, and for that reason will remain in
our memory. The verb to be, in this case, links the subject to its description.
Another use of the verb to be is to talk about someone’s occupation or
profession. For example:

Profession and occupation
Eric and his wife are film directors and producers.

Eric e sua esposa são diretores e produtores de cinema.
In the previous sentence, we use nouns that represent people who have an
occupation or profession. In this case, we used the verb to be to talk about the
occupation of Eric and his wife.
Eric and his wife is the subject of the sentence, which corresponds to the third
person plural; that is why the verb is conjugated as are. Note that film directors
and producers are plural nouns.
We also use the verb to be in the simple present to talk about the location of
someone or something. For example:

temporary location
My friends are at the movies right now.

Meus amigos estão no cinema agora.
In the previous sentence, the subject is my friends, and the verb to be is used
to give the subject’s location – at the movies. In this case, it implies a temporary
location.
We can also use to be to imply an idea of permanence. Take a look:

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permanent location
The castle in this series is in the Netherlands.

O castelo desta série fica na Holanda.
In the previous example, the subject is the castle, which corresponds to the third
person singular, so the verb to be is conjugated as is. Note that, in this case, we
are talking about a permanent location, as a castle will hardly move from place to
place.
The verb to be is also used to talk about age. So, we can say, for example:

Age
My daughter Jess is fifteen years old.

My daughter Jess has fifteen years.
Minha filha Jess tem quinze anos de idade.
Minha filha está com quinze anos de idade.
In the previous example, we are talking about Jess’s age. However, we do not use
the verb to have to refer to it, nor anything related to the idea of ownership. To
talk about age, we use the verb to be, followed by a cardinal number and years
old.
We could leave years old implicit and stop the sentence at the cardinal number,
like this:

Age
My daughter is fifteen.
Minha filha tem quinze anos.

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Note that even without using years old, we are still referring to Jess’s age by using
the verb to be and a cardinal number.
In the examples we have seen so far, the verb to be is the main verb; however, to
be can also be an auxiliary verb in some verb forms.
That is the case of be + going to, in which the main verb comes after going to,
and the verb to be is conjugated in the present according to the subject.
Nonetheless, it is worth highlighting that, even though the verb to be is in the
present, this verb form refers to the future. For example, we can say:
BE + GOING TO (FUTURE )
auxiliary verb be in the present + going to + main verb in the base

form + complement
verbo auxiliar be no presente + going to + verbo principal na forma base +
complemento

My daughter Jess is going to be fifteen years old next month.
Minha filha Jess vai fazer quinze anos mês que vem.
In the former example, note that the verb to be is the auxiliary verb and
conjugated according to the subject my daughter, which corresponds to the third
person singular. It is followed by going to and the main verb to be in the base
form.
Be + going to + verb refers to the future, and there is even an expression of time,
next month, marking a future condition.
So, the structure here is: subject + auxiliary verb be in the present + going
to + main verb in the base form + complement. We have already seen this
construction in the following sentence:
We are going to understand that all this magic is actually the result of
a lot of planning and hours of hard work.
Nós vamos entender que essa magia toda é, na verdade, fruto de muito
planejamento e horas de trabalho.

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In the previous sentence, the auxiliary verb to be is conjugated as are, according

to the subject we; then, it is followed by going to and the main verb understand
in the base form. Note that we are talking about something that will happen
in the future and, once again, the auxiliary verb is the one that receives the
conjugation in the present, and the main verb comes in the base form.
In the last chapter, we learned that the modal verb will also refers to the future.
However, will conveys the idea that what will happen in the future was decided
right at the moment of the speech. We have also seen that it is possible to use
will to make predictions based on our experience and opinion.
On the other hand, when we choose to use be + going to, we imply that the
future event is pre-programmed or that it is a prediction based on evidence
and not so much on intuition or opinion. In other words, even if the two
constructions are used to talk about future events, there can be a choice between
one or the other, depending on the tone you want to convey.
To help understand this a bit better, we need a little more context:
Let’s assume that a spin-off from one of your favorite series is coming
out next month. Spin-off is a story derived from another story.
Vamos supor que um spin-off de uma de suas séries favoritas será lançado
no próximo mês. Spin-off é uma história derivada de outra história.
To better understand what a spin-off is, picture the following situation:
An investigation series that takes place in an eastern US city gets so

successful that they create another series with the same format but
now located in a different city, perhaps, in the south of the United
States. That second series is called a spin-off.
Uma série de investigação que se passa em uma cidade do leste dos
Estados Unidos faz tanto sucesso que criam outra série com o mesmo
formato, mas agora situada em uma cidade diferente, talvez, no sul dos
Estados Unidos. Esta segunda série é chamada de spin-off.
So, let’s suppose you have known about this spin-off for months, but you are not
all confident this version will be cool enough. You can say:

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Planned future event
I am going to take a shot at this series.

Eu vou me arriscar nesta série.
Notice we are using I am going to to convey the idea that you are already
planning to watch this series and give it a try. It suggests that this situation is
more likely to occur in the future.
Now, consider someone has just told you about that spin-off and you instantly
make a decision:
MODAL VERB WILL

Immediate decision
I will take a shot at this series.

Eu vou me arriscar nesta série.
In the previous sentence, the modal verb will conveys the idea of an immediate
decision. It is not something planned, but something decided spontaneously.
Now, consider the following context:
Let’s say I sign a contract with my manager and it has got a term
that calls for legal action in the event of a breach. Then, something
unexpected happens and I end up breaking this contract.
Digamos que eu assine um contrato com meu empresário e, nele, conste
um termo que exige uma ação judicial em caso de quebra. Então, acontece
algo inesperado e acabo quebrando este contrato.
We talked about the parties of a contract in the last chapter of this module. The
parties have to agree to the terms of the contract and, after they sign it, they need
to follow what is defined there.
Considering the previous context, we can say:

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Prediction based on evidence
My manager is going to sue me.

Meu empresário vai me processar.
In the previous sentence, we used be going to because we are making a

prediction based on what is written in the contract; it is not just an opinion or a
feeling. You have evidence that this is a strong possibility.
Now, picture the following situation:
My manager and I had a fight. I got pretty upset and ended up saying
things I shouldn’t have.
Meu empresário e eu brigamos. Fiquei muito chateado, e acabei dizendo
coisas que não deveria.
In that case, we can assume:
MODAL VERB WILL

Prediction based on opinion
My manager will sue me.

By choosing to use the modal verb will, we are implying that it is a feeling
regarding what will happen, based on intuition or previous experiences. In other
words, we do not have solid grounds to say that the manager is actually going to
do something.
Now notice that the main verb comes in the base form after the modal verb will
as well. Only, in this case, the verb to be is not an auxiliary verb.
As you can see, even though both structures refer to the future, there will be
times when one or the other will be more appropriate. Let’s see another example:
Imagine you are a producer and the light on the set is gone.
Imagine que você é um produtor e a luz do set caiu.

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Considering the previous context, you can say:
MODAL VERB WILL

Immediate decision
I will turn on the emergency light.

Eu vou ligar a luz de emergência.
In the former example, it is preferable to use will because it is an immediate

decision you make to solve the problem. Now, if you say:
TO BE + GOING TO (FUTURE )
Planned future event
I am going to turn on the emergency light.

The previous sentence would not be wrong in this context; however, be going to
gives the impression that this is something planned, and a light outage hardly is.
So, it would sound a little inappropriate to use going to in this situation.
There is yet another verb form we can use to refer to the future, and this one
takes two auxiliary verbs: the modal verb will and the verb to be. It is called
future continuous.
The future continuous is used to refer to an event that will start in the future
and continue for some time. Check it out:
FUTURE CONTINUOUS
The director will be filming the scenes according to favorable logistics.

In the previous example, there is the modal verb will, which is the first auxiliary
verb, followed by the verb to be in its base form, the second auxiliary verb. The
main verb is to film in the -ing form, filming.

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This is an event that will happen and continue to happen for some time into the
future. Note that the main verb is in the -ing form, and its function here is to
emphasize the continuity of the action.
Throughout this module, we have seen words ending in -ing in different
situations. So, it is important to understand that it will not always be used to
convey an idea of continuity, as we have just seen with the future continuous.
In the vocabulary section, we saw a noun ending in -ing in the following
sentence:
PL A NNING (NOUN) = TO PL AN + SUFFIX -ING
This magic is the result of a lot of planning and hours of hard work.
Essa magia é fruto de muito planejamento e horas de trabalho.
In the previous example, planning is a noun. There is no idea of continuity in this

case, and the main verb is to be in the simple present. Here, the suffix -ing is
used to form the noun planning from the verb to plan.
In chapter three of this module, we saw verbs in the -ing form as verbal
complements. For example:
VERB + VERB -ING
Maria likes planning her chores in advance.

Maria gosta de planejar suas tarefas com antecedência.
In the previous sentence, planning is the verbal complement of the verb to like.
We learned that the verb to like accepts verbal complements both in the -ing
form and in the infinitive form, that is, the verb with the particle to.
On the other hand, the verb to enjoy only accepts verbal complements in the
-ing form. For example:
VERB + VERB -ING
Maria enjoys taking pictures of the wildlife.

Maria gosta de tirar fotos da vida selvagem.

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Now, the main verb is to enjoy, and the verbal complement is the verb to film in
the -ing form, filming.
Notice that, in none of the previous cases, the idea conveyed is one of continuity.
The main verbs to like and to enjoy are in the simple present, and the verbs in
the -ing form are only part of the complement.
Now, in the future continuous, the -ing form follows the main verb, that is, the
one that conveys the central idea of the action in the sentence. In this case, the
verb in the -ing form will convey an idea of continuity.
Look at the following example in the affirmative form:
FUTURE CONTINUOUS
Affirmative Form
Keith and Morgan will be developing a new script this month.

Keith e Morgan vão criar um novo roteiro este mês.
The sentence starts with the subject Keith and Morgan. Then, there is the modal
verb will and be in its base form, both auxiliary verbs. The main verb to develop
comes in the -ing form, developing. Also, note that the idea here is that Keith and
Morgan will take a month to create this script. The idea, then, is to emphasize the
continuity of this development within a month.
This sentence is in the future continuous. It implies an action will be in progress
in the future for some time.
The structure in the affirmative of the future continuous is as follows:
FUTURE CONTINUOUS
Affirmative Form
Subject + modal verb will + auxiliary verb be + main verb in the -ing
form + complement
Sujeito + modal verb will + verbo auxiliar be + verbo principal na forma -ing
+ complemento

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It is important to know that there is no conjugation variation in this verb form. That
is, the same structure and conjugation apply to all subjects.
We can also use the future continuous in the negative form, by adding the negative
particle not to the structure, between the modal verb will and the auxiliary verb to
be. Observe:
FUTURE CONTINUOUS
Negative Form
Subject + modal verb will + not + auxiliary verb be + main verb in

the –ing form + complement
Sujeito + modal verb will + not + verbo auxiliar be + verbo principal na
forma –ing + complemento
For example:
FUTURE CONTINUOUS
Negative Form
Keith and Morgan will not / won’t be developing a new script this month.
Keith e Morgan não vão criar um novo roteiro este mês.
Now, we have the subject Keith and Morgan, followed by the modal verb will,
and the particle not before the auxiliary verb be. Then, we have the main verb
to develop in the -ing form, developing. We can also use the contracted form of
will plus not – won’t. It is less emphatic and more informal.
In the interrogative form, we need to invert the order of the first auxiliary – will
– and the subject. So, after the subject, we have the second auxiliary verb and
the main verb in the -ing form. Have a look:
FUTURE CONTINUOUS
Interrogative Form
Modal verb will + subject + auxiliary verb to be + main verb in

the -ing form + complement
modal verb will + sujeito + verbo auxiliar be + verbo principal na
forma -ing + complemento

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Look at the following example:
FUTURE CONTINUOUS
Interrogative Form
Will Keith and Morgan be developing a new script this month?

Keith e Morgan vão criar um novo roteiro este mês?
Note that we start the previous sentence with will, which is followed by the
subject Keith and Morgan, the auxiliary verb be in the base form, and the main
verb in the -ing form, developing.
There is a difference in use between the future continuous and the other ways
of talking about the future we have seen so far. In short, the difference is:
REFERRING TO THE FUTURE
future continuous ênfase na continuidade da ação no futuro
be + going to plano para o futuro ou previsão baseada em fatos
modal verb will decisão imediata de ação no futuro, previsão

com base em intuição, experiência ou opinião
The future continuous focuses on the continuity of the action into the future. It
implies something will be happening for some time.
Be + going to conveys the idea of a one-off future action, part of some plan or
prediction based on facts or evidence. It is something that will happen with a
good margin of certainty.
Finally, the modal verb will conveys an idea of an immediate decision about a
future event, or a prediction based on intuition, experience or opinion.

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In this chapter, you learned different uses for the verb to be,
both as an auxiliary verb and as a main verb. You have also
learned some ways of referring to the future, and reviewed
some uses of the -ing form. If you want to learn more about
these topics, you can refer to the Grammar Guide section at
the end of your book.
GRAMMAR GUIDE
Be + Going to (Future) Page 284

Future Continuous Page 310
Simple Present – Verb To Be Page 358

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Part 5.
Activities
A. Complete the sentences with the verbs in parentheses in the verb form that corresponds to the
intention described.
1. Keith and Morgan a new script this month.

(to develop – continuity of the action into the future)

(to develop – prediction based on intuition, experience, or opinion)

(to develop – plan or prediction based on facts or evidence)
4. The director the scenes according to favorable logistics.

(to film – prediction based on intuition, experience, or opinion)

(to film – plan or prediction based on facts or evidence)

(to film – continuity of the action into the future)
7. I the emergency light.

(to turn on – immediate decision about a future event)

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8. My manager me.
(to sue – prediction based on intuition, experience, or opinion)
B. Fill in the blanks with the verb to be in the simple present.
1. They in charge of providing each of the items used in the series.

2. That actor memorable on stage.

Aquele ator é memorável no palco.
3. Eric and his wife film directors and producers.

Eric e sua esposa são diretores e produtores de cinema.
4. My friends at the movies right now.

Meus amigos estão no cinema agora.
5. The castle in this series in the Netherlands.

O castelo desta série fica na Holanda.
6. My daughter fifteen.
Minha filha tem quinze anos.
4. are 8. will sue 4. will film

3. are 7. will turn on 3. are going to develop
6. is 2. is 6. will be filming 2. will develop
5. is 1. are 5. is going to film 1. will be developing

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5
Lights! Camera!
Lights! Camera!
Action!
Action!
Part 1.
In this chapter, you will learn how to make, accept, and refuse offers and
requests, and how to express choices. You will also learn variations in the
formality levels of speech, and some important vocabulary and grammar topics
to make it happen.
Now, look at the script of Lights! Camera! Action!
LIGHTS! CAMERA! ACTION!
The entertainment business is worth hundreds of millions of dollars

every year. We have already seen that this market has its own
characteristics, especially concerning the legal and financial aspects.
I’ve also mentioned the importance of planning for the execution of
projects. In fact, this market has a lot of peculiarities. And if you think
we’re done , you’re totally wrong.
The recording of the series actually takes place during the production
stage, which has its own secrets. In the previous episode, we saw
that film or television productions are organized to optimize cost . This
means that, in most cases, scenes are not shot in the same order as they
appear in the script. And that can make things especially tricky at the
production stage…
Have you ever wondered what a typical day on a movie set would be
like? The actors start the day by reviewing scenes and preparing for
the shoot, while the production takes care of everything on set. Now,
for things to make sense on screen, there is a production professional
known as script supervisor, who specifically takes care of all of the
details that affect the continuity of the scene. That includes the clothes
the cast was wearing, the actors’ hairdos, the objects used in the scene,
the lights…Everything has to be in place for the audience to believe that
the action is taking place seamlessly between scenes, while in reality
they may have actually been shot on different days. All this production
behind the scenes is really necessary so that the audience gets involved
by the story.

165
Now, despite all this effort, sometimes some detail might get
overlooked, and a continuity error occurs. You have surely seen this
before. At first, the actor has his shirt all wrinkled. Then, in the next take,
the shirt has no wrinkles anymore. The practical effect is that the viewer,
who was immersed in that story, buying everything that happens to the
characters, is pulled back to reality. So much so that they may even ask
themselves, “How did his clothes get smooth so quickly?” A continuity
error like this is the last thing that the director wants to see happen.
That’s why the production has an important role so that we don’t notice
any of this while we enjoy our favorite series. As the set gets ready, the
actors finish dressing up and putting on the make-up while the director
goes through all the scenes of the day with them. They must also go
over the events prior to that scene, so the actor can evoke the feeling
that their character was experiencing and get in the mood to shoot. It
certainly takes some interpretation techniques and a little bit of talent to
do that…
Finally, it’s time for the director to shout: “Action!” And the actors
take the stage. Now, if anything doesn’t go the way the director had
imagined, that scene will be re-shot as many times as necessary.
Everything has to be perfect for the audience to receive the best
content possible. That’s how the story comes out of the paper and the
magic of movies happens! Scene after scene, detail after detail.
Now, I want you to picture the following situation: you work at a

warehouse and are responsible for storing each order that arrives on a
specific shelf. A box is delivered with a label that reads A7, for example.
This means you must take the box to row A, shelf 7. Now, imagine that
you are one of the only employees at this warehouse, and every day a
large volume of boxes arrives. Then, little by little, you take each one of
them and store them in their proper place. You would probably take some
time to organize everything, don’t you think? Well, that’s basically what
happens during the post-production stage of a series.
Every day, the producers deliver to the editing room dozens of scenes
that were shot more than once. Several of these scenes are repeated, so
that the editor of the series can choose the best possible version. The
scenes are our boxes, and each one has a label, which, in our case, is
the famous clapperboard. The clapperboard always carries the scene
number and version, also called the take. Thus, the editor of the series
will know where that scene should fit into the story, putting together
a complex jigsaw puzzle with hundreds of pieces. Once the editor
finishes selecting the best scenes and putting them in order, we have
what we call the first cut.

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It’s time for the director to watch this first version and propose the
necessary changes. They switch some scenes around, they stretch one,
reduce another...Editing a series is like an artisanal process, based on
the feeling of the director and of the editor. When they are satisfied
with the editing, the series goes through a sound and color treatment,
and reaches its final version. Now, it is ready to be released, bringing
together in just a few hours the work that dozens of people had been
doing for months, or even years.
But the work doesn’t end there. It’s no use having the best product
in the market if you don’t market it, right? Now, if you were going
to publicize a new season of your favorite series, where would you
advertise it?
LUZES! CÂMERA! AÇÃO!
O negócio do entretenimento movimenta centenas de milhões

de dólares todos os anos. Já vimos que esse mercado tem suas
características próprias, especialmente quando falamos sobre os
aspectos legais e financeiros. Também mencionei a importância do
planejamento para a execução dos projetos. Na verdade, são muitas as
peculiaridades desse mercado. E se vocês pensam que acabamos, estão
redondamente enganados.
As gravações da série efetivamente acontecem na etapa de produção,

que também guarda seus segredos. No episódio anterior, vimos que
as produções de cinema ou televisão são organizadas de modo a
otimizar custo. Isto significa que, na maioria dos casos, as cenas não são
gravadas na mesma ordem em que elas aparecem no roteiro. Só que
isso pode tornar algumas coisas especialmente complicadas na etapa
de produção...
Vocês já imaginaram como seria um dia normal num set de filmagem?

Os atores começam o dia revisando as cenas e se preparando para
a gravação, enquanto a produção organiza tudo no set. E, para que
as coisas façam sentido na tela, existe um profissional na produção
conhecido como continuísta, que cuida especificamente de todos os
detalhes que afetam a continuidade da cena. Isso inclui as roupas
usadas pelo elenco, o penteado dos atores, os objetos em cena, a luz...

167
Tudo precisa estar no lugar certo para que o público acredite que a ação
está ocorrendo de modo contínuo entre as cenas, enquanto, na verdade,
elas podem ter sido gravadas até mesmo em dias diferentes. Toda
essa produção nos bastidores se faz necessária para que o público seja
envolvido pela história.
Apesar de todo esse esforço, algumas vezes, algum detalhe pode

escapar, e um erro de continuidade acontece. Vocês já devem ter visto
isso antes. Num primeiro momento, o ator está com a camisa toda
amarrotada. Aí, na tomada seguinte, a camisa não aparece lisinha. O
efeito prático disso é que o espectador que estava imerso naquela
história, acreditando em tudo o que acontece com os personagens,
é trazido de volta à realidade. É como se o público se questionasse
involuntariamente: “Como a roupa dele ficou lisa tão rápido assim?” Um
erro de continuidade desse tipo é a última coisa que o diretor quer ver
acontecer.
É por isso que a produção tem um papel enorme para que a gente não
perceba nada disso enquanto curtimos a nossa série favorita. Com o
set preparado, os atores terminam de vestir o figurino e se maquiar,
enquanto o diretor repassa com eles todas as cenas do dia. Eles
também devem revisar os eventos anteriores àquela cena a fim de que
o ator evoque o sentimento de seu personagem e entre no clima da
gravação. Para fazer isso, algumas técnicas de interpretação e um pouco
de talento certamente são necessários...
Enfim, chega a hora de o diretor gritar: “Ação!” E os atores entram em

cena. Se algo não sai do jeito que o diretor havia imaginado, a cena será
regravada quantas vezes forem necessárias. É preciso que tudo fique
perfeito para que o público receba o melhor conteúdo possível. É assim
que a história vai saindo do papel e a magia do cinema vai acontecendo!
Cena após cena, detalhe após detalhe.
Agora, eu quero que vocês imaginem a seguinte situação: vocês

trabalham num depósito, e são responsáveis por guardar cada
encomenda que chega numa prateleira específica. Uma caixa é
entregue, e nela há uma etiqueta em que está escrito A7, por exemplo.
Isso significa que vocês devem levar a caixa para a fileira A, prateleira
7. Agora, imaginem que vocês são um dos únicos funcionários desse
depósito, e todos os dias chega um volume grande de caixas. Aos
poucos, vocês vão pegando caixa por caixa e colocando no seu devido
lugar. Vocês provavelmente levariam algum tempo para organizar tudo,
concordam? Isso é basicamente o que acontece durante o estágio de
pós-produção de uma série.

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Todos os dias, os produtores entregam na ilha de edição dezenas de

cenas que foram gravadas. Várias dessas cenas são repetidas, para que
o editor da série possa escolher a melhor versão possível. As cenas são
as nossas caixas, e cada uma delas tem uma etiqueta, que, no nosso
caso, é a famosa claquete. A claquete traz sempre o número da cena
e a versão, também chamada de tomada. Assim, o editor da série vai
saber onde aquela cena deve ser encaixada na história, e montará um
complexo quebra-cabeças com centenas de peças. Quando o editor
termina de selecionar as melhores cenas e colocá-las em ordem, temos
o que chamamos de primeiro corte.
Chega a hora de o diretor assistir a essa primeira versão da série e

propor as alterações que achar necessárias. Eles trocam algumas cenas
de lugar, esticam uma, reduzem outra... O processo de edião de uma
série é como um processo artesanal, realizado a partir do feeling do
diretor e do editor. Quando eles se dão por satisfeitos com a edição, a
série passa por um tratamento de som e cor, e chega à sua versão final.
Agora, ela está pronta para ser lançada, e reúne em apenas algumas
horas o trabalho que dezenas de pessoas realizaram durante meses ou
até mesmo anos.
Mas o trabalho não acaba aí. De nada adianta ter o melhor produto do
mercado se você não fizer o marketing dele, certo? Agora, se vocês
fossem divulgar uma nova temporada da sua série favorita, onde
anunciariam?

169
Part 2.
So far, we have seen the steps that take place before major productions are made:
the financial and legal aspects involved in producing entertainment content, and the
preparation for it in its various stages. In this chapter, we are going to address the
production stage itself.
Take a look at the following question:
Have you ever wondered what a typical day on a movie set would be like?
Vocês já imaginaram como seria um dia normal num set de filmagem?
In the previous sentence, we have the construction what… like, used to ask for a
description of something or someone. In this case, it is referring to a normal day
on a movie set. Note that, in this construction, like is not the same as the verb to
like.
Now, observe the word wondered. Wondered comes from the verb to wonder,
which means to ask yourself, to ponder, or to think, in the sense of reflecting
upon something important. For example:
TO WONDER
imaginar / perguntar-se / querer saber
I wonder if there are more movies with this actor. He’s awesome!
Eu me pergunto se existem mais filmes com este ator. Ele é incrível!
Eu queria saber se existem mais filmes com este ator. Ele é incrível!
Note that we use I wonder to express curiosity; in this case, the desire to know if
a specific actor has made more movies. Also notice that if conveys a speculative
tone to this sentence.
In other contexts, to wonder is also used to make requests. Take the following
situation into consideration:

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Imagine you are directing a movie, and all the material has already
been delivered to the editing room. But the end of one of the scenes is
not good enough, and you realize that it will not be missed if it is simply
cut off the movie.
Imagine que você está dirigindo um filme e todo o material já foi entregue
na sala de edição. Porém, o final de uma das cenas não está bom o
suficiente, e você percebe que isso não fará falta se for simplesmente
cortado do filme.
So, you can say to the editor:
MAKING RE QUESTS
I wonder if we could cut the end of this scene.

Eu me pergunto se poderíamos cortar o final desta cena.
Even though this is an affirmative sentence, it is in fact a very polite way to

make a request. We introduce the sentence by saying I wonder if, followed by
the request, in this case, we could cut the end of this scene. Note that we used
could to stress the politeness of the request.
It would also be possible to say:
MAKING RE QUESTS
I wonder whether we could cut the end of this scene.

Eu me pergunto se poderíamos cortar o final desta cena.
In the previous sentence, we use whether instead of if in the same construction.

The meaning of I wonder whether is the same as that of I wonder if.
Now, consider the following situation:
You are acting in a scene, and you messed up in one of the lines. So,
you are not very confident about that take.
Você está atuando em uma cena, e se atrapalhou em uma das falas. Então,
você não está muito confiante sobre essa tomada.

171
Then, you could ask the director:
MAKING RE QUESTS
Do you mind shooting this line again?

Você se importa em gravar esta fala de novo?
In the previous example, we are using do you mind to introduce the request of
shooting again using the simple present in the interrogative form. Also note that,
now, the verbal complement is shooting.
There is yet another way to make the same request. Take a look:
MAKING FORMAL RE QUESTS
Would you mind shooting this line one more time?

Você se importaria em gravar esta fala mais uma vez?
Note that we now used would you mind instead of do you mind, and the rest of
the sentence has the same structure. When we use would instead of the simple
present, we make an even more polite and formal request.
To grant this request, the director can answer:
GRANTING RE QUESTS
Absolutely!
Sure! Of course, no problem!
Com
Claro! Claro, sem problemas!
certeza!
In the previous list, there are a few different options for responding to a request,
all of which are ways to fully guarantee that the request will be granted.
We can also say:
GRANTING RE QUESTS
I’ll see what we can do.

Eu vou ver o que podemos fazer.

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With the previous answer, we show willingness to grant the request.

On the other hand, to deny a request, the answer might be:
DENYING RE QUESTS
Sorry, it’s not possible. Sorry, no can do. INFORMAL

Desculpe, não é possível. Desculpe, não dá, não.
Both previous sentences are valid; however, no can do is an extremely informal

way to deny a request. Depending on the context and on the intonation, it might
even sound a little rude.
If the request cannot be granted right away, we can say:
DENYING RE QUESTS
Not right now, sorry. Maybe later.

Agora não, desculpe. Talvez mais tarde.
In the previous answers, we are not saying something is impossible to do, but
that the request cannot be granted at that exact moment. It is interesting to
mention that to say sorry conveys a more subtle and polite tone.
Now, take the following excerpt as context for more ways we can make, accept,
and deny requests:
You are a director of photography, and you did not like the way the
lighting turned out in one of the scenes.
Você é um diretor de fotografia e não gostou da forma como a iluminação
ficou em uma das cenas.
With the previous context in mind, you can say:

173
MAKING RE QUESTS
I would like + infinitive form
I would like to repeat this take, please.

I’d like to repeat this take, please.
Eu gostaria de repetir esta tomada, por favor.
In the previous example, we used I would like, which is a polite way to make a
request. We could also use the contracted form, I’d like, more natural in spoken
language.
Notice that we use I would like + infinitive form, that is, the verb comes
preceded by the particle to.
We can also use a noun instead of a verb to make a request and say:
MAKING RE QUESTS
I would like + noun
I’d like another take, please.

Eu gostaria de outra tomada, por favor.
In the former example, there is a noun, take, which refers to each shot that is
recorded in video. Note that we do not have an infinitive verb in this example, and
I’d like is followed just by the noun.
There is a verb that can be used in a similar meaning to the expression I would
like, but with one important difference. Take a look:
MAKING RE QUESTS
RÍSPIDO, AGRESSIVO
I want another take.

Eu quero outra tomada.
In the previous example, we have the verb to want, which is close in meaning
to the verb to desire. However, even though making requests using this verb is
possible, it would sound much harsher and aggressive. It is not very suitable for
all kinds of contexts, especially a professional one. In this case, it is preferable to
use other options.

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One of these is the interrogative form of the modal verb can, which we studied
in the last grammar section of this module. For example:
MAKING RE QUESTS
Can we shoot this line again, please?

Nós podemos gravar esta cena de novo, por favor?
Can implies a possibility, as we have already learned. Also note that we used
please to give it a polite tone.
A more formal way to make the same request would be:
MAKING FORMAL RE QUESTS
Could we shoot this line again, please?

Nós poderíamos gravar esta fala de novo, por favor?
Now, we have could, which sounds more formal than can, even though it also
implies a possibility in this case.
The last two examples had the subject we. It is also possible to request someone
else to do something. For example:
MAKING RE QUESTS
Could you steam this shirt, please? It’s all wrinkled.

Você poderia passar esta camisa a vapor, por favor? Ela está toda amassada.
In the previous example, the subject is you, because that is the one who is going to
perform the action of steaming the shirt. And, in this case, it is better to use could
to make it a very polite request.
Also observe the verb to steam, which is the act of using a device with high
temperature vapor to remove wrinkles from clothes. Also note the adjective
wrinkled. Its opposite is smooth, an adjective you can use to describe how a piece of
clothing looks after steaming it.
If the person grants you that request, they can say:

175
GRANTING RE QUESTS
Sure, don’t worry.

Claro, não se preocupe.
We can also use the modal verb can to grant requests. Take a look:
GRANTING RE QUESTS
Yes, we can. / Yes, I can.

Sim, nós podemos. / Sim, eu posso.
To deny a request, we could use the modal verb can as well. For example:
DENYING RE QUESTS
Sorry, we can’t. / Sorry, I can’t.

Desculpe, nós não podemos. / Desculpe, eu não posso.
In the previous example, note that we use the negative form of can. We could
also say:
DENYING RE QUESTS
FORMAL
I’m afraid we can’t. / I’m afraid I can’t.

Receio que a gente não possa. / Receio que eu não possa.
Now, the previous example is a very formal way of saying we are not able to
grant a request.
It is worth mentioning that to be afraid, in a different context, can mean the same
as to be scared, in the sense of experiencing fear of someone or something. It
does not have this meaning when used to deny a request.
In addition to making requests, we can also anticipate someone else’s request
and make an offer. For example:

176
MAKING INFORMAL OFFERS
Do you want some help organizing these boxes?

Você quer ajuda para organizar estas caixas?
In the previous example, we introduced the question using do you want, in the
simple present. This is a very informal way of making offers. However, be aware
that using the verb to want does not make the question sound rude in this case,
contrary to what we have seen earlier when using to want to make requests.
If we wish to be more formal and more polite, we can make an offer using
would:
MAKING FORMAL OFFERS
Would you like some help organizing these boxes?

Você gostaria de ajuda para organizar estas caixas?
Note that would you like is followed by a noun: help, which means assistance. It
is a very common way to offer something, and it works for most contexts.
Also notice the word boxes, which is the plural of box. Since it is a noun that ends
in -x, we add -es to form its plural.
There is yet a more subtle way to make an offer. Check it out:
MAKING OFFERS
I wonder if you want some help with your make-up.

Eu gostaria de saber se você quer alguma ajuda com sua maquiagem.
Eu me pergunto se você quer alguma ajuda com sua maquiagem.
In the previous example, we used I wonder if, followed by the offer itself. When
we use wonder to make offers, we imply that we are imagining what the person
wants. In this case, that the other person might want some help.
An even more polite way to make this offer would be to say:

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MAKING FORMAL OFFERS
I wonder if you’d like some help with your make-up.

Eu gostaria de saber se você gostaria de alguma ajuda com sua maquiagem.
Eu me pergunto se você gostaria de alguma ajuda com sua maquiagem.
Note that, now, we use I wonder if you’d like. You’d like is the contracted form
of you would like, so this offer sounds much more polite and more formal than
using the simple present.
In general, to accept an offer, we can say:
ACCEPTING AN OFFER
Yes, please. Thank you. / Thanks.

Sim, por favor. Obrigado(a).
First, we only have the word yes, followed by please, which sounds polite. An
even simpler answer is thank you or thanks.
To refuse an offer, the response could be:
REFUSING AN OFFER
No, thank you. / No, thanks.

Não, obrigado(a).
Note that, now, we use the word no, followed by thank you or thanks to sound
more polite.
We are used to making requests and making offers in our daily lives. In the
production phase of any kind of project, this also happens quite frequently,
especially in the process of editing a movie or an episode of a series, for example.
Check it out:

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TO CHOOSE = TO MAKE A CHOICE

escolher = fazer uma escolha
Several of the scenes are repeated, so that the editor of the series
chooses the best possible version.
Várias das cenas são repetidas, para que o editor da série escolha a melhor
versão possível.
The entire production needs to ensure enough options for the editor to choose
the best possible scene for the purpose of the project. In the previous sentence,
note that there is the verb to choose, which is the same as to make a choice.
To make a choice is a collocation with the verb to make. It is more informal than
the verb to choose. Take a look at the following example:
TO CHOOSE = TO MAKE A CHOICE

escolher = fazer uma escolha
The director has to make a choice about the approach of the film.
O diretor tem que fazer uma escolha sobre a abordagem do filme.
In the previous example, note that we have the preposition about after the
collocation to make a choice to introduce what the choice involves. In this case, it
involves the approach of the film.
There are some verbs that can be used to point out our choices. For example:
MAKING CHOICES
to select to pick
selecionar escolher
to opt / go for something

optar / decidir por algo

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To select sounds more formal than to choose; we also have the verb to pick,
which is a more informal verb than to choose.
We can also say to opt for something and to go for something with the same
meaning. However, it is important to mention that to opt for is more formal than
to go for.
When choosing a movie, for example, we can say:
TO GO FOR SOME THING

ir de algo
I’ll go for a romantic comedy today.

Eu vou de comédia romântica hoje.
In the previous sentence, we can see the use of I’ll go for, which is common in
spoken language and a very informal way of saying that you choose something.
Another way to make a choice, especially in a context where you want to choose
something to eat or to drink, is by using the verb to have.
Consider the following context:
During the break between recordings, it is common for the staff to have
a snack. Let’s say a member of the team passes by offering, for example,
a sandwich, water, or maybe some juice, or a cup of coffee.
Durante o intervalo entre as gravações, é comum a equipe comer alguma
coisa. Digamos que um membro da equipe passe oferecendo, por exemplo,
um sanduíche, água, ou talvez um pouco de suco, ou uma xícara de café.
One staff member could say:
MAKING INFORMAL CHOICES
I’ll have just a cup of coffee, please.

Eu vou querer só uma xícara de café, por favor.

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Note that, in the previous example, I’ll have does not convey the idea of
possession, but points out a choice in the context previously described. This
is very informal and commonly used in spoken English. It can also be used at
restaurants and such when you wish to place your order.
A formal way of saying the same thing is:
MAKING FORMAL CHOICES
I’d like just a cup of coffee, please.

Eu gostaria só de uma xícara de café, por favor.
In the previous sentence, we used I’d like. It is the contracted form of I would like,
and it is a more fluid way of speaking.
It is interesting to point out that the sentences we have just seen for making choices
can also be used to make requests, if no one has offered anything beforehand.
In the audiovisual environment, the entire editing process of a film or series ends up
being the result of the choices that the director and the editor make together, which
may also be based on requests. In this process, each take is identified as if they were
boxes with labels. That is:
The editors of the series will know where a scene should fit into the story.
Os editores da série vão saber onde uma cena deve ser encaixada na história.
In the previous sentence, we have the verb to fit, which is the same as saying:
to fit = to be suitable = to be adequate = to be fitting

encaixar / caber / ser ou estar adequado
Observe that fitting is an adjective formed from the verb to fit plus the suffix -ing.
The words suitable and adequate are also adjectives.
For something to be suitable and to reach the expected results, things will have to go
through some adjustments. In the editing room, it works as following:
The editors switch some scenes, stretch one, reduce another...

Os editores trocam algumas cenas de lugar, esticam uma, reduzem outra...

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In the previous sentence, notice the verbs to switch, to stretch, and to reduce:
VERBS
to switch to stretch to reduce

trocar / mudar esticar / espalhar reduzir / diminuir
There are other verbs related to adjustments that can be made at the editing
stage:
VERBS
to extend to include to shorten

esticar / estender incluir encurtar
to add to delete
adicionar / acrescentar deletar / apagar
to exclude to cut something out

excluir cortar / retirar algo
It is worth highlighting that switching, extending, adding, and deleting scenes are
just a few steps involved in editing a film or a series. There are many other stages
involved in the editing room that are necessary to make it all look amazing on
screen.
Now, you know how to make, accept, and refuse offers and
requests as well as how to express choices. You have also
learned about variations in formality levels in speech, as well
as some elements involving adjustments.

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Part 3.
Activities
( 1 ) Claro! ( ) Sorry, it’s not possible.
( 2 ) Claro, sem problemas! ( ) Sure, don’t worry.
( 3 ) Com certeza! ( ) Sure!
( 4 ) Não dá não. ( ) Not right now, sorry.
( 5 ) Desculpe, não é possível. ( ) Yes, please.
( 6 ) Agora não, desculpe. ( ) No can do.
( 7 ) Talvez mais tarde. ( ) No, thank you.
( 8 ) Claro, não se preocupe. ( ) Maybe later.
( 9 ) Receio que eu não possa. ( ) I’ll see what we can do.
( 10 ) Eu vou ver o que podemos fazer. ( ) Of course, no problem!
( 11 ) Não, obrigado(a). ( ) I’m afraid I can’t.
( 12 ) Sim, por favor. ( ) Absolutely!
1. shoot this line one more time?

Nós poderíamos gravar esta fala mais uma vez?
2. there are more movies with this actor. He’s awesome!

Eu me pergunto se existem mais filmes com este ator. Ele é incrível!
3. to cut the end of this scene.

Eu quero cortar o final desta cena.
4. shooting this line one more time?


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184
1. Sure! 7. Maybe later. 1. Could we
2. Of course, no problem! 8. Sure, don’t worry. 2. I wonder if / I wonder whether
3. Absolutely! 9. I’m afraid I can’t. 3. I want
4. No can do. 10. I’ll see what we can do. 4. Would you mind
5. Sorry, it’s not possible. 11. No, thank you. 5. I’d like / I would like
6. Not right now, sorry. 12. Yes, please. 6. Would you like
Você gostaria de ajuda para organizar estas caixas?
some help organizing these boxes? 6.
to repeat this take, please. 5.
Part 4.
In the vocabulary section of this chapter, we learned a few different ways of making
requests and making offers.
In one of the examples, we mentioned the following sentence to make requests:
INTERROGATIVE FORM – SIMPLE PRESENT
auxiliary verb do + subject + main verb in the base form + complement

verbo auxiliar do + sujeito + verbo principal na forma base + complemento
Making requests
Do you mind shooting this line again?

The previous example is a sentence in the interrogative form of the simple present. Note
that the main verb is to mind, and the request is shooting this line again.
In this context, to mind means to care, to consider something is a problem. Verbal
complements for the verb to mind must be in the -ing form; thus, the verb to shoot
comes as shooting.
Note that the structure is auxiliary verb + subject + main verb in the base form
+ complement. The auxiliary verb in the simple present is do and it is conjugated
according to the subject, you.
In the previous section of this chapter, we also saw the following question:
INTERROGATIVE FORM – MODAL VERB CAN
auxiliary verb + subject + main verb in the base form + complement

verbo auxiliar + sujeito + verbo principal na forma base + complemento
Making requests
Can we shoot this line again?

Nós podemos gravar esta fala de novo?

185
In the previous sentence, we used the interrogative form of the modal verb can
to make a request. Notice that the structure is the modal verb can, that works
as an auxiliary verb, plus the subject, the main verb in the base form, and the
complement.
It is the same structure as the interrogative form of the simple present, only
instead of using the auxiliary do, we are going to use can. However, there is an
important difference: the main verb is shoot, in the base form. That’s because all
verbs that follow modal verbs must be in the base form.
In addition to the simple present and the modal verb can, we also learned a
request made with another modal verb: could. Take a look:
INTERROGATIVE FORM – MODAL VERB COULD

Could we shoot this line again?

Nós poderíamos gravar esta fala de novo?
In the interrogative form, one of the functions of could is to make requests in a

more polite or formal way compared to can. Nonetheless, note that the structure
remains the same as that of the modal verb can: the modal verb could works as
an auxiliary verb, followed by the subject, the main verb in the base form, and
the complement.
INTERROGATIVE FORM – MODAL VERB COULD
Direct question
Could we cut the end of this scene? I wonder...

Nós poderíamos cortar o final desta cena? Eu me pergunto...
In the previous sentence, note that the request is expressed in the interrogative
structure. This is a direct question. The second sentence is I wonder, in the
affirmative form.
When we put these two sentences together, we form an indirect question, which is
the reason why the interrogative is transformed into an affirmative sentence.

186
It is important to pay close attention to the structure of the affirmative form to

understand the formation of indirect questions, which is another way of making
polite requests.
We learned some examples of indirect questions in the vocabulary section of this
chapter. For example:
INDIRE CT / EMBEDDED QUESTION
I wonder if we could cut the end of this scene.

Eu me pergunto se nós poderíamos cortar o final desta cena.
In the previous sentence, we have the affirmative form of the modal verb could:
we could cut the end of this scene. Now, notice that this full sentence is within
another sentence that starts with I wonder; also notice that they are joined by the
connector if.
We can also use whether to connect the two sentences and say:
I wonder whether we could cut the end of this scene.

Eu me pergunto se nós poderíamos cortar o final desta cena.
Whether is used instead of if to join the two sentences, with the same meaning.
Observe, in both former examples, that the request itself is not expressed by I
wonder. It is, in fact, in the second part of the sentence.
In an indirect or embedded question, we have a question inside another
sentence, and the question comes in the affirmative form; that is: we have the
subject we, followed by the modal verb could, the main verb in its base form,
and the complement.
So, the affirmative form of the modal verb could is as follows:
AFFIRMATIVE FORM – MODAL VERB COULD
subject + modal verb could + main verb in the base form +

complement
sujeito + modal verb could + verbo principal na forma base + complemento

187
Indirect questions are very common, especially when the intention is to make
requests, because they sound very polite.
They can be built in various verb forms. Take a look at the following example
with the modal verb can:
DIRE CT QUESTION
Can we cut the end of this scene? I wonder.

Nós podemos cortar o final desta cena? Eu me pergunto.
First, we have a direct question in the interrogative form of the modal verb can: modal verb can,
followed by the subject we, the main verb in the base form cut, and the complement the end of this
scene. After that, we have I wonder.
By joining the two sentences, there will be an indirect question, which is:
I wonder whether we can cut the end of this scene.

I wonder if we can cut the end of this scene.
Eu me pergunto se nós podemos cortar o final desta cena.
Now, we have the sentence that introduces the indirect question, I wonder, followed by the connector
whether, and then a full sentence in the affirmative form of the modal verb can.
As you can see, the subject we is followed by the modal verb can, the main verb in the base form cut,
and the complement the end of this scene. Instead of whether, we could also use if.
The modal verb would is very much used to make requests, as seen in the following example:
MODAL VERB WOULD

Making requests
Interrogative form

Would you mind shooting this line one more time?


188
This is a direct question as it is in the interrogative structure. Notice that the

interrogative structure of would is the same as that of the other modal verbs.
Note that the main verb is mind, and, therefore, the verbal complement is in the
-ing form. This is a very formal way to make requests.
The affirmative form of the modal verb would can also be used to make a
request. Then, we are usually going to use the expression I would like. Observe:
WOULD LIKE
Making requests
Affirmative form

I would like to repeat this take, please.

I’d like to repeat this take, please.
In the previous sentence, we used I would like to make a request. Its contracted
form, I’d like, is more common in spoken language.
The structure here is the affirmative form, so, it is the same structure as that of
the other modal verbs: subject + modal verb + main verb in the base form +
complement.
In the former example, there is the verb to repeat as part of the complement of
the sentence. Note that this verb is in the infinitive form because the expression
would like must be followed by the infinitive with the particle to.
Verbal complements are not difficult to understand, but they do require special
attention. In order to illustrate this, take a look at the following example:
LIKE + INFINITIVE OR -ING FORM

I like to have tea for breakfast.

I like having tea for breakfast.
Eu gosto de tomar chá no café da manhã.

189
The verb to like can be followed both by a verb in the infinitive form or in the
-ing form when it is used to express our likes, dislikes, and preferences.
In the previous example, we are expressing a preference, and we are using the
simple present to do it. In this case, the verbal complement can be either in the
infinitive or the -ing form.
However, if we say:
WOULD LIKE + INFINITIVE

Pedido
I would like to have tea for breakfast.

I would like having tea for breakfast.
Eu gostaria de tomar chá no café no manhã.
When like is in the expression would like, especially used to make requests, it
can only be followed by the infinitive form. Verbal complements in the -ing form
after would like are incorrect.
It is also possible to use nouns as complements for the verb like and the
construction would like. For example:
LIKE + NOUN
I like tea for breakfast.

Eu gosto de chá no café da manhã.
In the previous example, we have the subject I, followed by the verb to like
conjugated according to the subject in the simple present, and the complement
tea for breakfast. Note that tea is a noun. Also note that we are stating a
preference in this sentence.
Now, compare it with the following example:
WOULD LIKE + NOUN

Pedido
I would like tea for breakfast.

Eu gostaria de chá no café da manhã.

190
In the previous sentence, there is the expression would like, also followed by a
noun as complement, tea. However, note that we are making a request now, it is
no longer a statement about one’s preference.
We can also use would like to form indirect questions, and it does not mean a
request, but an offer.
Take a look:
WOULD LIKE
Making offers
Direct question interrogative form
modal verb + subject + main verb in the base form + complement

modal verb + sujeito + verbo principal na forma base + complemento
Would you like some help with your make-up? I wonder.

Você gostaria de alguma ajuda com sua maquiagem? Eu me pergunto.
In the previous example, we have the interrogative form of the modal verb
would, which is the modal verb, followed by the subject you, the main verb in
the base form like, and the complement some help with your make-up. After
that, there is the sentence I wonder.
When joining the two sentences, we have an indirect question. Observe:
WOULD LIKE
Making offers
Indirect question affirmative form

I wonder if you’d like some help with your make-up.

Eu gostaria de saber se você gostaria de alguma ajuda com sua
maquiagem.

191
Note that the previous sentence starts with I wonder, followed by if, and the
affirmative form of the modal verb would–you’d is in fact you would in the
contracted form. Also, note that as the subject of the indirect question is you, it
implies an offer.
We can use indirect questions whenever we are in a more formal situation,
whether in an academic or professional context. There will be some other
introductory sentences to start this type of question, such as:
INTRODUCING INDIRE CT QUESTIONS
}
Do you know if…
Você sabe se…
+ affirmative structure
Can you tell me if…
Você pode me dizer se...
Note that do you know if and can you tell me if are polite ways of introducing a
question. Take the following example:
INDIRE CT QUESTIONS
Do you know if Mike needs help with the editing?

Você sabe se Mike precisa de ajuda com a edição?
In the previous sentence, we used the introductory sentence do you know if,
which is a sentence in the interrogative form of the simple present, so it ends
with a question mark.
Even though it is an interrogative sentence, notice that the indirect question
follows the affirmative structure of the simple present right after the
introduction: if Mike needs help.
The same happens here, look:
INDIRE CT QUESTIONS
Can you tell me if we will be shooting all weekend?

Você pode me dizer se nós vamos gravar durante todo o final de semana?

192
Can you tell me is the interrogative form of the modal verb can, followed by the
indirect question we will be shooting all weekend. Note that the indirect question is
in the affirmative structure of the future continuous. It emphasizes the continuity
of the action in the future.
Notice that we do not say will we be shooting. This would be the interrogative
structure and would be wrong in an indirect question.
There are yet other introductions that are even more formal. Take a look:
}
I’d like to know if…
Eu gostaria de saber se...
Could you tell me if…
Você poderia me dizer se...
Note that we can use the modal verbs would and could to introduce indirect
questions.
We could also use the following constructions:
}
I’m not sure if...
Eu não tenho certeza se...
I wonder if...
Eu me pergunto se...
INDIRE CT QUESTIONS
I’m not sure if you’d like some help with the scripts.
Não tenho certeza se você gostaria de uma ajuda com os roteiros.

193
In the previous sentence, we start with the negative form of the simple present
of the verb to be, I’m not sure, followed by if, and the affirmative structure of
the expression would like: the subject you, the modal verb would, the main verb
in the base form like, and the complement some help with the scripts. Note that
this introductory sentence implies uncertainty.
The connector if could be replaced by whether in any of the previous examples.
In short, remember that all introductions for indirect questions must be followed
by a sentence in the affirmative structure.
In this chapter, you learned about direct and indirect questions.

You have also learned a bit about the modal verbs could and
would, as well as revised the modal verb can and the affirmative
form. If you want to learn more about these topics, you can refer
to the Grammar Guide section at the end of your book.
GRAMMAR GUIDE
Affirmative Form Page 282

Interrogative Form Page 315
Modal Verb Could Page 321
Modal Verb Would Page 329

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Part 5.
Activities
A. Check whether the sentence is a direct or an indirect question.
1. Do you know if Mike needs help with the editing?

( ) Indirect question ( ) Direct question
2. Would you like some help with your make-up?

3. Can you tell me if we will be shooting all weekend?

4. Would you mind shooting this line one more time?

5. I wonder whether we can cut the end of this scene.

6. I’m not sure if you’d like some help with the scripts.
7. Can we cut the end of this scene?

8. I wonder whether we could cut the end of this scene.

B. Fill in the blanks with the missing words.
1. Do you mind this line again?


195
2. Can we this line again?

Nós podemos gravar esta fala de novo?
3. Could we the end of this scene?

Nós poderíamos cortar o final desta cena?
4. I would like this take, please.

5. I like tea for breakfast.

Eu gosto de tomar chá no café da manhã.
6. I would like tea for breakfast.

Eu gostaria de tomar chá no café no manhã.
6. to have / to drink
5. having / to have / drinking / to drink
4. to repeat 8. Indirect question 4. Direct question
3. cut 7. Direct question 3. Indirect question
2. shoot 6. Indirect question 2. Direct question
1. shooting 5. Indirect question 1. Indirect question

196
6
Marketing
Marketing
andand
Release
Release
Part 1.
In this chapter, you will learn how to make suggestions and some formations of
rhetorical questions. You will also learn different uses of as and how.
Now, look at the script of Marketing and Release.
MARKE TING AND RELEASE
After months of development, pre-production, production, and editing,

the series will finally be finished. Now, it’s just a matter of releasing it,
and the whole gang will hurry to watch it, right? Well, that’s not quite
how it works. Another team has to take the field to do all the marketing
for the series. And, in today’s world, it is essential that this marketing be
on a global scale.
Now, let’s see...When you go to the movies, what happens before the
movie starts? There are definitely some trailers of upcoming releases. A
movie theater has always been one of the best places to promote movie
releases, as people are totally immersed in a room, with no chance of
changing channels. On the other hand, to communicate a major release
on television, it is very important to advertise during prime time. This is
a way for many people to find out about the release. Although several
of these people may not be the series’ target audience, TV has a certain
reach. Entertainment marketing used to be done this way up until very
recently.
Since then, what do you think has changed? If you thought about social
media, you got it right. Its reach is global. That’s why social media is a
fundamental part of an effective marketing campaign today.
Depending on the genre of the series, the marketing strategy will be

of a different type. Campaigns tend to be smaller and more targeted
for audiences that like a specific genre. On the other hand, for larger
audiences, it is necessary to choose vehicles that will impact as many
people as possible. Social media helps a lot to reach the right audience
in both situations.

198
The main objective of an online marketing is to make brands part of the

target audience’s conversations on social media. But how can it be done
without being invasive? Well, the answer is simple. Certain materials are
created especially for this. In addition to the official trailer, the campaign may
also include exclusive content to be posted on the social media profiles of
the stars cast in the series. This will engage their fans and boost publicity.
Another great vehicle in the digital world is the so-called influencers. How
about bringing some of them to the studio in which the series was shot?
We can even take part of the cast for them to interview. These strategies
tend to yield interesting results, as you might imagine.
But there is still another powerful advertising tool that a lot of people use
on social networks: hashtags. Do you follow any of them? Depending on
the current discussion, we can create specific content to piggyback on all
the buzz that some hashtags are causing. After all, who has never shared a
fun meme, right? And if the meme comes with a hashtag announcing that
the series’ release is coming, so much the better.
Campaigns may also include offline actions in highly-accessible places,

such as the main shopping mall in a city, a busy beach...Picture yourself
at one of these places, and then you see the objects of the series available
for you to interact with…Pretty cool, right? And, best of all, for free! Who
wouldn’t want to take a picture there, post it, and then get some likes?
As you can imagine, events and activities in places where the target
audience likes to hang out are very effective outreach tools and can
become platforms for sharing hashtags. Thus, we take advantage of the
buzz created offline to prompt conversations on social media. In other
words, if people are going to post the photos they took with the objects on
display, and if their friends are going to like, comment, or even repost them,
they’d better do it with the series’ hashtag, right?
Well, once all these strategies have been implemented, the result is that
more people will watch the series. Even after the release, those who
watched it will probably tell other people about it, and word-of-mouth
marketing will do its job, expanding the audience even further.
And what happens when a series is very successful and widely acclaimed
by the public? Well, in that case, it wins awards! That’s right! These
awards can help make even more noise...

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DIVULGAÇÃO E L ANÇAMENTO
Depois de meses de desenvolvimento, pré-produção, produção, e

edição, a série finalmente estará pronta. Agora, basta lançá-la, e a turma
toda vai correndo assisti-la, certo? Bom, não é bem assim que funciona.
Uma outra equipe tem que entrar em campo para fazer todo o marketing
da série. E, no mundo de hoje, é fundamental que esse marketing ocorra
em escala global.
Agora, vejamos... Quando vocês vão ao cinema, o que acontece antes

de o filme começar? Com certeza, passam alguns trailers dos próximos
lançamentos. O cinema sempre foi um dos melhores lugares para se
divulgar o lançamento de filmes, pois as pessoas estão totalmente
imersas numa sala, sem chances de mudar de canal. Por outro lado,
para comunicar um grande lançamento na televisão, é muito importante
anunciar durante o horário nobre. Esse é um jeito de muitas pessoas
ficarem sabendo do lançamento. Apesar de várias delas talvez não
serem o público-alvo da série, a TV tem um certo alcance. O marketing
de entretenimento era feito dessa maneira até bem pouco tempo atrás.
De lá pra cá, o que vocês acham que mudou? Se pensaram nas redes
sociais, acertaram. O alcance delas é global. Por isso, hoje em dia, as
mídias sociais são parte fundamental de uma campanha de marketing
eficaz.
Dependendo do gênero da série, a estratégia de divulgação vai ser

de um tipo diferente. As campanhas costumam ser menores e mais
direcionadas para os públicos que curtem um gênero específico. Por
outro lado, para públicos maiores, é preciso escolher veículos que
impactem o maior número de pessoas possível. As redes sociais ajudam
muito a atingir o público certo nas duas situações.
O objetivo principal de um processo de divulgação online é fazer com

que as marcas façam parte da conversa do público-alvo nas redes
sociais. Mas como fazer isso sem ser invasivo? Bom, a resposta é
simples. Alguns materiais são criados especialmente para isso. Além do
trailer oficial, a campanha também pode incluir conteúdo exclusivo a ser
divulgado nos perfis das redes sociais das estrelas do elenco da série.
Isto vai engajar os seus fãs e aumentar a divulgação.

200
Outro ótimo veículo no mundo digital são os chamados influenciadores.

Que tal trazermos alguns deles para o estúdio em que a série foi gravada?
Podemos ainda levar parte do elenco para eles entrevistarem. Essas
estratégias costumam dar um retorno interessante, como vocês podem
imaginar.
Mas há ainda outra ferramenta de propaganda poderosa que muita

gente usa nas redes sociais: as hashtags. Vocês seguem alguma delas?
Dependendo da discussão do momento, podemos criar conteúdo
específico para pegar carona em todo o burburinho que alguma hashtag
esteja causando. Afinal, quem nunca compartilhou um meme divertido, não
é mesmo? E se o meme vier acompanhado de uma hashtag que indique
que o lançamento da série está chegando, melhor ainda.
As campanhas também podem incluir ações offline em locais de

grande acesso, como o shopping principal de uma cidade, uma praia
movimentada... Imaginem só vocês chegando em um desses lugares e
vendo os objetos da série à disposição para vocês interagirem... Bem legal,
não é? E o melhor: de graça! Quem não vai querer tirar uma foto ali, postá-
la, e aí conseguir algumas curtidas?
Como vocês podem imaginar, eventos e atividades nos locais que o

público-alvo gosta de frequentar são ferramentas de divulgação muito
eficientes, e que podem se tornar plataformas para postar hashtags.
Assim, aproveitamos o burburinho causado fora da internet para provocar
conversas nas redes sociais. Ou seja, se as pessoas vão postar as fotos que
tiraram com os objetos expostos, e se seus amigos vão curti-las, comentá-
las, ou até mesmo repostá-las, é melhor que o façam com a hashtag da
série, não é mesmo?
Bom, depois destas estratégias implementadas, o resultado disso é que

mais pessoas vão assistir à série. Mesmo depois do lançamento, aqueles
que assistiram provavelmente vão contar aos outros sobre ela, e o
marketing boca a boca vai fazendo seu trabalho, aumentando ainda mais a
audiência.
E o que acontece quando uma série faz muito sucesso e é bastante

aclamada pelo público? Nesse caso, ela ganha prêmios! É isso aí! Essas
premiações podem ajudar a fazer ainda mais barulho...

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Part 2.
Throughout the previous chapters of this module, we have gone through the
journey of the entertainment world, starting with the sensations it provokes, and
following the various stages of pre-production and production. Finally, in the
previous chapter, we approached the routine of a movie set.
Now, it is time for the next step: marketing and release. Considering that, we
could say:
It’s just a matter of releasing the series, and the whole gang will hurry
to watch it. Well, that’s not quite how it works.
É só uma questão de lançar a série, e a turma toda vai correndo assisti-la.
Bom, não é bem assim que acontece.
In the previous excerpt, we use a matter of releasing. A matter of is a way of

saying that something is the reason or motive for something else to happen.
Note that a matter of is followed by a verb in the -ing form, releasing.
We can also use a matter of followed by a noun. For example:
Professional success is a matter of opportunity and commitment.

O sucesso profissional é uma questão de oportunidade e comprometimento.
In the previous example, a matter of is followed by two nouns: opportunity and

commitment. So, the sentence implies that these are what we consider the basis
for professional success.
The word matter can also be used by itself, meaning a question or subject of
discussion, and there are some collocations with it. For example:

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COLLOCATIONS
to be no laughing matter
não ser brincadeira / não ser motivo de risada
Releasing a movie may seem exciting but, in fact, it is no laughing matter.

Lançar um filme pode parecer empolgante, mas, na verdade, não é brincadeira.
To be no laughing matter is used to refer to something serious that should not be

joked about. Laughing comes from the verb to laugh, which means to make a series
of spontaneous unarticulated sounds as you smile when you think something is
funny or when you are happy.
There is another collocation with the word matter that is very common. Take a look:
COLLOCATIONS
the truth of the matter

a grande verdade
I’ve heard that famous actor owes billions to the bank. I guess the truth of
the matter is that not all Hollywood actors are rich.
Eu ouvi falar que aquele ator famoso deve bilhões ao banco. Eu acho que a
grande verdade é que nem todos os atores de Hollywood são ricos.
The truth of the matter is used to stress the truth of a statement or to introduce a
fact that is not widely known. It is similar to the expressions in fact and in reality.
Also note the verb to owe used in the former example. When we owe money, it
means we have to pay it back to the person or institution who has lent it. In the
previous sentence, it must be paid back to the bank. Note that the preposition to
must be used after this verb: you owe money to someone or some company, for
example.
For the next collocation with matter, consider the following context:

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A marketing team has scheduled a meeting to come up with a good

strategy for launching a series next season. One of the people starts talking
about the weekend that he spent hours binge-watching other series. That
makes everyone deviate from the topic of the meeting.
Uma equipe de marketing agendou uma reunião para levantar uma boa
estratégia para o lançamento da próxima temporada de uma série. Uma das
pessoas começa a falar sobre o fim de semana em que passou horas assistindo
a outras séries. Isso faz com que todos se desviem do assunto da reunião.
The boss then says:
COLLOCATIONS WITH MATTER
the matter at hand

o assunto em questão
Okay, everyone. Let’s get back to the matter at hand here.

Okay, pessoal. Vamos voltar para o assunto em questão aqui.
In the previous example, we use the collocation the matter at hand, which is used
when someone deviates from the subject, and we wish to take the discussion back
to its original track. Note that it is similar to saying the main point or the main
topic of discussion.
There is yet another collocation with matter that is worth mentioning. Take a look:
COLLOCATIONS
to make matters worse

para piorar as coisas
I have no cash and, to make matters worse, I don’t have my credit card
either.
Eu não tenho dinheiro vivo e, para piorar as coisas, também não estou com
meu cartão de crédito.

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To make matters worse means to make the situation even more unpleasant or
difficult. Note that this collocation implies things can get even worse than they
were before. You may also hear a similar collocation, which is to make things
worse.
Worse is the comparative form of the adjective bad. The opposite of worse is
better, and there is an interesting collocation with this comparative. Take a look:
COLLOCATIONS
so much the better

melhor ainda / tanto melhor
All the supporting actors will be at the film release, and if the main
stars can be there too, so much the better.
Todos os atores coadjuvantes vão estar no lançamento do filme, e se as
estrelas principais puderem estar lá também, melhor ainda.
The collocation so much the better is used to introduce a particular point that
makes an already suitable situation even better. Observe that the adjective
better is the comparative form of the adjective good, which, in turn, is the
opposite of bad.
Now, note the compound noun film release, formed by the words film and
release. Release is a noun. Take a look:
release noun to release verb

lançamento lançar / tornar público
Release is the same noun used in the name of this chapter: marketing and
release. It can also be a verb, to release, which is to make a product or work
available to the public.
However, the word marketing in the title is not a verb in the -ing form, but a
noun. Check it out:

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marketing noun to market verb

divulgação / comercialização divulgar / comercializar
The noun marketing comes from the verb to market plus the suffix –ing. To
market means to promote, or to advertise something.
Market can also be used as a noun, and it refers to two basic contexts. Observe:
MARKE T NOUN
mercado = local físico onde se compram produtos
mercado = sistema econômico que envolve compras, vendas e trocas de

produtos e serviços
As you can see, the noun market may refer to the physical location where
people go to buy supplies, or to the economic system of buying, selling, and
exchanging products and services.
During the marketing stage in the entertainment business, the producers have
to think of interesting strategies so that a series or a movie, for example, does
not turn out to be a complete failure. So, while considering marketing strategies,
some producers may suggest:
How about bringing some influencers to the studios in which

the series was shot?
Que tal trazermos alguns influenciadores para os estúdios em que
a série foi gravada?
In the previous sentence, there is the expression how about, used to make a
suggestion. In this case, the suggestion is to bring influencers to the studios.
Note that we use a verb in the -ing form after how about:

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TO MAKE A SUGGESTION
How about + verb in the -ing form

Que tal + verbo na forma -ing
Take a look at another example with this expression:
How about + noun

Que tal + substantivo
How about some coffee after the concert?

Que tal um café depois do show?
Now, we used how about followed by a noun, coffee. Note that we also used
the quantifier some with coffee. It implies an indefinite quantity of something
uncountable and countable. Observe that, depending on the context, this
sentence may also sound like an invitation.
There is another formation we can use to make suggestions, and it might also
sound like an invitation depending on the context. Take a look:
What about + noun

What about dinner before the movie?

Que tal um jantar antes do filme?
In the previous sentence, we used what about followed by a noun, dinner.

What about can also be followed by a verb in the -ing form. For example:

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What about + verb in the -ing form

What about watching a play after work today?

Que tal assistir uma peça depois do trabalho hoje?
Now, what about is followed by the verb in the -ing form, watching. The
suggestion is watching a play after work.
Besides how about and what about, we have other different ways to make
suggestions. Take a look:
Let’s + base form

Vamos + forma base
Let’s edit this scene tomorrow. I’m tired.

Vamos editar esta cena amanhã. Estou cansado.
In the previous example, there is the expression let’s followed by a verb in

the base form, edit. Let’s is used when we want to include ourselves in the
suggestion.
It is important to highlight that, with let’s, we do not have a question mark. So, it
is not a question, even though you might expect an answer from it.
A suggestion in the form of a question may come with why not, which will also
be followed by a verb in the base form. For instance:
Why not + verb in the base form

Por que não + verbo na forma base
Why not sell licensed products from this series in our store?
Por que não vender produtos licenciados desta série em nossa loja?

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In the previous sentence, there is why not followed the verb in the base form
sell. The suggestion is to sell licensed products in our store.
We can also use why don’t to make a suggestion, and its structure is different
from that of why not. Take a look:
Why don’t + full sentence

Por que não + frase completa
Why don’t we shoot this scene tomorrow?

Por que não filmamos esta cena amanhã?
Why don’t is followed by a complete sentence, that is, there will always be a
subject, a verb, and a complement. In the previous example, we is the subject, to
shoot is the main verb and this scene tomorrow is the complement.
All the ways of making suggestions we have seen so far expect an answer,
either accepting or refusing it.
There is a type of question that does not necessarily need an answer: the
rhetorical question. Rhetorical questions are commonly used in speeches and
presentations, and their intention is to engage the public and make them reflect
upon important points in the argumentation.
Take a look at a sentence about how much taking pictures with original objects
used in a series gets people’s attention on social media:
RHE TORICAL QUESTIONS
Who wouldn’t + verb…

Quem não gostaria…
Who wouldn’t want to take a picture there, post it, and then get some likes?
Quem não vao querer tirar uma foto ali, postá-la, e aí conseguir algumas
curtidas?
In the previous example, we introduced the rhetorical question using who

wouldn’t followed by the verb to want in the base form. We do not expect to
know who would not want a picture. We do not want to know who would want
a picture either, because it is understood in the context that the answer is
obvious: everyone would want it.

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Who wouldn’t + verb…

Quem não gostaria…
Who wouldn’t like to receive money out of the blue?

Quem não gostaria de receber dinheiro do nada?
Now, there is who wouldn’t followed by the verb like in the base form. Who wouldn’t
like introduces a rhetorical question, and we used who followed by would in the
negative form, and the main verb in the base form.
In the previous example, we are not actually asking about the person who is going to
reject some money. It is obvious that everybody would love to get some money. It is also
interesting to mention that out of the blue means unexpectedly, without any previous
plan.
We can also ask rhetorical questions using the simple present. For example:
Who doesn’t + verb...

Quem não + verbo...
Who doesn’t need a relaxing time after an exhausting day?

Quem não precisa de um momento de relaxamento depois de um dia exaustivo?
In the former example, we used who doesn’t followed by the verb to need in the
base form, that is, we have the structure who doesn’t + verb.
In this case, it is a question that does not need an answer, as one imagines that
everyone wants a relaxing time after a hard day.
Take a look at another rhetorical question in the simple present:

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Who doesn’t + verb...

Quem não + verbo...
Who doesn’t want to have a successful career?

Quem não quer ter uma carreira de sucesso?
In the previous sentence, we also used who doesn’t + verb in the base form. We
are assuming everybody wants to have a successful career, so, it is unnecessary
to answer this question.
Speaking of being successful, there are some strategies producers can use to
make a series more prominent. These strategies involve marketing campaigns,
which can be of various forms. For instance:
SUCH AS = FOR EXAMPLE

como = por exemplo
Campaigns may also include offline actions in highly-accessible places,

such as the main shopping mall in the city.
As campanhas também podem incluir ações offline em locais de grande
acesso, como o shopping principal da cidade.
In the previous sentence, observe the use of such as to introduce examples—in this case,
of highly accessible places. This expression could be replaced by for example.
Note that as—in such as—is a word with different meanings depending on its specific
uses and the context. For example:
AS... AS
tanto... quanto
It is necessary to choose vehicles that will impact as many people as possible.

É preciso escolher veículos que impactem tantas pessoas quanto for possível.
É preciso escolher veículos que impactem o maior número de pessoas possível.

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In the previous sentence, we used as many people as to indicate that the

number of people is as large as possible. Many is a quantifier that refers to large
quantities, and it is used here because we are talking about people, which is a
countable noun.
Now, take a look at the following example:
AS... AS
tanto... quanto
You can drink as much coffee as you like. It’s free.

Você pode beber tanto café quanto quiser. É de graça.
Você pode beber quanto café quiser. É de graça.
In the former example, as much as is used to talk about the amount of coffee that
can be consumed, in this case, as much as you like. Much is another quantifier,
which is used in this case because we are talking about coffee, an uncountable noun.
We could also say as much as you want, that is, you can have the same amount you
intend to.
As... as is also used to make comparisons of equality using adjectives. For example:
AS... AS
tanto… quanto / tão quanto
The second episode of this series is as good as the first one.

O segundo episódio desta série é tão bom quanto o primeiro.
In the previous sentence, we used as good as to compare the second episode of

the series with the first one. One, in this case, is a pronoun that replaces the noun
episode. This pronoun is used to avoid repetition in the speech.
Note that we use the adjective good to make this comparison, so, we mean to say
that the two episodes are equally good.
AS... AS
tanto… quanto / tão quanto
John’s new film is just as bold as the previous one.

O novo filme de John é tão ousado quanto o anterior.

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Now, we used as bold as to compare John’s new film with the previous one. We
mean to say that they are equally bold.
As an isolated word, as can be used to refer to something that is known or that
has already been said. For example:
AS
como / conforme
These strategies tend to yield interesting results, as you may imagine.

Essas estratégias costumam dar um retorno interessante, como vocês
podem imaginar.
As you may imagine infers that the information mentioned before is not new, so
you could imagine that as a fact.
It is also interesting to mention that may is a way of expressing a probability,
and that the verb to yield could be replaced by to produce, or to generate, in this
case.
Another use of the word as is to speak of a person’s duty or job. For example:
AS
como
Anna works as an actress.

Anna trabalha como atriz.
That means Anna is an actress, that’s her job.

Be careful not to confuse as with like. Like can be used to make comparisons and
show similarity as well, but they are not used the same way. Observe:
AS ≠ LIKE
como
Anna works as an actress. She works like a dog during the shootings.
Anna trabalha como atriz. Ela trabalha como uma condenada durante as
gravações.

213
The first sentence refers to Anna’s job—as you already know. Therefore, we used
as to refer to it. In the second sentence, we used like to say how much she works.
The amount of work she puts on is similar to that of a dog. To work like a dog is
an expression that means to work a lot.
As and like are not interchangeable in this case. So, if we said:
AS ≠ LIKE
Anna works like an actress. She works as a dog during the shootings.
Anna trabalha como se fosse uma atriz. Ela é um cachorro nas filmagens.
It would sound a little nonsensical, because we’d be saying that Anna’s job is
similar to that of an actress’s. But she is not really an actress, because her actual
job is to be a dog. This construction is not appropriate at all.
Another difference in use between as and like refers to sentence formation.
They can both be used to make comparisons of similarity and imply the same
idea. But like will be followed by a noun, and as will be followed by a complete
sentence. Observe:
like + noun
like + substantivo
Nobody comes up with marketing strategies like Brandon.

Ninguém cria estratégias de marketing como Brandon.
as + clause
as + frase completa
Nobody comes up with marketing strategies as Brandon does.

Ninguém cria estratégias de marketing como Brandon faz.
The idea conveyed by both sentences is that only Brandon can come up with
great marketing ideas. Nobody else can do it the same way he does. Note that in
the first previous sentence, we used like followed by the noun Brandon. We are
comparing all other professionals with Brandon. In this case, it would be incorrect
to use as instead of like due to sentence formation.

214
In the second sentence, we used Brandon does right after as. Does is the
auxiliary verb for the simple present. It replaces the verb comes up so as to avoid
repetition. Since there is an implicit clause in this case, we must use as. It would
be incorrect to use like with this sentence formation.
Finally, note that the word as could be replaced by the way.
However, if we wish to ask a question about the way something happens or the
way something is done, then we cannot use as. We will use how instead. For
instance:
how
como / de que forma / de que maneira
Would you mind showing me how this camera works?

Você se importaria em me mostrar como esta câmera funciona?
In the previous example, we use how to ask about by what means or in what way
a camera works. We could not use as to ask this question.
Nonetheless, we could replace how with the way, meaning the manner
something works or is done. Take a look:
THE WAY
o modo / a maneira / a forma / como
Would you mind showing me the way this camera works?

Você se importaria em me mostrar como esta câmera funciona?
In the previous sentence, notice that the way has the same meaning as how in
the question, that is, we are still talking about the manner a camera works.
Now you know how to make rhetorical questions, as well as

different ways to make suggestions. You have also learned
different uses of as and how.

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Part 3.
Activities
( 1 ) uma questão de ( ) market
( 2 ) mercado ( ) so much the better
( 3 ) para piorar as coisas ( ) to market
( 4 ) divulgar / comercializar ( ) the truth of the matter
( 5 ) não ser brincadeira / motivo de risada ( ) out of the blue
( 6 ) a grande verdade ( ) the matter at hand
( 7 ) dever dinheiro ( ) to be no laughing matter
( 8 ) o assunto em questão ( ) marketing
( 9 ) melhor ainda / tanto melhor ( ) to owe money
( 10 ) divulgação / comercialização ( ) a matter of
( 11 ) lançar ( ) to release
( 12 ) do nada / de repente ( ) to make matters worse
1. dinner before the movie?

2. edit this scene tomorrow. I’m tired.

Vamos editar esta cena amanhã. Estou cansado.
3. sell licensed products from this series in our store?

Por que não vender produtos licenciados desta série em nossa loja?
4. bringing some influencers to the studios in which the series was shot?
Que tal trazermos alguns influenciadores para os estúdios em que a série foi gravada?

216
217
1. a matter of 7. to owe money 1. What about / How about
2. market 8. the matter at hand 2. Let’s
3. to make matters worse 9. so much the better 3. Why not
4. to market 10. marketing 4. How about / What about
5. to be no laughing matter 11. to release 5. Let’s
6. the truth of the matter 12. out of the blue 6. Why don’t
Por que não filmamos esta cena amanhã?
we shoot this scene tomorrow? 6.
Okay, pessoal. Vamos voltar para o assunto em questão aqui.
get back to the matter at hand here. 5. Okay, everyone.
Part 4.
In the vocabulary section of this chapter, we saw the following sentence with an
element that expressed probability. Here it is:
MODAL VERB MAY

Probability
These strategies tend to yield interesting results, as you may imagine.

Essas estratégias costumam dar um retorno interessante, como vocês
podem imaginar.
In the previous example, there is the construction as you may imagine. Note that
we have may, a modal verb. One of its functions is to express probability.
Probability and possibility are two different topics. The concept of possibility
refers to something that is not impossible to happen. However, we do not have
much evidence that such thing will in fact happen. Now, when we talk about
probability, we have clear evidence that something has a chance of happening.
There are various degrees of probability depending on the context. In the
case of the modal verb may, we can say that it conveys a fifty-fifty chance of
something happening.
Modal verbs are better understood when referred to a specific context. Take the
following one into consideration:
We have to look for strategies that have a probability of being very

successful in the promotion of a series.
Temos que procurar estratégias que tenham uma probabilidade de ter muito
sucesso na promoção de uma série.
With that in mind, we could say:

218
MODAL VERB MAY – AFFIRMATIVE FORM

Probability
Campaigns may include offline actions in highly accessible places.

As campanhas podem incluir ações offline em locais de grande acesso.
In the previous sentence, we have the affirmative form of the modal verb may
being used to talk about a probability. It implies that the strategy of including
offline actions in highly accessible places is something likely to happen,
probable, or expected.
Notice that the structure is the same as we have seen for other modal verbs: the
subject, campaigns, followed by the modal verb may, the main verb in the base
form include, and the complement offline actions in highly accessible places.
Now, consider a different context:
You read on a website that a long-awaited movie is going to be

released this month, but they did not inform the exact date.
Você leu em um site que um filme muito aguardado vai ser lançado este
mês, mas eles não informaram a data exata.
So, you can say:
AFFIRMATIVE FORM – M ODAL VERB MAY

Probability
They may release the movie anytime this month.

Eles podem lançar o filme a qualquer momento neste mês.
É provável que eles lancem o filme a qualquer momento neste mês.
We used may in the previous sentence to talk about the probability of releasing
the movie anytime this month. By using the modal verb may, we convey the idea
that we have a fifty-fifty chance of being right about what is going to happen,
based on what we have read.

219
It is different from saying, for example:
AFFIRMATIVE FORM – MODAL VERB WILL

Certainty
They will release the movie anytime this month.

Eles vão lançar o filme a qualquer momento neste mês.
The modal verb will expresses something that we think will happen for sure, so,
it does not convey probability.
We can also talk about the probability of something not happening using the
negative form of the modal verb may. For example:
MODAL VERB MAY – NE GATIVE FORM
subject + modal verb + not + main verb in the base form +

complement
sujeito + modal verb + not + verbo principal na forma base + complemento
Probability
Several people may not be the series’ target audience, but the TV has a
certain reach.
Muitas pessoas podem não ser o público-alvo da série, mas a TV tem um
certo alcance.
In the previous sentence, there is the subject several people, followed by the
modal verb may, the particle not, the main verb be in the base form, and the
complement. In this case, we express a probability of something not happening,
that is, among the people that the TV reaches, some are likely to be the target
audience, and others are not.
In the interrogative form, the modal verb may is most commonly used to ask for
permission. Take a look:

220
MODAL VERB MAY – INTERROGATIVE FORM

Asking permission
MAY FORMAL
May I edit this scene tomorrow?

Posso editar esta cena amanhã?
In the previous sentence, we used may to ask for permission to edit the scene
later. Note that the structure is the same as that of other modal verbs: modal verb
+ subject + main verb in the base form + complement.
We can also ask this same question with the modal verb can. Take a look:
MODAL VERB CAN – INTERROGATIVE FORM

Asking permission
CAN INFORMAL
Can I edit this scene tomorrow?

Note that the structure in the previous question is also modal verb + subject +
main verb in the base form + complement. However, there is a difference in
formality: may is more formal than can.
It is also possible to ask questions with may using question words. In most
cases, may will convey an idea of probability, not permission. For example:

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QUESTION WORD HOW

How + interrogative form
MODAL VERB MAY

Probability
How may the producers release this film?

Como os produtores podem lançar este filme?
In the previous sentence, we are using the question word how. How is a question
word used to ask about the procedures or the way something happens or is done.
To ask questions with how, the question word is followed by the interrogative
form of the verb form or modal verb we choose; in this case, the modal verb may.
Note that the previous example is not a question about permission, but about
probability. We want to know how or in what way the producers are likely to
release the film.
The question will have a different tone depending on the modal verb or verb
form used with the same question word. Take a look at the following example:
QUESTION WORD HOW

MODAL VERB CAN

Possibility
How can we release this movie?

Como podemos lançar este filme?
Now, there is the modal verb can being used with the question word how. This
question conveys the idea of the different ways in which it is possible to release
the film. It conveys possibility.
Compare the previous question to the following one:

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QUESTION WORD HOW

MODAL VERB WOULD

Hypothesis
How would you like to release this film?

Como você gostaria de lançar este filme?
In the previous question, there is the question word how being used with the
interrogative form of the modal verb would. The idea conveyed is of hypothesis.
In other words, it is a question about the way a person imagines or wishes
something is supposed to be done. It is not a question based on real facts, but on
someone’s desires or projections.
Now, take a look at the following question:
QUESTION WORD HOW

MODAL VERB WILL

Future event
How will you release this film?

Como você vai lançar este filme?
By using will, we imply that the movie will actually be released, and we just want
to know the way in which it will happen in the future by asking a question with
how. Note that it is in the realm of reality, of what can be predicted about this
future event.
In addition to starting questions with modal verbs, how can also be used with
other verb forms. Take a look:
QUESTION WORD HOW

SIMPLE PRESENT
How does this camera work?

Como esta câmera funciona?

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The previous sentence starts with the question word how, followed by the
interrogative form of the simple present. So, we have got the question word
how + the interrogative structure of the verb form that we are going to use.
The question word how can also be used within the construction how about to
make suggestions or invitations, depending on the context. Check it out:
HOW ABOUT
Making suggestions
How about + verb in the -ing form

How about bringing some of them to the studios in which the series
was shot?
Que tal trazermos alguns deles para os estúdios em que a série foi
gravada?
How about introduces a suggestion that begins with a verb in the -ing form,
not a complete sentence with a subject, verb, and complement. In the previous
sentence, the suggestion is bringing some people to the studios.
You can also choose to use a noun instead of a verb. For example:
HOW ABOUT
Making suggestions
How about + noun

How about some coffee after the concert?

Que tal um café depois do show?
In the previous sentence, there is the construction how about, followed by the
quantifier some, and a noun, coffee. Note that there is no verb in this example;
yet, it is still making a suggestion.
Another way of making suggestions is by using what about, which we studied in
the previous section of this chapter. Check it out:

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QUESTION WORD WHAT – WHAT ABOUT

Making suggestions
What about + verb in the -ing form

What about going to the movies after work today?

Que tal ir ao cinema depois do trabalho hoje?
In the previous example, what about is followed by a verb in the -ing form. It is
the same sentence formation we use with how about, and the suggestion here
is: going to the movies after work.
We can also use what about followed by a noun. For example:
QUESTION WORD WHAT – WHAT ABOUT

Making suggestions
What about + noun

Que tal + subtantivo
What about dinner before the movie?

In the previous sentence, what about is followed by the noun dinner. Note that,
as we have seen with how about, there is no verb in this example either.
What about carries the question word what, which is used to ask for
information about something. Take a look:
QUESTION WORD WHAT
What happens before the movie starts?

O que acontece antes de o filme começar?

225
In the previous sentence, we used what to ask for information about events that
happen before the movie starts.
Note that, in this case, we used the affirmative structure, and not the
interrogative structure following what. It happens because what occupies the
place of the subject, which is in fact the information we are looking for.
QUESTION WORD WHAT

What + affirmative structure
What comes after the credits?

O que vem depois dos créditos?
In the former sentence, we have the question word what, followed by the
affirmative structure of the simple present.
Note that the main verb is conjugated in the third person singular as comes,
followed by the complement. In this case, what takes the place of the subject of
the sentence, because the subject is the answer we are looking for. Take a look:
QUESTION WORD WHAT

subject
An extra scene comes after the credits.

Uma cena extra vem depois dos créditos.
Notice how the sentence structure remains the same, with the subject, an extra
scene, followed by the verb in the third person singular and the complement.
An extra scene is what we want to know.
Now, compare this sentence with the following one:
QUESTION WORD WHAT

What may come after the credits?

O que pode vir depois dos créditos?
O que provavelmente vem após os créditos?

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In the former example, what is still referring to the subject of the answer,
followed by the affirmative structure of the modal verb may. It conveys an idea of
probability of the events that happen after the credits.
The question word what can also be used in the formation what… like, which is
commonly used to ask for descriptions of something or someone. For example:
WHAT… LIKE
Asking for descriptions
What is your costume like?

Como é o seu figurino?
In the previous sentence, what is followed by the interrogative structure of the

simple present of the verb to be. Note that the main verb is conjugated as is,
and the subject is your costume, followed by the word like. In this case, what...
like is specifically used to ask for a description of a costume.
One way to respond to this question would be by using adjectives, such as:
DESCRIPTIONS
My costume is really tight.

Meu figurino é bem apertado.
Tight is an adjective that means close-fitting, and it is used to describe a piece

of clothing or shoes that are too small to fit comfortably. The opposite of tight
is loose.
We can also use what… like to ask for descriptions of a person. For example:
WHAT… LIKE
Asking for descriptions
What is the main actress like?

Como é a atriz principal?

227
In the previous sentence, what is also followed by the interrogative structure of

the simple present of the verb to be. The main verb is conjugated as is, and the
subject is the main actress, and it is also followed by the word like. In this case,
what…like is used to ask for a description of an actress.
One way of answering that is by saying:
DESCRIPTIONS
Physical descriptions
The actress is tall and blonde.

A atriz é alta e loira.
Tall and blonde are adjectives used in physical descriptions. Tall means of more
than average height, and blonde means someone with a pale yellow hair. Note
that we used the verb to be to make this description.
We can also answer the same question referring to her personality and say:
DESCRIPTIONS
Personality
She is really cool and funny.

Ela é muito legal e engraçada.
Cool and funny are adjectives as well, and we also used the verb to be to
describe the actress. However, the description is not based on her physical
appearance anymore, but on her traits of personality.
We can also combine the question word what with the phrasal verb to look like
to ask about the appearance of something or someone. For example:
WHAT… LOOK LIKE

Physical descriptions
What does the actress look like?

Como a atriz se parece?

228
The previous sentence begins with what, followed by the interrogative structure
of the simple present: the auxiliary verb does, the subject the actress, the
phrasal verb in the base form look like.
The answer to the previous question only makes sense if we make a physical
description, because it is a question about what someone looks like, that is,
their physical appearance. Therefore, we could respond the former question by
saying:
PHYSICAL DESCRIPTIONS
She is tall and blonde.

Ela é alta e loira.
She’s cool and funny.

Ela é legal e engraçada.
Tall and blonde are adjectives that refer to physical characteristics, so the first
response is appropriate. However, it would not be appropriate to say she is cool
and funny, in this case. Cool and funny are adjectives that refer to characteristics
concerning someone’s personality.
In short: the construction what… like may refer to both physical and personality
aspects, whereas what… look like can only refer to physical characteristics.
Be careful not to mix what with the question word how. We can certainly use
how to ask questions about people and things, but it would not be a question
about description. Take a look:
QUESTION WORD HOW

Temporary condition
How is the actress?

Como a atriz está?
The actress is tired.

A atriz está cansada.

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In the previous sentence, we used how to ask about the actress’s temporary
condition, that is, her health and disposition. Note that the answer has the adjective
tired, which means in need of rest. It informs a condition, not a physical characteristic
or personality trait.
We could also answer the same question by saying:
TEMPORARY CONDITION
The actress is excited.

A atriz está empolgada.
Excited is also an adjective that speaks of one’s temporary condition, meaning feeling
extremely happy.
It would not be quite the same if we used how to ask a question about something.
When you ask how something is, you are in fact wondering about someone’s opinion
about something.
Your brother is watching a movie in the living room, and you walk past him.
Seu irmão está assistindo a um filme na sala de estar e você passa por ele.
Then, you ask:
QUESTION WORD HOW

Opinion
How is the film?

Como é o filme?
How introduces a question about the quality of the film, how the person who is
watching it judges it. So, an appropriate answer would be:
OPINION
Oh, it’s bad.

Ah, ele é ruim.

230
In case he likes it, he could also say:
OPINION
It’s really good.

Ele é muito bom.
So, if the person believes the film is of low quality, they say it is bad, and the
opposite opinion can be expressed with the adjective good. In other words, they are
not descriptions of the movie, but opinions or judgements about it.
To ask for a description, we could use the construction what… like, as you already
know. Check it out:
WHAT... LIKE
Description
What is the film like?

Como é o filme?
The most appropriate answer would be descriptive, such as:
DESCRIPTION
It’s moving, hilarious, funny, interesting.

Ele é emocionante, hilário, engraçado, interessante.
We would not use good nor bad in this case. Note that, in the previous example, we
gave a list of characteristics to describe the film and the feelings involved in it.
In addition to how and what, there is another question word that was mentioned in
the vocabulary section: who. We used it in the following rhetorical question:

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QUESTION WORD WHO

Who + negative structure
Rhetorical question
Who wouldn’t want to take a picture and get some likes?

Quem não gostaria de tirar uma foto e conseguir algumas curtidas?
Note that who also takes the place of the subject in the previous sentence, just as
aforementioned regarding the question word what.
As this is a rhetorical question, who is followed by the negative structure of the
modal verb would. However, in this case, we do not expect an answer.
Here is the rhetorical question with who mentioned in the first part of this chapter:
QUESTION WORD WHO

Who + negative structure
Rhetorical question
Who doesn’t want to have a successful career?

In the previous example, who is followed by the negative structure of the simple
present. The formation with the question in the negative structure is common
when we do not expect an actual answer. That is, when we are building a
rhetorical question.
It would be different if we asked, for example:
QUESTION WORD WHO

Who + affirmative structure
Who wants to have a career in photography?

Quem quer ter uma carreira em fotografia?

232
Now, it is a question indeed. Note that who takes the place of the subject of the
sentence, and it is followed by the affirmative structure of the simple present.
The answer to the previous question could be:
QUESTION WORD WHO

subject

Mike wants to have a career in photography.

Mike quer ter uma carreira em fotografia.
Mike is the subject of the previous sentence, followed by the affirmative

structure of the simple present. Note that the subject now takes the place of
the question word who, and the rest of the answer is identical to the rest of the
question.
When we use the question word who to ask about the subject, that is, the one
that performs the action, the question word will be placed where the subject
would be, and it is going to be followed by the affirmative structure of the verb
form we are using.
In the case of the simple present, we will not use the auxiliary verb do. Instead,
we will conjugate the main verb in the third person singular. Take a look at the
following example:
QUESTION WORD WHO

Who wants to take a picture with the band?

Quem quer tirar uma foto com a banda?
In the previous sentence, who is followed by the affirmative structure of

the simple present, because it is a question about the subject of the action.
Therefore, who takes the place of the subject, and it is followed by the main verb
conjugated in the third person singular, wants.
Now, take a look at the following example with the verb to be in the simple
present:

233
QUESTION WORD WHO

Who is at the dressing room number four?

Quem está no camarim número quatro?
In the previous question, note that who is followed by the verb to be conjugated
in the third person singular, is.
As for the answer, we could say:
QUESTION WORD WHO
subject

Keith is in this dressing room.

Keith está neste camarim.
Or:
QUESTION WORD WHO
subject

Keith and Martha are in this dressing room.

Keith e Martha estão neste camarim.
Keith is the subject of the first sentence and corresponds to the third person
singular. Keith and Martha, on the other hand, correspond to the third person
plural. Nonetheless, the question does not depend on the answer. Whether the
subject of the answer is one or more people, the question must be structured in
the third person singular.
We can also use who with other verb forms, such as the modal verbs. Take a
look:

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QUESTION WORD WHO

Who will perform in this play?

Quem vai se apresentar nesta peça?
In the previous question, we used will to ask about the person or people who will
perform in a play in the future.
Note that who also takes the place of the subject of the sentence, followed by
the affirmative structure of the modal verb will. This structure would be the
same with other modal verbs, such as may, can, and must.
In this chapter, you have learned how to make rhetorical

questions. You have also learned some uses of modal verbs, as
well as how to use and structure questions with how, what, and
who. If you want to learn more about these topics, you can refer
to the Grammar Guide section at the end of your book.
GRAMMAR GUIDE
Modal Verb May Page 324

Question Word How Page 335
Question Word What Page 341
Question Word Who Page 348

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Part 5.
Activities
A. Complete the sentences with the correct modal verb.
1. How you release this film? (Future event)

Como você vai lançar este filme?
2. I edit this scene tomorrow? (Permission – Informal)

3. Campaigns also include offline actions in highly accessible places. (Probability)

As campanhas também podem incluir ações offline em locais de grande acesso.
4. They release the movie anytime this month. (Future event)

Eles vão lançar o filme a qualquer momento neste mês.
5. They release the movie anytime this month. (Probability)

Eles podem lançar o filme a qualquer momento neste mês.
6. How we release this movie? (Possibility)

Como podemos lançar este filme?
7. I edit this scene tomorrow? (Permission – Formal)

8. How you like to release this film? (Hypothesis)

Como você gostaria de lançar este filme?

236
B. Fill in the blanks with the missing words.
1. going to the movies after work today?

Que tal ir ao cinema depois do trabalho hoje?
2. does this camera work?

Como esta câmera funciona?
3. happens before the movie starts?

O que acontece antes de o filme começar?
4. is your costume like?

Como é o seu figurino?
5. is the actress?
Como a atriz está?
6. doesn’t want to have a successful career?

8. would
7. May
6. Who 6. can
5. How 5. may
4. What 4. will
3. What 3. may
2. How 2. Can
1. What about / How about 1. will

237
7
And The
And the
Winner
winnerIs...
is...
Part 1.
In this chapter you will learn some collocations with the words award, reward,
and cast. You will also learn some award categories, as well as some important
vocabulary and grammar topics.
Now look at the script of And the winner is...
AND THE WINNER IS...
We are coming to the end of our journey behind the scenes of the
entertainment industry. Together, we have learned about all of the steps
involved in creating a series. And after all that, it is only fair that all the
professionals get to enjoy a little recognition. It may come directly from
the public, but it may also come through awards, which usually have a
very special taste.
Various segments of the entertainment industry have their own specific

award ceremonies. The most famous is the Oscars, which focuses on
the movie industry. But there are also the Grammys, the Emmys, the
Critics’ Choice Awards...Not to mention hundreds of other awards and
festivals around the world, aimed at the most varied entertainment
niches. But have you ever thought about how these awards work? After
all, who picks the winners?
Let’s start with cinema. In this industry, there is an award-season

calendar known as the “festival circuit”. Generally speaking, these
festivals are attended by critics, film buffs, entertainment professionals,
and many of them are quite competitive. Attendees receive a ballot at
the end of each screening to cast their vote. There are also categories
in which only critics and journalists can vote. Many producers choose
to release their films first on the festival circuit so they can win some
awards and enjoy some visibility and marketing. So, when these movies
are released to the public, many people will have heard of them already,
and this can attract an even larger audience.
Throughout the year, films roam these festivals around the world, with
the season ending at the Oscars. And the logic behind it all is that films
that do well during festival season have the best chances of winning an
Oscar.

239
It is no wonder that the favorite subject of moviegoers is their picks for

the Oscars...But why does this happen? Who actually votes for the Oscar
winners?
The Oscars, the most prestigious of movie awards, are organized by the
Los Angeles Academy of Motion Picture Arts and Sciences. And only
members of this academy can vote. It currently has around 10 thousand
members, and to become a part of it, the applicant must have been
nominated for at least one category in previous years. This means that
receiving an Oscar is actually being recognized by your peers in the film
industry. When the best movie professionals decide that your work or your
performance was good, well, that’s a really good reason to be happy, don’t
you agree?
But not everyone can vote in all categories. If you are a screenwriter, you
can’t vote in the best actor category, for example. On the other hand, the
best film category receives votes from all members.
It turns out that not all awards work the same. At the Grammys, which
awards the music industry, and at the Emmys, which awards the
television industry, the process has an important difference. At these
two awards organizations, the voting members do not need to have
been previously nominated for any category. It is enough for them to
be full members of their own respective academies. And that means
any professional in the sector can submit an application to become a
member. And once approved by the academy committee, they earn the
right to vote.
As you may have noticed, there is a lot of glamor involving these award
ceremonies, and it is a fact that many professionals in the entertainment
industry dream of winning one of them someday. Having your movie, song,
or series awarded prizes means more publicity, as well as an even larger
audience. As a result, revenue grows and returns on initial investments
are achieved. For the cast and for the director of a TV show or movie,
for example, it boosts their portfolio. In general, these awards end up
impacting the sector for the next productions. Even though only a few can
actually be the winners, just having been nominated already has some
very positive effects.
Well, folks, we have come to the end of our journey, and I hope that you’ve
learned some new things about the entertainment industry. It is a business
that generates a lot of money and employs thousands of people. So, the
next time you watch a series, I bet you’ll remember all the talent and
dedication that went into it. Remember all of the people and all of the work
involved in building incredible universes, capable of provoking sensations
and awakening feelings in us that maybe we didn’t know we had...

240
So…are you ready to binge-watch your next favorite series?
And…cut!
E O VENCEDOR É ...
Estamos chegando ao final da nossa jornada pelos bastidores da

indústria do entretenimento. Juntos, nós descobrimos todos os passos
para se criar uma série. E, depois de tudo isso, nada mais justo do que
um pouco de reconhecimento a todos os profissionais. Ele pode vir
diretamente do público, como também pode vir por meio de premiações,
que geralmente têm um sabor todo especial.
Vários segmentos da indústria de entretenimento têm suas próprias

cerimônias de premiações. A mais famosa delas é a cerimônia do Oscar,
que é centrada na indústria do cinema. Mas também temos o Grammy,
o Emmy, o Critics’ Choice Awards... Sem falar de outras centenas de
premiações e festivais ao redor do mundo, direcionadas para os mais
variados nichos do entretenimento. Mas vocês já pensaram em como
esses prêmios funcionam? Afinal, quem escolhe os vencedores?
Vamos começar pelo cinema. Nessa indústria, existe um calendário

anual de premiações que é conhecido como “circuito de festivais”. De
um modo geral, os festivais são frequentados por críticos, cinéfilos,
profissionais do setor, e vários deles são bem competitivos. Os
frequentadores recebem uma cédula ao final de cada exibição para
votar. Há também categorias em que somente os críticos e jornalistas
do setor podem votar. Muitos produtores optam por lançar seus filmes
primeiro no circuito de festivais, para que eles conquistem alguns
prêmios e possam aproveitar um pouco de visibilidade e marketing.
Assim, quando esses filmes são lançados para o público, muitas
pessoas já terão ouvido falar deles, e isso pode atrair um público ainda
maior.
Ao longo do ano, os filmes percorrem esses festivais ao redor do mundo,

com a temporada tendo seu encerramento no Oscar. E a lógica por trás
disso é a de que os filmes que se saem bem durante a temporada de
festivais têm mais chances de ganhar o Oscar. Não é de se admirar que
o assunto favorito dos cinéfilos seja seus palpites para o Oscar... Mas
por que isso acontece? Quem realmente vota nos ganhadores do Oscar?

241
O Oscar, a premiação de cinema de mais prestígio, é organizada

pela A cerimônia de entrega dos Oscars, a premiação de cinema de
mais prestígio, é organizada pela Academy of Motion Picture Arts
and Science (Academia de Artes e Ciências Cinematográficas) de
Los Angeles. E somente os membros desta academia podem votar.
Atualmente, ela conta com cerca de 10 mil membros, e, para fazer
parte dela, o candidato precisa ter sido indicado em pelo menos uma
categoria em anos anteriores. Isto quer dizer que ganhar um Oscar é ser
reconhecido pelos seus pares na indústria cinematográfica. Quando os
melhores profissionais do cinema decidem que o seu trabalho foi bom,
isso é um belo motivo para se ficar feliz, concordam?
Mas nem todo mundo pode votar em todas as categorias. Se você é

roteirista, não pode votar na categoria de melhor ator, por exemplo. Já a
categoria de melhor filme recebe votos de todos os membros.
Acontece que nem toda premiação funciona do mesmo jeito. No

Grammy, que premia a indústria da música, e no Emmy, que premia
a indústria da televisão, o processo tem uma diferença importante.
Nessas duas organizações de premiações, os membros votantes não
precisam ter sido indicados anteriormente para alguma categoria. Basta
que eles sejam membros efetivos de suas respectivas academias. E
isso significa que qualquer profissional do setor pode apresentar um
pedido para se tornar membro. E uma vez aprovado pela comissão da
academia, ele ganha direito a voto.
Como vocês devem ter notado, essas premiações envolvem muito

glamour, e é fato que muitos profissionais do setor de entretenimento
sonham em um dia ganhar um prêmio desses. Ter seu filme, música
ou série premiados significa mais divulgação, assim como um público
ainda maior. Com isso, o faturamento cresce, e atinge-se o retorno dos
investimentos iniciais. Para o elenco e para o elenco e o diretor de um
programa de TV ou filme, por exemplo, isso alavanca o seu portfólio. De
modo geral, essas premiações acabam impulsionando o setor para as
próximas produções. Mesmo que poucos saiam vencedores, só o fato
de ter sido indicado já tem efeitos muito positivos.
Bom, pessoal, chegamos ao final da nossa jornada, e espero que

vocês tenham aprendido algumas coisas novas sobre a indústria do
entretenimento. Trata-se de um negócio que movimenta muito dinheiro
e emprega milhares de pessoas. Então, na próxima vez que vocês
assistirem a uma série, aposto que vão se lembrar de todo o talento e
dedicação que foram investidos ali. Lembrem-se de todas as pessoas
e todo o trabalho envolvido na criação de universos incríveis, capazes
de nos provocar sensações e despertar sentimentos que talvez nem
soubéssemos que existiam...

242
Então... vocês estão prontos para maratonar sua próxima série favorita?
E... corta!

243
Part 2.
After so many stages to make some entertainment works possible, recognition is

something well-deserved. In some niches of the entertainment industry, it comes
in the form of awards. And that is the theme of this last chapter.
Take a look at the following excerpt on the subject:
AWARD NOUN
prêmio / premiação
Various segments of the entertainment industry have their own specific

award ceremonies.
Vários segmentos da indústria de entretenimento têm suas próprias
cerimônias de premiações.
In the previous sentence, we have the word award, which is a noun, and means
a prize given to someone for good accomplishments. In this case, it is part of
a compound noun, award ceremonies, the plural form of award ceremony. As
ceremony is the second word of the compound noun, and it ends in consonant +
-y, we drop the letter -y and add -ies.
In addition to forming compound words, award also comes in some collocations.
For example:
COLLOCATIONS
to be nominated for an award

ser nomeado a um prêmio / uma premiação
I wonder if my son William is going to be nominated for an award

someday.
Eu me pergunto se meu filho William será indicado a um prêmio algum dia.

244
To be nominated for an award means to be considered to receive a prize or

recognition. In the previous sentence, we can assume William is an actor, and his
father or mother is wondering if he will ever be recognized for his work.
Now, take a look at the following collocation with award:
COLLOCATIONS
the award goes to somebody / something

o prêmio vai para alguém / algo
I can hear the host say: “And the award goes to William!”
Eu posso ouvir o apresentador dizendo: “E o prêmio vai para William!”
The award goes to… is an expression used mainly to announce who won the
award, followed by the name of the person or institution. In this context, we
commonly use this collocation in the simple present.
Also note the noun host, which is the awards ceremony presenter. This noun can
be used to refer to either a man or a woman. However, you may hear the noun
hostess, which is used to refer exclusively to women.
There are yet other collocations with award that are worth mentioning. Take a
look:
COLLOCATIONS
to win an award to get / receive an award

ganhar um prêmio receber um prêmio
William is the most capable actor I know. He may win many awards.
William é o ator mais capaz que eu conheço. Ele pode ganhar muitos
prêmios.
To win an award is synonymous with to get or to receive an award. In the

previous example, awards is the plural form. Since it is a countable noun, it is
quantified by many.
In the entertainment industry, sometimes the nominees cannot attend the awards
ceremony. In this case, they may send someone to receive the award for them.
Their representative usually says:

245
ON / IN BEHALF OF SOME ONE

como representante de alguém
Leo cannot be here tonight, so I’m going to receive this award on his
behalf. Thank you!
Leo não pode estar aqui esta noite, então vou receber este prêmio em nome
dele. Obrigado!
On behalf of someone means as someone’s representative. We can use either

the preposition on or in in this expression.
Award can also be used as a verb:
TO AWARD
premiar / conceder um prêmio (oficialmente)
And, in this case, it does not refer exclusively to the entertainment context.
We can use the verb to award whenever there is an official decision to give
someone a prize or recognition for something they have done.
There are two possible ways to form sentences with this verb. For example:
TO AWARD SOMEBODY SOME THING

premiar alguém com algo / conceder a alguém algum prêmio
The committee is going to award William the Silver Cube Award.

O comitê vai conceder a William o Prêmio Cubo de Prata.
In the previous sentence, we used to award somebody something: William

takes the place of somebody, and the Silver Cube Award takes the place of
something.
Another way of saying the same thing would be:
TO AWARD SOME THING TO SOMEBODY

premiar algo a alguém / conceder algum prêmio a alguém
The committee is going to award the Silver Cube Award to William.

O comitê vai conceder o Prêmio Cubo de Prata a William.

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Now, we are using to award something to somebody. So, after the verb to
award, comes the Silver Cube Award, and, then, comes the person to whom
they are giving it—to William. Note that we need to use the preposition to in
order to indicate the person who receives the award.
An award can also be given in the form of money, and we can mention the
amount being awarded. For example:
TO AWARD AN AMOUNT OF MONE Y TO SOMEBODY

conceder um prêmio em dinheiro a alguém
The Actors Board will award ten thousand dollars to the best actor of
the season.
O Conselho de Atores vai conceder dez mil dólares ao melhor ator da
temporada.
In the previous sentence, we have the verb to award, followed by the amount
of money, ten thousand dollars, and the person who receives it, the best actor
of the season. Notice that we are using a variation of the formation to award
something to somebody; therefore, we need to use the preposition to.
We could also say, without changing the meaning:
TO AWARD SOMEBODY AN AMOUNT OF MONE Y

conceder a alguém um prêmio em dinheiro
The Actors Board will award the best actor of the season ten thousand
dollars.
O Conselho de Atores vai conceder ao melhor ator da temporada dez mil
dólares.
In the former example, we have the verb to award, followed by who receives
the award, the best actor of the season, and the amount of money received, ten
thousand dollars. Now, we used the formation to award somebody something,
so there is no preposition in this case.
The word award can commonly be mistaken for the word reward. However,
these two words are used in quite different contexts.
Award refers to a prize that is part of a larger process, in which people are
nominated and the winners are revealed at an official ceremony. This prize is
necessarily something material: a statuette, a medal, which may or may not be
combined with a prize in cash, or a large sum of money itself.
To understand the meaning of award, consider the following context:

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A co-worker named Melissa created a project that has revolutionized

the company. At the end of the year, the projects that stand out the
most receive an award in a special ceremony, with all sectors of the
company brought together.
Uma colega de trabalho chamada Melissa criou um projeto que revolucionou
a empresa. No final do ano, os projetos que mais se destacam recebem
uma premiação em uma cerimônia especial, que reúne todos os setores da
empresa.
So, we can say:
AWARD
prêmio
Melissa is going to win an award by the end of the year.

Melissa vai ganhar um prêmio no final do ano.
In the previous sentence, we used to win an award to talk about the grand prize
that the company is going to grant Melissa, the one who created the project. By
choosing to use the word award, we can assume this is a prize which involves
something material, and we know that there will be an official ceremony to hand it to
her.
On the other hand, the term reward is closest in meaning to the noun compensation,
and it may or may not be something of material value. It can be a cash reward, but it
can also be a recognition card someone writes, for example.
In short, reward is a token of appreciation given to someone in return for doing
something nice. It is a much simpler process compared to an award, one that does
not involve being nominated or even an official ceremony.
Melissa’s daughter has improved her performance in a subject she had

been struggling with at school throughout the year. To show her daughter
she appreciated her effort, Melissa decides to give her a reward.
A filha de Melissa melhorou seu desempenho em uma matéria na qual ela
vinha tendo dificuldades na escola ao longo do ano. Para mostrar à filha que
preza seu esforço, Melissa decide dar a ela uma recompensa.

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So, she says:
COLLOCATIONS
to get / receive a reward

receber / ganhar uma recompensa
You’ll get a reward for your better grades: you can go to the beach with
your friends on vacation.
Você vai ganhar uma recompensa pelas suas notas melhores: você pode ir
para a praia com seus amigos nas férias.
In the previous sentence, we used a collocation, to get a reward, which means to

receive or to earn some kind of compensation. In this case, this compensation is
to be able to go to the beach with some friends.
There is also another commonly used collocation with reward. Take a look:
COLLOCATIONS
to bring rewards
trazer recompensas
Working in this film will bring me a lot of rewards.

Trabalhar neste filme vai me trazer muitas recompensas.
In the former example, there is the collocation to bring rewards, which means to
receive benefits as a result of doing something. The idea here is that working
in the film will bring or generate personal benefits that are not necessarily
material. It does not refer to anything grand and official.
Also note that we have the quantifier a lot of, which means a large number or
amount, quantifying rewards, a plural noun.
Now, see the following example using award instead of reward:
RE WARD ≠ AWARD
Working in this film will bring me a lot of awards.

Trabalhar neste filme vai me trazer muitos prêmios.

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By using awards, we are necessarily talking about an official recognition involving something
material as a prize, like a statuette, for example. It will probably involve an official ceremony and
being nominated.
But the noun reward can also be used in different contexts. Consider the following one,
describing a western movie:
Dust, cowboys, hay rolling in a barren setting. Billy, the Nutty, has to be punished for
his crimes, but he is nowhere to be found. He’s a clever villain, and always manages
to escape in time. Poor Sheriff…
Poeira, caubóis, feno rolando em um cenário árido. Billy, o Maluco, tem que ser punido por
seus crimes, mas ele está longe de ser encontrado. Ele é um vilão muito esperto e sempre
dá um jeito de fugir a tempo. Pobre Xerife...
So, the story leads to the following:
COLLOCATIONS
to offer a reward
oferecer uma recompensa
The Sheriff will offer a five-hundred-dollar reward for Billy,

the Nutty.
O Xerife vai oferecer uma recompensa de quinhentos dólares por
Billy, o Maluco.
In the previous sentence, we used the collocation to offer a reward, which means to offer
money to people for helping the police solve a crime or find a criminal. Note that we have
the preposition for to indicate what or who is the reason for the reward. In the previous case,
the reason is Billy.
In this case, a five-hundred-dollar reward is the sum of money someone will get for finding
Billy, the Nutty. Also notice that there is a cardinal number forming the compound adjective
five-hundred-dollar. We studied this construction in chapter two of this module.
In the same context, there is yet another collocation we can use with the noun reward. Let’s
suppose the western movie’s plot continues as follows:
Catrina, Billy’s girlfriend, decides to hand him over to the Sheriff to get the reward.
Catrina, a namorada de Billy, decide entregá-lo ao Xerife para receber a recompensa.

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So, we can say:
COLLOCATIONS
to claim a reward
reivindicar uma recompensa
Catrina will claim the reward for her lover Billy.

Catrina vai reivindicar a recompensa pelo seu amante, Billy.
To claim a reward means to demand compensation, and it is also followed by

the preposition for. Note that, in the previous sentence, we used the definite
article the instead of the indefinite article a in the collocation. This happened
because we know what reward we are talking about: it is not any reward; it is
specifically the one they are offering for Billy.
Reward can also be used as a verb, to reward. Take a look:
TO RE WARD
recompensar
The committee wants to reward the supporting cast of the film with
proper recognition.
O comitê quer recompensar o elenco de apoio do filme com o devido
reconhecimento.
To reward means to give someone something for having done something

nice. In the previous example, note that the reward is proper recognition, which
is the public respect and thanks for someone’s work or achievements; therefore, it
is nothing material or a cash prize, for example.
It would be different from saying:
TO RE WARD ≠ TO AWARD
recompensar ≠ premiar
The committee wants to award the supporting cast of the film.

O comitê quer premiar o elenco de apoio do filme.

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When we use the word award, we are talking about something greater
than just some recognition, like a sum of money or other material good.
Another characteristic usually involving an award is a voting process
to choose who will be awarded. And here is how it usually happens in
famous movie awards academies:
BALLOT
cédula (de votação)
Attendees receive a ballot at the end of each screening

to cast their vote.
Os frequentadores recebem uma cédula ao final de cada exibição
para votar.
Ballot is a noun that refers to a piece of paper on which you write your vote.
Ballot can also be a verb, to ballot. For example:
TO BALLOT FOR / VOTE FOR SOME THING OR SOME ONE

votar em algo ou alguém
The committee must ballot for the best script.

O comitê deve votar no melhor roteiro.
O comitê deve decidir por votação o melhor roteiro.
To ballot for something or someone means to vote for something or someone. It

means the committee will decide the best script by voting for it.
There is yet another expression with the verb to ballot. Take a look:
TO BALLOT SOME ONE ON / OVER SOME THING

consultar alguém / solicitar votos de alguém sobre algo
The producer will ballot the crew members over how they want to get paid.
O produtor vai consultar a equipe sobre como eles querem ser pagos.
To ballot someone on or over something means to consult someone on their

votes. Note that the previous sentence means that the crew is going to decide on
how they wish to get paid, and the producer is the one asking what their choice is.
Using the word ballot as a noun, we can also form a collocation. Take a look:

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TO CAST A BALLOT / A VOTE

votar em uma eleição
The board will have to cast a ballot on the company’s new

president next month.
A diretoria vai ter que votar no novo presidente da empresa no
próximo mês.
To cast a ballot means the same as to vote in an election, and it is

synonymous with to cast a vote. In the previous sentence, we are referring
to electing the president of a company. This collocation can be used in lots
of different contexts involving elections of any kind.
Note that in the collocations to cast a ballot and to cast a vote, vote and
ballot are nouns, and to cast is a verb.
To cast has yet another meaning. Take a look:
TO CAST
escalar (o elenco)
Danielle Morgan will cast William for her next movie.

Danielle Morgan vai escalar William para seu próximo filme.
In this context, to cast means to select. In the previous sentence, it refers to

choose actors to play particular parts in a movie. So, we can understand that
William will get chosen to be part of Danielle Morgan’s next movie.
The verb to cast can have yet a totally different meaning. Take a look:
TO CAST A SPELL ON SOME ONE

lançar um feitiço em alguém
Pandora, the witch, will cast a spell on whoever enters her castle.
Pandora, a bruxa, vai lançar um feitiço em qualquer um que entrar em seu
castelo.

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If you like films and literature with witches, fairies, and princesses, you have
definitely heard of the expression to cast a spell on someone, which means
to use words thought to be magic, especially in order to have an effect on
someone. Notice that we use the preposition on in this collocation to tell who the
spell will be cast on.
This same collocation can also be a metaphor for attracting someone’s attention,
to amaze people. For example:
TO CAST A SPELL ON SOME ONE

maravilhar / encantar alguém
The costumes of the series characters always cast a spell on the fans.
Os figurinos dos personagens da série sempre encantam os fãs.
In the previous sentence, we are not talking about magic. By cast a spell on the fans, we intend to
say that the fans are amazed by the characters’ costumes.
Cast can also be a noun, and it refers to different things depending on the context.
First, when we break a leg or an arm bone, we must keep it immobilized until it is healed. We do
that by wearing a cast. For example:
CAST
gesso
Aleck will have to wear a cast for three months.

His leg is broken.
Aleck vai ter que usar um gesso por três meses.
A perna dele está quebrada.
In the previous example, cast refers to a hard case made of plaster used in the process of recovery
of damaged bones in our body.
In the context of entertainment and arts, the meaning of the noun cast drastically changes.
Take a look:
CAST
elenco
The cast of this series is very powerful. It’s amazing!

O elenco desta série é muito potente. É incrível!

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In the previous sentence, cast refers to a group of actors. In this case, it is the
group of actors in a series, but it could also be in a movie, a show or any kind of
performance.
There are some collocations with adjectives and cast, defining different types
of cast. For example:
COLLOCATIONS WITH ADJE CTIVES
strong cast talented cast

elenco forte / elenco de peso elenco talentoso
all-star cast
elenco de estrelas /
elenco com atores muito famosos
Strong cast means a group of highly qualified actors, especially when they
are very famous and influential; talented cast is a group of skilled actors; and
all-star cast means a group of very famous actors, like celebrities and public
personalities. Note that all-star is a compound adjective.
There is yet a collocation with another adjective and cast. Take a look:
COLLOCATIONS WITH ADJE CTIVES
supporting cast
elenco de apoio /
elenco coadjuvante
Supporting cast refers to the actors in a play, film, or television show that are
not the main stars. They are the ones supporting the scene around them and
other main characters.
The cast is part of some award categories at film, television, and theater
festivals. Check out some of them:

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AWARD CATE GORIES
best actor best supporting actor

melhor ator melhor ator coadjuvante
best actress best supporting actress

melhor atriz melhor atriz coadjuvante
By best we can understand that we are selecting the one who stands out among
all the leading and supporting actors and actresses nominated.
We can also award many other functions of the pre-production and production
stages. Take a look:
AWARD CATE GORIES
best picture best director

melhor filme melhor direção
best original screenplay

melhor roteiro original
Best picture awards the most noteworthy movie at that time. Along with director
and original screenplay, these are awards referring to production stages.
In the post-production area, we can award:
AWARD CATE GORIES
best film editing best visual effects

melhor edição melhores efeitos visuais

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Film editing and visual effects are part of the post-production stages because
they cannot start until there is some material ready.
These awards are part of not only major awards events, but smaller ones that
serve to boost the movie’s popularity, especially before it is released to the
public. Take a look:
Many producers choose to release their films first on the festival circuit
so they can win some awards and enjoy some visibility and marketing.
Muitos produtores optam por lançar seus filmes primeiro no circuito de
festivais para que eles conquistem alguns prêmios e possam aproveitar um
pouco de visibilidade e marketing.
In the previous excerpt, observe the collocation to win an award in they can win
some awards. The noun awards is in the plural, and its being quantified by some.
This quantifier indicates an indeterminate but sufficient amount of something.
Now, pay attention to the use of the verb to enjoy. In the previous sentence, it
means to benefit from something. Have a look at another example with this same
meaning:
TO ENJOY
desfrutar / aproveitar
Danielle may enjoy the popularity of her movie after the film festival.
Danielle pode aproveitar a popularidade de seu filme após a mostra de cinema.
In the former example, to enjoy is a more formal way of saying to take some
advantage of something. That is, Danielle’s popularity is a benefit she will get from
the film festival.
To enjoy can also be a synonym for the verb to like. Take a look:
TO ENJOY
gostar
I enjoy going to the movies on Sundays.

Eu gosto de ir ao cinema aos domingos.

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In the previous example, when we use to enjoy, we are saying that we like going
to the movies, that is, going to the movies gives us some pleasure.
When people enjoy a movie, it tends to receive a lot of attention. Another way to
make it more popular is by winning awards. With that in mind, we could say:
Having your movie, song, or series awarded means more publicity, as

well as an even larger audience.
Ter seu filme, música ou série premiados significa mais divulgação, assim
como um público ainda maior.
In the previous sentence, note the noun publicity, which refers to the attention
someone or something gets from the media.
There is another noun that can be related to publicity. Take a look:
PUBLIC
público
Madonna is adored by her public.

Madonna é adorada por seu público.
Public is a noun that can be used to refer to a group of people who like a certain
band, film, writer, and so on.
It can be similar to the noun audience. Take a look:
AUDIENCE
público / plateia
The audience is attentive to Johnny Richard’s

lecture on healthy eating.
O público está atento à palestra de Johnny
Richards sobre alimentação saudável.

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Besides referring to the specific people who enjoy a specific kind of

entertainment, a specific event, or a specific artist, the noun audience can
also be used to refer to the people that come to watch and listen to someone
acting, singing, or performing.
Audience refers necessarily to a group. To mention one person in it, we can say:
A MEMBER OF THE AUDIENCE

um membro do público / da plateia
A member of the audience has a question for you, Mr. Richards.

Um membro da plateia tem uma pergunta para você, Sr. Richards.
Now, we are referring to just one person out of all the others in the audience, in
this case, a person who has a question.
When we talk about people watching a TV show, we can say:
viewers viewer
espectadores / telespectadores espectador / telespectador
Viewers will cast a vote to decide the season finale for this series.
Os espectadores vão votar para decidir o final da temporada desta série.
Viewers is used to refer to people watching something on TV or other similar media. To

refer to just one person watching, we use this term in the singular form, viewer.
There is also a way of referring to people who go see sport events. Take a look:
spectators spectator
espectadores espectador
Spectators must be careful when leaving the stadium.

Os espectadores devem ter cuidado ao sair do estádio.

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The noun spectators is commonly used to refer to people who watch sports events at
the stadiums. We can also use the singular, spectator, to speak of one person.
To refer to a large, unorganized mass of people, normally we use the noun crowd, as in:
CROWD
multidão
The crowd will go crazy over Lolly Poppy’s concert!

A multidão vai enlouquecer com o show da Lolly Poppy!
Crowd is generally applicable in situations with large concerts or sporting

events. It is also a word that refers to a whole group, so to speak of one person
in it we may say:
A MEMBER OF THE CROWD

um membro da multidão
There is a member of the crowd causing too much confusion.

Há um membro da multidão causando muita confusão.
Beware that the previous explanation on the uses of the nouns public, audience,
viewer, spectator, and crowd is based on frequency of use. It does not mean
that one term or another cannot be seen being used in different ways and
contexts.
Now, you know different ways to refer to the people in

the entertainment context. You have also learned some
collocations with award, reward, and cast, as well as
some award categories.

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Part 3.
Activities
( 1 ) ser nomeado a um prêmio ( ) award
( 2 ) ganhar um prêmio ( ) to ballot for something or someone
( 3 ) prêmio / premiação ( ) to cast
( 4 ) receber / ganhar uma recompensa ( ) to ballot someone on / over something
( 5 ) trazer recompensas ( ) reward
( 6 ) votar em algo ou alguém ( ) to be nominated for an award
( 7 ) multidão ( ) to bring rewards
( 8 ) cédula (de votação) ( ) crowd
( 9 ) escalar (o elenco) ( ) supporting actress
( 10 ) recompensa ( ) to get / receive a reward
( 11 ) atriz coadjuvante ( ) ballot
( 12 ) consultar alguém / solicitar votos de alguém ( ) to win an award

sobre algo
1. The committee wants to the supporting cast of the film with proper
recognition.
O comitê quer recompensar o elenco de apoio do filme com o devido reconhecimento.
2. The Sheriff will a five-hundred-dollar reward for Billy, the Nutty.

O Xerife vai oferecer uma recompensa de quinhentos dólares por Billy, o Maluco.
3. Catrina will the reward for her lover Billy.

Catrina vai reivindicar a recompensa pelo seu amante, Billy.
4. The board will have to on the company’s new president next month.
A diretoria vai ter que votar no novo presidente da empresa no próximo mês.

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5. Pandora, the witch, will on whoever enters her castle.

Pandora, a bruxa, vai lançar um feitiço em qualquer um que entrar em seu castelo.
6. Danielle may the popularity of her movie after the film festival.
Danielle pode aproveitar a popularidade de seu filme após o festival de cinema.
6. enjoy 12. to ballot someone on / over something 6. to ballot for something or someone
5. cast a spell 11. supporting actress 5. to bring rewards
4. cast a ballot / cast a vote 10. reward 4. to get / receive an award
3. claim 9. to cast 3. award
2. offer 8. ballot 2. to win an award
1. reward 7. crowd 1. to be nominated for an award

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Part 4.
Throughout our journey in this module, we saw different classes of words: nouns, verbs,
cardinal and ordinal numbers, as well as many other elements and different uses of
English words.
We are going to start this last grammar section by reviewing another important element
that we saw: adjectives.
In the vocabulary part of this chapter, there was the following sentence:
ADJE CTIVES
The Sheriff will offer a five-hundred-dollar reward for Billy, the Nutty.
O Xerife vai oferecer uma recompensa de quinhentos dólares por Billy, o Maluco.
In the previous sentence, we have five-hundred-dollar, which is a compound

adjective formed by the cardinal number five hundred and the noun dollar
connected by hyphens. This compound adjective characterizes the noun reward.
The function of adjectives is to give characteristics to nouns; and, as seen in the
previous example, it usually comes before the noun.
However, in previous chapters, we learned adjectives can be used to make
descriptions with the verb to be. In that case, the adjective comes after the verb.
Take a look at the following example extracted from chapter four:
ADJE CTIVES
That artist is memorable on stage.

In the former example, the adjective memorable qualifies the noun artist. Notice
that the adjective comes after the verb to be; therefore, after the noun it qualifies.
The verb comes between the noun and the adjective.
Take a look at another example, now from chapter two:

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ADJE CTIVES

Existem boas oportunidades de lucro onde a demanda é bem definida.
The compound adjective well-defined is formed by well and defined,

characterizing the noun demand. Note that it also comes after the verb to be,
and well-defined is part of the complement.
Nonetheless, we have another adjective here: good is qualifying profit
opportunities. Now, notice that good comes before the compound noun profit
opportunities because the adjective and the noun are side by side.
It is important to remember that we also saw adjectives within comparisons of
equality in chapter six. Take a look:
COMPARISON OF E QUALIT Y
The second episode of this series is as good as the first one.

O segundo episódio desta série é tão bom quanto o primeiro.
In the previous sentence, the adjective good is within as... as to state that the second and the first
episodes are equally good. We use as... as to make comparisons of equality, that is, to say that two
elements share the same intensity of the same characteristic.
If we want to say that something has more of a characteristic than something else, or that
something has less of a quality than something else, we are going to use the comparatives.
The comparative form is used to compare two elements. They may be people, things, and places. It
expresses a difference in relation to a specific quality.
Some comparatives will be formed by adding the suffix -er to the root adjective when this adjective
has two syllables. For example:
COMPARATIVE FORM
short adjective + -er
long longer short shorter cool cooler

longo(a) mais longo(a) curto(a) mais curto(a) legal mais legal

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Long, short and cool are all considered short adjectives, so we just add -er to the end to form
the comparatives. Take a look at the following example:
COMPARATIVE FORM
The second movie is longer than the first.

O segundo filme é mais longo do que o primeiro.
In the previous sentence, note that we are comparing two movies: the second and the first.
You do not need to repeat the word movie again because it is implicit in the context.
The structure of the former example is, first, the element we are comparing, the second movie,
followed by the verb to be, and the comparative form longer. After the comparative, we used
the word than to introduce the second element of comparison.
We need to use than whenever we mention the second element we are comparing in a full
sentence. It would not be necessary if the second element had already been mentioned
previously in the context. For example:
COMPARATIVE FORM
Both movies are good. But the second is longer.

Ambos os filmes são bons. Mas o segundo é mais longo.
Both is a word used to refer to two elements; so, by saying both movies, we
ensure we are talking about two movies.
In the first sentence, we say both movies are good. In the second sentence,
we compare the two movies in terms of duration; then, we mention just the
second one as longer. In this case, we do not need to use the word than after the
comparative form, as the first movie is implicit.
COMPARATIVE FORM
This song is cooler than the other one.

Esta música é mais legal do que a outra.

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In the previous sentence, cooler is used to compare one song to another. Note
that we use than after the comparative because we mention the second element
being compared. The word one, in this case, is not a number, but a pronoun used
to replace the noun song.
We could also say:
COMPARATIVE FORM
The other song is okay, but this one is cooler.

A outra música é okay, mas esta é mais legal.
In the previous example, the comparison is implicit, as we say one song is okay,
and then we compare it with a different song saying it is cooler. With that, we
do not use than after the comparative form. Also note that the term song was
replaced by one in the second part of the sentence.
There is another rule for using comparatives that applies for long adjectives, that
is, the ones that have three or more syllables. In this case, we use more... than
to make comparisons of superiority, and less... than to make comparisons of
inferiority. For example:
COMPARATIVES
Superiority Inferiority
more + long adjective (+ than) less + long adjective (+ than)
more essential less essential

mais essencial menos essencial
The adjective essential becomes more essential when making comparisons of

superiority; to make comparisons of inferiority, we use less essential.
Note that the adjective remained intact, and we just added more or less before
it. More is the opposite of less; so, these pairs are opposite amongst each other.
Take a look at other examples:

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COMPARATIVES
more + long adjective (+ than) less + long adjective (+ than)
more manageable less manageable

mais gerenciável menos gerenciável
more capable less capable

mais capaz / possível menos capaz / possível
When we use comparatives of superiority, we are saying that one element

is superior in a certain characteristic compared to a second element. As with
comparatives of inferiority, we convey the idea that one element is inferior in a
certain quality.
Check out the following example:
COMPARATIVE FORMS
Superiority
Our current shooting plan is more manageable than the previous one.
Nosso plano de filmagem atual é mais gerenciável do que o anterior.
In the former example, we are comparing our current shooting plan with the
previous shooting plan. Note that we need to use the word than in this sentence
construction, since we are mentioning the second element.
We use more manageable to make a comparison of superiority, that is, to say
that our current shooting plan is superior considering how manageable it is
compared to the one we had before.
If we want to imply an idea of inferiority, we will have:
COMPARATIVE FORMS
Inferiority
Our current shooting plan is less manageable than the previous one.
Nosso plano de filmagem atual é menos gerenciável do que o anterior.

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In this case, we use less manageable than to say that our current plan is inferior
when it comes to being manageable, compared to the old one.
Besides the two rules we previously mentioned to form comparatives, there are
also some exceptions, and some comparatives are completely different from the
original adjective.
COMPARATIVE FORMS
Irregular forms
Now I have better grades than last year, I must get a reward!
Agora que tenho notas melhores que as do ano passado, eu devo ganhar
uma recompensa!
In the previous sentence, we used better to qualify the noun grades. Better is the
comparative of the adjective good.
Check another example:
COMPARATIVE FORMS
Irregular forms
good better
bom melhor
The second episode of this series is better than the first one.
O segundo episódio desta série é melhor do que o primeiro.
In the former example, we compare the second episode and the first one using
better followed by than to say that one is superior to the other. Also note that
one, in this case, is being used as a pronoun that replaces the noun episode.
Another exception is bad, which we saw in a collocation in chapter six. Take a
look:

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COMPARATIVES
Irregular forms
bad worse
ruim pior
I have no cash and, to make matters worse, I don’t have my credit card either.
Eu não tenho dinheiro vivo e, para tornar as coisas piores, também não estou com
meu cartão de crédito.
Worse is the comparative of the adjective bad. In short, we have a bad situation, which
is I have no cash, and the second bad situation, which is not having a credit card
either. Worse is being used in the previous example to compare two situations, and the
second one makes everything worse.
We can also compare the quantity of things. To do so, we are going to use quantifiers
to say that we have more or less of something. For example:
COMPARING QUANTITIES
Countable nouns
Monica has few investments in the stock market.

Monica tem poucos investimentos na Bolsa de Valores.
In the previous example, few is a quantifier used to refer to small quantities. In

this case, few is quantifying investments, a countable noun.
Now, to compare the number of investments, we could say:
Countable nouns
Monica has fewer investments in the stock market than Antonio.

Monica tem menos investimentos na Bolsa de Valores do que Antonio.
Fewer is the comparative of the quantifier few. Since it has only one syllable,
we add -er. This sentence implies that the number of investments Monica has is
inferior to the number of investments Antonio has.
Notice we used than because we mention Antonio, and, implicitly, his
investments.

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We learned in chapter two that some quantifiers are used just with countable
nouns–which is the case of few and its comparative fewer–whereas others are
used just with uncountable nouns.
So, with uncountable nouns, the quantifier used to imply small amounts
changes, as well as its comparative. Take an example:
Uncountable nouns
Monica has little money for investments.

Monica tem pouco dinheiro para investimentos.
In the previous sentence, we use little because we are talking about a small
amount of money, which is an uncountable noun.
If we were to compare this small amount of money, we could say:
Uncountable nouns
Monica has less money for investments than Antonio.

Monica tem menos dinheiro para investimentos do que Antonio.
Less is the comparative of little, that is, it is an irregular comparative. It does not
follow the general rule of adding a suffix to short adjectives.
Also notice that, in this case, we must use than because we are mentioning
Antonio and, implicitly, his money. It would be like saying she has less money
than the money Antonio has. Since it is all clear in the context, there is no need to
be repetitive.
It is important to highlight that a little and a few–which are quantifiers that imply
small but sufficient quantities–do not have corresponding comparatives.
To talk about large quantities of countable nouns, there is the quantifier many;
for uncountable nouns, the quantifier much; and, for both countable and
uncountable nouns, we can use a lot of or lots of. When it comes to making
comparisons, we are going to use the same comparative.
For example, if we say:

270
Countable nouns
Monica has many investments in the stock market.

Monica tem muitos investimentos na Bolsa de Valores.
Many is a quantifier used to talk about large quantities of countable nouns. In the
previous sentence, many refers to the quantity of investments.
To say that Monica has a larger quantity of investments than someone else, we say:
Countable nouns
Monica has more investments in the stock market than Antonio.

Monica tem mais investimentos na Bolsa de Valores do que Antonio.
More is the comparative of many; it is an irregular comparative. Note that we

also used the word than because we mentioned the second element, Antonio.
As previously mentioned, for uncountable nouns, we will also use more. For
example, if we say:
Uncountable nouns
Monica has a lot of money for investments.

Monica tem muito dinheiro para investimentos.
Money is an uncountable noun, and, in the previous sentence, it is being

quantified by a lot of.
To make a comparison, we can say:
Uncountable nouns
Monica has more money for investments than Antonio.

Monica tem mais dinheiro para investimentos do que Antonio.

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In the former example, we also used more to compare two quantities. More is
the comparative of much, a lot, and lots of as well. Note that we also used than
to say that Monica has more money than Antonio, that is, a larger amount of
money compared to him.
In addition to making comparisons between one element and another, it is also
possible to compare a thing, person, or place with a group of things, people, or
places of the same type. In this case, we need to use the superlative form.
In the vocabulary section of this chapter, we saw this situation with an irregular
superlative form. Take a look:
SUPERL ATIVE FORM

Irregular form
good best
bom melhor
The Actors Board will award the best actor of the season.
O Conselho de Atores vai premiar o melhor ator da temporada.
Best is the superlative form of the adjective good. So, this actor is the best
compared to all other actors considered to win this award. Notice that before
the superlative form, we use the definite article the.
Among the irregular superlative forms, we also have worst, which corresponds
to the adjective bad. Take a look:
SUPERL ATIVE FORM
bad worst
ruim pior
The Golden Raspberry awards the worst movies of the year.

O Framboesa de Ouro premia os piores filmes do ano.
Worst is the superlative form of bad. In the previous example, worst movies
implies there are no other movies as bad as these ones. Again, note the use of the
definite article the before the superlative form.
In addition to the irregular superlative forms we just mentioned, there are also
the ones based on the general rule of number of syllables, as it happens with
comparatives.
For short adjectives, which are up to two syllables, we will add the suffix -est.
For example:

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SUPERL ATIVE FORM

the + short adjective + -est
long the longest

longo(a) o mais longo / a mais longa
short the shortest

curto o mais curto / a mais curta
cool the coolest

legal o mais legal / a mais legal
As you can see, they are all preceded by the definite article the.
Observe the use of one of them in a sentence:
SUPERL ATIVE FORM
This is the longest film of Jack Leonoff’s career.

Este filme é o mais longo da carreira de Jack Leonoff.
In the previous example, the longest qualifies the noun film. Note how we
compare one movie with all the others that Leonoff has ever made.
The superlative form of longer adjectives, that is, the ones with three syllables
or more, will be formed by adding words, not suffixes. For example:
SUPERL ATIVE FORM
the most + long adjective the least + long adjective
the most essential the least essential

o(a) mais essencial o(a) menos essencial
the most manageable the least manageable

o(a) mais gerenciável o(a) menos gerenciável
the most capable the least capable

o(a) mais capaz / possível o(a) menos capaz / possível

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We use the most before adjectives to make the superlative form of superiority, that
is, to show that something stands out as superior in a certain quality compared to
all others of its kind. The superlative of inferiority of long adjectives is formed by
adding the least before the adjective, and it is used to say that an element is inferior
in a certain quality compared to all others of its kind.
Compare the examples:
SUPERL ATIVE FORM
Superiority
the most + long adjective
William is the most capable actor I know. He may win many awards.
William é o ator mais capaz que eu conheço. Ele pode ganhar muitos prêmios.
In the previous sentence, there is the most capable, used to mention that William is
the one that stands out in that quality amongst all others. There is no other known
actor that can be considered as capable as him.
On the other hand, if we were to talk about an inferior quality, we would say:
SUPERL ATIVE FORM
Inferiority
the least + long adjective
Kayla is the least capable actress I know for this role.

Kayla é a atriz menos capaz que eu conheço para esse papel.
In the previous example, we used the least capable to say that Kayla was the worst
possible choice for this role, since she is the one that stands out for having no skills
to play it.
In order to understand the difference in use between the comparative form and the
superlative form, keep the following in mind: comparatives compare one element
with another, whereas the superlative form compares one with a whole group of
its kind.

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In this chapter, you learned how to make comparisons using

comparatives and the superlative form. You have also reviewed the
use of adjectives and learned how to compare quantities. If you
want to learn more about these topics, you can refer to the Grammar
Guide section at the end of your book.
GRAMMAR GUIDE
Adjectives Page 279

Comparatives Page 292
Superlative Form Page 362

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Part 5.
Activities
A. Complete the chart with the correct form of the adjectives:
Adjective Comparative Form Superlative Form

bad 1. 2. the
capable more capable 3. the
cool 4. the coolest
essential 5. the most essential
good better 6. the
long longer 7. the
short shorter 8. the
B. Fill in the blanks with the missing pronouns.
1. Monica has money for investments than Antonio.

Monica tem mais dinheiro para investimentos do que Antonio.
2. Kayla is the capable actress I know for this role.

Kayla é a atriz menos capaz que eu conheço para esse papel.
3. Monica has investments in the stock market than Antonio.

Monica tem mais investimentos na Bolsa de Valores do que Antonio.
4. Monica has money for investments than Antonio.

Monica tem menos dinheiro para investimentos do que Antonio.
5. Monica has investments in the stock market than Antonio.

Monica tem menos investimentos na Bolsa de Valores do que Antonio.

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6. Our current shooting plan is manageable than the previous one.

Nosso plano de filmagem atual é mais gerenciável do que o anterior.
8. shortest
7. longest
6. more 6. best
5. fewer 5. more essential
4. less 4. cooler
3. more 3. most capable
2. least 2. worst
1. more 1. worse

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Grammar Guide.
Adjectives
Adjectives are used to describe ADJE CTIVES
things. We can use adjectives to Subject + Verb + Adjective
describe objects, people, places,
the weather, and food, for example.
Mary is smart.
Adjectives don’t have singular Mary é esperta.
or plural forms or feminine and (subject: Mary + verb: is + adjective: smart)
masculine, and they always refer
to nouns or pronouns. John is smart.
Adjectives are used mainly in two John é esperto.
positions. In the first one, a noun or a (subject: John + verb: is + adjective: smart)
pronoun is the subject of the sentence,
followed by the verb and the adjective. Mary and John are smart.
Mary e John são espertos.
(subject: Mary and John + verb: are + adjective: smart)
The other position for adjectives is right before the noun to which they refer.
In this case, we’ll have a determiner (if necessary), the adjective and the noun.
Take a look:
ADJE CTIVES
(Determiner) + Adjective + Noun
Mary has a great job.

Mary tem um ótimo emprego.
(determiner: a + adjective: great + noun: job)
John has a great job.

John tem um ótimo emprego.
(determiner: a + adjective: great + noun: job)
Mary and John have great jobs.

Mary e John têm ótimos empregos.
( no determiner + adjective: great + noun: job)

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In this second structure, it’s possible to use a determiner or not. But what is a determiner?
A determiner can be an article, such as the, a, or an; a demonstrative, such as this, that,
these, or those; or a possessive adjective, such as my, your, his, her, its, our, or their.
DE TERMINERS
Article: the/a/an
Artigo: o(a) / um(a)
Demonstratives: this; these / that; those

Pronomes demonstrativos: este(a), esse(a); estes(as) esses(as) / aquele(a); aqueles(as)
Possessive adjectives: my / your / his / her / its / our / their

Pronomes possessivos: meu(s); minha(s) / teu(s); tua(s); seu(s); sua(s) /
seu; sua; dele; dela / nosso(s); nossa(s) / seus; suas; deles; delas
Let’s see some examples with determiners before the adjective and the noun.
ADJE CTIVES
(Determiner) + Adjective + Noun
Chris is the best student in the class.

Chris é o melhor aluno da sala.
(determiner: the + adjective: best + noun: student)
Look at those cute dogs!

Olha aqueles cachorros fofos!
(determiner: those + adjective: cute + noun: dogs)
Chocolate is my favorite dessert.

Chocolate é minha sobremesa favorita.
(determiner: my + adjective: favorite + noun: dessert)

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It’s possible to use two or more adjectives in a sentence. Look at the example:
ADJE CTIVES
Carnival is a beautiful big old festival.

O Carnaval é uma grande e bonita festa antiga.
(determiner: a + adjectives: beautiful, big, and old + noun: festival)
When you use more than one adjective in a sentence, there is an order to be followed. Check it out:
ADJE CTIVE ORDER
1st – Opinion 2nd – Size

Example: Amazing, beautiful, nice. Example: Big, small, tall, short.
Exemplo: Incrível, bonito(a), legal. Exemplo: Grande, pequeno(a), alto(a), baixo(a).
3rd – Physical characteristics 4th – Shape

Example: Thin, tall, short. Example: Round, square, rectangular.
Exemplo: Magro(a), alto(a), baixo(a). Exemplo: Redondo(a), quadrado(a), retangular.
5th – Age 6th – Color

Example: Old and young. Example: Blue, red, yellow.
Exemplo: Velho(a) e novo(a). Exemplo: Azul, vermelho(a), amarelo(a).
3rd – Physical characteristics 8th – Material

Example: Japanese, Italian, American. Example: Wooden, plastic, glass.
Exemplo: Japonês(esa), Italiano(a), Americano(a). Exemplo: De madeira, de plástico, de vidro.
9th – Type 10th – Purpose

Example: General, specific. Example: Cooking, cleaning, teaching.
Exemplo: Geral, específico(a). Exemplo: Para cozinhar, limpar, ensinar.
It’s not common to use many adjectives for the same noun, but it’s possible.
This is how adjectives are used in English.

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Affirmative Form
The basic affirmative sentence structure in English is the subject, depending
on the verb form, an auxiliary verb, the main verb, and the complement, if
necessary.
BASIC AFFIRMATIVE SENTENCE STRUCTURE
Subject + (Auxiliary Verb) + Main Verb + (Complement)

Sujeito + (Verbo Auxiliar) + Verbo Principal + Complemento
In English, all verb forms will take a subject that cannot be omitted from the
sentence. The only verb form in which the subject is usually omitted is the
imperative.
The subject may be omitted in the imperative form in English because it is
always used to refer to the person or people we are talking to.
IMPERATIVE FORM
Affirmative Structure:
Main Verb + Complement
Open your books.

Abram seus livros.
(Main Verb: open; Complement: your books)
Speak slowly, please.

Fale pausadamente, por favor.
(Main Verb: speak; Complement: slowly, please)

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In the affirmative of the simple forms, that is, the simple present and simple
past, the auxiliary verb is generally not used. Thus, the structure for the
affirmative form is:
AFFIRMATIVE ST RUCTURE
Subject + Main Verb + Complement (if necessary)
We go to work at 7 a.m.
Nós vamos para o trabalho às 7h da manhã.
(Subject: we; Main Verb: go; Complement: to work at 7 a.m.)
I went to the movies yesterday.

Eu fui ao cinema ontem.
(Subject: I; Main Verb: went; Complement: to the movies yesterday)
Apart from the imperative and the simple forms, every other verb form will take one or more
auxiliary verbs in the affirmative.
The auxiliary will vary according to the verb form. Modal verbs and the verbs be, have, or do can
function as auxiliaries. In the affirmative form, they will always be placed in between the subject
and the main verb. Some verb forms require more than one auxiliary verb.
Check it out:
AFFIRMATIVE STRUCTURE
Subject + Auxiliary Verb(s) + Main Verb + (Complement)
I’m reading an excellent book.

Eu estou lendo um livro excelente.
(Subject: I; Auxiliary Verb: am; Main Verb: reading; Complement: an excellent book)
You should travel with us.

Você deveria viajar conosco.
(Subject: You; Auxiliary Verb: should; Main Verb: travel; Complement: with us)
Julia has been working hard this month.

Julia vem trabalhando duro neste mês.
(Subject: Julia; Auxiliary Verbs: has been; Main Verb: working; Complement: hard this month)
And now you know the basic sentence structure of the affirmative form in English.

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Be +
Going To (Future)
The structure be + going to is often used to refer to the future.
When the structure be + going to refers to the future, the verb to be is used in
the simple present followed by going to and a verb in its base form.
BE + GOING TO: FUTURE
Be (Simple Present) + Going to + Verb (Base Form)
I’m going to travel next week.

Eu vou viajar semana que vem.
We use be + going to when we want to talk about future events or actions that were planned
beforehand. That is, when we use this structure, we may want to emphasize the fact that we
have been planning this future event.
BE + GOING TO
We are going to buy a new house.

Nós vamos comprar uma casa nova.
(The people who made this decision had to reach an agreement to decide
when, why, and how to do that.)
I am going to Mexico on my next vacation.

Eu estou indo para o México nas minhas próximas férias.
(I had to decide the destination, choose the dates, book a flight, a hotel, a car, etc.)

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Be + going to is also used to talk about predictions based on evidence. That is, according to
the speaker’s point of view, there’s evidence that this future event is going to happen.
BE + GOING TO
It’s really cloudy. It is going to rain.

Está muito nublado. Vai chover.
(The cloudy sky is an evidence.)
It’s the second time you arrive late. You are going to get into serious trouble.
É a segunda vez que você chega atrasado. Você vai ter sérios problemas.
(From the speaker’s knowledge of the facts, arriving late again is
evidence that you are getting into trouble.)
Another use of be + going to is to insist that people do or do not things. This is a

way to add emphasis to the fact that something is obligatory. Check some examples.
BE + GOING TO
You are going to wash your hand before you sit at the table.
Você vai lavar a mão antes de se sentar à mesa.
(You are telling what the person has to do, emphasizing the person has to
wash their hands first).
You are not going to play until you finish your homework.
Você não vai brincar até terminar a sua lição de casa.
(You are saying what is not going to happen—play—if something isn’t done
before—the homework.)
In informal speech, you can replace going to with gonna.
BE + GOING TO
I’m gonna talk to her.

Eu vou falar com ela.
(gonna = going to)

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Now, analyze the use of will and be + going to when referring to the future.
Mostly, you can use them interchangeably. The differences in use may be very
subtle and have a lot to do with the speaker’s intention. That happens because
choosing between will or be + going to depends on the speaker’s perspective
and interpretation of that future event. In some contexts, one structure might
sound more natural than the other.
Imagine this situation. There is a man named John

WILL VS. BE + GOING TO
who decides to propose to his girlfriend, Julia. In this
case, will is preferred.
Julia, will you marry me?

Julia, você quer se casar comigo?
There are some reasons why asking this question with will sounds more natural
and more appropriate than with going to.
First, the modal verb will convey an idea of willingness, that is, something
you want to do or want it to happen.
Primeiro, o modal verb will traz uma ideia de vontade, ou seja, algo que você
quer fazer ou quer que aconteça.
Second, John expects Julia to make an instant decision. That is, John may
have planned to propose to Julia, but Julia is listening to that for the first
time, and she’s expected to make a decision about that future event at the
moment of the conversation.
Segundo, o John espera que a Julia tome uma decisão imediata. Ou seja, o
John pode ter planejado pedir a Julia em casamento, mas a Julia está ouvindo
a proposta pela primeira vez, e espera-se que ela tome uma decisão sobre
esse evento futuro no momento da conversa.

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Now imagine that Julia accepts John’s proposal. They schedule a date
and start to plan the wedding. Julia goes to a bridal shop to choose the
dress and the salesperson may ask her about the wedding.
In this situation, be + going to sounds more natural and even more
appropriate since Julia and John have been planning this future
event beforehand.
Salesperson: When is the wedding?

Vendedor: Quando é o casamento?
Julia: It’s going to be in June.

Julia: Vai ser em junho.
Now you know more about the structure be + going to, its uses, and some
differences between will and be + going to.

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Cardinal Numbers
Cardinal numbers are used to talk about quantity. Numbers such as one,
five, twelve, and two hundred are cardinal numbers. They can be used to
refer to anything, including people. Check out some examples:
CARDINAL NUMBERS
Bob owns two companies.

Bob tem duas empresas.
Lisa works forty-four hours a week.

Lisa trabalha quarenta e quatro horas por semana.
There were about thirty thousand people at the stadium.

Havia aproximadamente trinta mil pessoas no estádio.
Here is a list with some common cardinal numbers:
CARDINAL NUMBERS
0 – Zero 10 – Ten 20 – Twenty

1 – One 11 – Eleven 21 – Twenty-one
2 – Two 12 – Twelve 22 – Twenty-two
3 – Three 13 – Thirteen 30 – Thirty
4 – Four 14 – Fourteen 40 – Forty
5 – Five 15 – Fifteen 50 – Fifty
6 – Six 16 – Sixteen 60 - Sixty
7 – Seven 17 – Seventeen 70 – Seventy
8 – Eight 18 – Eighteen 80 – Eighty
9 – Nine 19 – Nineteen 90 – Ninety

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Now check how we spell the hundreds and thousands:
CARDINAL NUMBERS
Hundreds Thousands/Millions/Billions
100 – One hundred 1,000 – one thousand
A hundred
1,500 – one thousand five hundred
200 – Two hundred fifteen hundred
300 – Three hundred 1,800 – one thousand eight hundred
400 – Four hundred eighteen hundred
500 – Five hundred 100,000 – one hundred thousand
600 – Six hundred 1,000,000 – one million
700 – Seven hundred 100,000,000 – one hundred million
800 – Eight hundred 1,000,000,000 – one billion
900 – Nine hundred 10,000,000,000 – ten billion
Notice that in English, the thousands, millions, and billions are usually separated by commas.
Round numbers between 1,100 and 1,900 can be spoken in two different ways. For example, the
number 1,500 can be pronounced as fifteen hundred or one thousand five hundred. It’s common
in informal contexts.
We generally use a instead of one to say a hundred, a thousand, and a million. We will use one
hundred, one thousand, or one million when we want to give emphasis to the exact quantity.
Compare:
CARDINAL NUMBERS
A or One
What would you do if you had a billion dollars? (Neutral)

O que você faria se tivesse um bilhão de dólares? (Neutro)
One billion dollars? I have no idea! (Emphasizing)

Um bilhão de dólares? Eu não tenho ideia. (Enfático)
The next gas station is about a hundred miles from here. (Neutral)
O próximo posto de gasolina fica a mais ou menos cem milhas daqui. (Neutro)
Do we really have to drive one hundred miles up to the next gas station? (Emphasizing)
A gente tem mesmo que dirigir cem milhas até o próximo posto de gasolina? (Enfático)

289
Since cardinal numbers are used to specify quantities, it is very common to use them when we talk about
prices and values. For example:
CARDINAL NUMBERS
Prices and Values
I bought an airline ticket from New York to Sydney for twelve hundred dollars (U$ 1,200).
Eu comprei uma passagem de Nova York a Sydney por mil e duzentos dólares.
We went to a store where everything was three dollars ninety-nine cents (U$ 3.99).
Fomos a uma loja em que tudo custava três dólares e noventa e nove centavos.
We will also use cardinal numbers to talk about years and decades.
When we talk about years, there are some variations in the spoken language. Years are usually pronounced
in two blocks. For instance, 1776 is pronounced as seventeen (17) seventy-six (76).
But years can also be pronounced as one block, especially the years after the year two thousand, 2000.
For instance, the year 2016 is commonly pronounced as two thousand sixteen, but you may hear people
saying twenty (20) sixteen (16).
CARDINAL NUMBERS
Years
Cabral arrived in Brazil in 1500 (fifteen hundred).

Cabral chegou ao Brasil em 1500.
The United States declaration of independence was in July 1776 (seventeen seventy-six).
A declaração de independência dos Estados Unidos foi em julho de 1776.
The Summer Olympic Games in Rio were in 2016 (two thousand sixteen / twenty sixteen).
Os Jogos Olímpicos de verão no Rio foram em 2016.
In 2018 (two thousand eighteen / twenty eighteen), the World Cup was in Russia.
Em 2018, a Copa do Mundo foi na Rússia.

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When we want to refer to a whole decade in the written language,
we will normally use the decade followed by S preceded or not by an
apostrophe. Check it out:
CARDINAL NUMBERS
Decades
My mother met my father in the 70’s (seventies).

Minha mãe conheceu meu pai nos anos 70.
I was born in the 80s (eighties).

Eu nasci nos anos 80.
And now you know how to read and use cardinal numbers.

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Comparatives
In English, one of the ways we can compare things is using the comparative
form of adjectives and adverbs. We can use them to compare two things, ideas,
or people, and to determine if one has more or less of a particular quality than the
other.
Adjectives qualify nouns. Adverbs qualify verbs. But they can have the same
form. That is what happens with fast, for example. It can be either an adjective or
an adverb—but regardless of its function, there will be a comparative form.
ORDINAL NUMBERS
Order of things or events
This car is faster than that one.

Esse carro é mais rápido do que aquele.
(The adjective faster refers to the noun car.)
Can you drive faster?

Você pode dirigir mais rápido?
(The adverb faster refers to the verb drive.)
There are basically two structures to use the comparative form of adjectives and
adverbs. One is when we have a short adverb or adjective. In these cases, we’ll
add -ER at the end of the adjective or adverb.
When we mention the two elements, we also use than right after the
comparative form.
COMPARATIVE ADJE CTIVES AND ADVERBS

Short Adjective or Adverb
Adjective/Adverb + -ER + Than (if necessary)
Julie looks younger now.

A Julie parece mais nova agora.
Julie is younger than her brother.

A Julie é mais nova do que seu irmão.

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The other structure is for long adverbs or adjectives. In that case, we’ll use more
before it. The rule for using the word than is the same. If we mention the element
of comparison, we’ll use it.
COMPARATIVE ADJE CTIVES AND ADVERBS

Long Adjective or Adverb
More + Long Adjective/Adverb + Than (if necessary)
The airfares are more expensive today.

As tarifas aéreas estão mais caras hoje.
The airfares are more expensive than last week.

As tarifas aéreas estão mais caras do que na semana passada.
Short adjectives are the ones that have one syllable, and they have some spelling rules that
must be observed. In most cases, we simply add -ER.
COMPARATIVES – ONE-SYLL ABLE ADJE CTIVES AND ADVERBS

Most cases: Add -ER
Adjective/Adverb Comparative Adjective/Adverb
young younger
jovem mais jovem
strong stronger
forte mais forte
high higher
alto mais alto

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However, for the short adjectives or adverbs ending in E, we just need to add -R.
COMPARATIVES
One-syllable Adjectives and Adverbs – Special Cases
Ending in E: Add -R
Terminação em E: Adicionar -R
nice nicer
legal mais legal
wise wiser
sábio mais sábio
Regarding the short adjectives and adverbs ending in Y,

we will drop the Y and add -IER.
COMPARATIVES
Ending in Y: Replace Y for -IER

Terminação em Y: Trocar o Y por -IER
dry drier
seco mais seco
shy shier
tímido mais tímido

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Some short adjectives and adverbs are known as CVC because they are
composed of or end in consonant, vowel, consonant. It’s the case of hot
and big. For these, we double the last consonant and add -ER.
COMPARATIVES
Ending in CVC: Double the last consonant and add -ER

Terminação em CVC: Dobrar a última consoante e adicionar -ER
hot hotter
quente mais quente
big bigger
grande maior
The comparative of most two-syllable adjectives and adverbs will be formed by

using the word more before them.
But there are some exceptions. If the two-syllable adjectives or adverbs end in
Y, we drop the Y and add –IER, and when they finish in E or OW, we’ll add -ER.
COMPARATIVES
Two-syllable Adjectives and Adverbs – Special Cases
Ending in Y: Replace Y for -IER Ending in E or OW: Add -ER

Terminação em Y: Trocar Y por -IER Terminação em E ou OW: Adicionar -ER
easy easier polite politer

fácil mais fácil educado mais educado
busy busier simple simpler

ocupado mais ocupado simples mais simples
happy happier narrow narrower

feliz mais feliz estreito mais estreito
shallow shallower
raso mais raso

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For long adjectives and adverbs, which is the general case of those with two or three
or more syllables, we’ll just use the word more before them.
COMPARATIVES
Long Adjectives and Adverbs
Adjective Colorful Adverb Carefully

This painting is more colorful than that one. You drive more carefully than Mark.
Esse quadro é mais colorido do que aquele. Você dirige mais cuidadosamente do que o Mark
There are also some irregular comparative forms that do not fit the rules.
COMPARATIVES
Irregular Adjectives and Adverbs
Ending in CVC: Double the last consonant and add -ER

Terminação em CVC: Dobrar a última consoante e adicionar -ER

Good/Well Better
Bad/Badly Worse
Far Farther/Further
Little Less
Now, when we want to say that two COMPARATIVES

elements are equal, the structure is Equality
as + adjective/adverb + as. In such
case, we’ll always use the adjective or
adverb in their base form. Structure: as + adjective/adverb + as
This restaurant is as good as the one we went to yesterday.

Este restaurante é tão bom quanto o que fomos ontem.
Mary dances as gracefully as Jane.

Mary dança tão graciosamente quanto Jane.
And now you know how to make comparisons in English using adjectives and adverbs.

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Compound Words
Compound words are two or more words together that form a new word with a different meaning.
In the first picture, we can see a red wall. “Wall” is a noun; in the second picture, we see some pieces of
paper, which is also a noun. But when we join these two words, wall + paper, we make another word, which
is wallpaper.
COMPOUND WORDS
Noun + Noun
This is a red wall. These are pieces of paper.

Isto é uma parede vermelha. Estes são pedaços de papel.
These men are sticking wallpaper.

Estes homens estão colando papel de parede.

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We can make compounds with several word classes, like adverbs, verbs, pronouns,
numerals, prepositions, conjunctions, and adjectives.
It is important to notice that words in different classes can form a new compound.
For example: Day is a noun, and dream is a verb; together they form the compound
verb to daydream.
Check out some examples.
COMPOUND WORDS
tooth + brush noun: toothbrush

dente + escova substantivo: escova de dente.
day + dream verb: daydream

dia + sonho verbo: sonhar acordado.
now + days adverb: nowadays

agora + dias advérbio: hoje em dia.
every + one pronoun: everyone

todo + um pronome: todos
twenty + three numeral: twenty-three

vinte + três numeral: vinte e três
in + to preposition: into
em + para preposição: para dentro
how + ever conjunction: however

como + sempre conjunção: contudo
fat + free adjective: fat-free

gordura + livre adjetivo: sem gordura
Compound words may be written as

COMPOUND WORDS
a single word formed by joining two
Closed or Solid Compound
words, or as two or more words that
might be separated by a hyphen.
The greenhouse effect is a consequence of pollution.
When it is written as one word, we
O efeito estufa é uma consequência da poluição.
call it a solid or closed compound.
(“Greenhouse” is formed by joining the adjective “green”
+ the noun “house,” but it is written as one word.)

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However, when compound adjectives are formed by two or more words, they are
either hyphenated, which means a hyphen separates the words, or open, which
means it’s formed by two isolated words.
When a compound adjective with two or more words comes before the noun, we
use a hyphen, even if the adjective is not spelled with a hyphen.
COMPOUND WORDS
Hyphenated
He is a world-famous soccer player.
Ele é um jogador de futebol mundialmente famoso.
(It is hyphenated because the compound adjective “world-famous”
comes before the noun “soccer player.”)
Open
This restaurant is world famous.
Este restaurante é mundialmente famoso.
(In this sentence, the compound adjective “world famous” is referring to
“this restaurant,” but it is not placed before it, so we don’t use a hyphen.)
Although compound adjectives with two words may not have hyphens, they are
often needed, regardless of their position in the sentence. Check some examples.
COMPOUND WORDS
Hyphenated
He is a good-looking guy.
Ele é um cara bonito / de boa aparência.
(In this sentence, the word “good-looking” is linked
by a hyphen and works as an adjective.)
She is an open-minded person.

Ela é uma pessoa de mente aberta.
(Here, we used “open” and “minded” to say what we think
about the way she thinks and sees things.)

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It is important to say that adjectives have no plural form in English. The subject, the
verb, and the noun have plural forms, but the compound adjectives remain the same,
that is, with no plural. Check it out:
COMPOUND WORDS
Plural Sentences
They are good-looking guys.

Eles são caras de boa aparência.
(The subject and the verb are in the plural. The noun is
also in the plural, but the adjective remains the same).
They are open-minded people.

Eles são pessoas de mente aberta.
(Here, we used “open” and “minded” to say what we think
about the way they think and see things.)
It’s important to notice that there are many possibilities to create compound adjectives, and the
speaker often has the choice to use them or not. It typically happens with numbers informing
age, figures, measurements, etc.
COMPOUND WORDS
Numerals
He is 6 years old.
Ele tem 6 anos.
He is a 6-year-old boy.
Ele é um garoto de 6 anos de idade.
(In this sentence, “6-year-old” functions as an adjective that modifies the noun boy.)

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Check some other examples in which compound adjectives contain numerals.
COMPOUND WORDS
Numerals
I only have a 100-dollar bill.

Eu só tenho uma nota de 100 dólares.
(Here, “100-dollar” works as an adjective; that’s why it’s hyphenated.)
A daily 2-mile run keeps Bob in shape.

Uma corrida diária de 2 milhas mantém o Bob em forma.
(“2-mile” qualifies the run, functioning as an adjective).
We bought a three-day ticket to the park.

Nós compramos um ingresso de três dias para o parque.
(In this sentence, “three-day ticket” is a type of ticket, so “three-day” functions as an adjective).
Compounds can also be created out of statements that do not contain numerals as well.
COMPOUND WORDS
Statements
He is a journalist, and he has won a Pulitzer Prize. He is a Pulitzer Prize-winning journalist.

Ele é um jornalista, e ganhou um prêmio Pulitzer. Ele é um jornalista vencedor do prêmio Pulitzer.
The cost of these products is low. These are low-cost products.

O custo destes produtos é baixo. Estes são produtos de baixo custo.
And now you can recognize, use, and create compound words.

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Connectors
Connectors are words used to join other words, phrases, sentences, or
paragraphs. They can be used to convey ideas of addition, contrast, conclusion,
logical consequence, or cause, among others. Connectors help the flow of the
speech both in written and spoken language.
In spoken language, it is natural to use fewer connectors, since the sentences
tend to be shorter. But in written language, it is advisable to connect paragraphs
and ideas in different ways.
It is important to be able to recognize the connectors when you see them in a text
to understand the ideas they convey.
Let’s see a few of them grouped according to their main ideas.
CONNE CTORS
Addition
I need to study and write a paper for tomorrow.

Eu preciso estudar e escrever um artigo para amanhã.
The new quarterback played badly. In addition to that,

he was rude during the press conference.
O novo quarterback jogou mal. Além disso,
ele foi grosseiro na coletiva de imprensa.
The price is reasonable. Moreover, the location is perfect.

The price is reasonable. Besides that, the location is perfect.
O preço é justo. Além disso, a localização é perfeita.

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Connectors are also used to contrast ideas and information.
CONNE CTORS
Contrast
The player had an injury during the game, but he played amazingly.
O jogador sofreu uma lesão durante o jogo, mas jogou de maneira surpreendente.
The player had an injury during the game; however, he played amazingly.
O jogador sofreu uma lesão durante o jogo; no entanto, jogou de maneira surpreendente.
Although she studied hard, she didn’t pass the exam.

Though she studied hard, she didn’t pass the exam.
Embora ela tenha estudado muito, ela não passou na prova.
Some connectors sound more formal than others. Nonetheless,

they convey the same idea.
CONNE CTORS
Contrast
Our vacations were great in spite of the bad weather.

Our vacations were great despite the bad weather.
Nossas férias foram ótimas, apesar do mau tempo.
These are common connectors used to refer to logical consequences or conclusions.
CONNE CTORS
Conclusion
The product was damaged, so she asked for a refund.

O produto estava danificado, então ela pediu um reembolso.
Some clients reported bugs. Therefore, we’ll have to release a new version to fix them.
Alguns clientes relataram erros. Portanto, teremos que lançar uma nova versão para corrigi-los.

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It’s common to use connectors to explain reasons or a cause.
CONNE CTORS
Reason
I read this book because my friend recommended it.

Eu li esse livro porque um amigo o recomendou.
The traffic is jammed due to the holiday.

O trânsito está engarrafado devido ao feriado.
As I had to arrive earlier at work, I didn’t go to the gym.

Como eu tinha que chegar mais cedo ao trabalho, eu não fui à academia.
They decided not to go to the beach, since it was raining.

Eles decidiram não ir à praia, já que estava chovendo.
Now you know what connectors are and how to use them.
Remember that, in most cases, using one or the other is just a matter of choice.
However, one connector may be more appropriate than the other, and that depends on whether
you are speaking or writing, or on how formal or informal the context is.

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Countable and
Uncountable Nouns
Nouns can be either countable or uncountable.
Countable nouns are the ones that we can count and thus they have a plural form.
COUNTABLE NOUNS
There’s a cat in the garden.

Tem um gato no jardim.
(a cat: indefinite article + countable noun in the singular)
There are two cats at my front door.

Tem dois gatos na minha porta da frente.
(two cats: cardinal number + countable noun in the plural)
There were many cats at the adoption fair.

Havia muitos gatos na feira de adoção.
(many cats: quantifier + countable noun in the plural)
Before countable nouns we can use the indefinite article or cardinal numbers to
specify the exact amount we are referring to.
However, if we don’t know or don’t want to mention an exact amount, we can
also use quantifiers to express the idea of quantity. Some quantifiers can only be
used with countable nouns, such as few to express small quantities, and many
to express large quantities.

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Let’s see an example in which we refer to people, which is a countable noun with irregular plural.
COUNTABLE NOUNS
Quantifiers
Small amount Large amount
There are few people at the beach. There are many people at the beach.
Há poucas pessoas na praia. Há muitas pessoas na praia.
Uncountable nouns are the ones you cannot count, and for this
reason they do not have a plural form.
Uncountable nouns are usually abstract ideas, liquids, grains, gases,
or natural phenomena. As we usually treat uncountable nouns as
singular nouns, we do not use the indefinite article with them, since
the indefinite article means one.
It is important to notice that the concept of countable and

uncountable nouns is present in several languages, but the words
that are considered countable or uncountable may vary widely from
one language to the other.
In English, the nouns “travel,” “advice,” “information,” “baggage,” and
“work” are uncountable. However, if you need to count them, there
are some strategies you can use.

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The first one is to use countable nouns with a similar meaning.
UNCOUNTABLE AND COUNTABLE NOUNS

Similar meanings
Uncountable Countable
travel a journey/trip
viagem uma jornada/viagem
baggage/luggage a bag/suitcase/backpack
bagagem uma bolsa/maleta/mochila
work a job/project/task
trabalho um trabalho/projeto / uma tarefa
advice a recommendation
conselho uma recomendação
money dollars/euros/reais/yens
dinheiro dólares/euros/reais/ienes
This strategy may not work every time, though. You may not want to use a similar
word, or maybe there isn’t a similar word that fits the context.
In such cases, you can use a quantifier. The most frequent way to quantify
uncountable nouns is to use either “some” or “(a) piece of” before these nouns.
The expression piece of can be used with not only the indefinite article (a piece of)
meaning one, but also with cardinal numbers (two pieces of).
UNCOUNTABLE NOUNS
some and (a) piece of
Some + Uncountable Noun

Can you give me some advice?
Você pode me dar alguns conselhos?

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Indefinite Article + Piece of + Uncountable Noun
Can you give me a piece of advice?
Você pode me dar um conselho?
Cardinal Number + Piece of + Uncountable Noun
Can you give me two/three/four pieces of advice?

Você pode me dar dois/três/quatro conselhos?
Check some other examples with some and a piece of used with uncountable nouns.
UNCOUNTABLE NOUNS
some and (a) piece of
Equipment – some equipment; a piece of equipment; two pieces of equipment

Equipamento – alguns equipamentos; um equipamento; dois equipamentos
Furniture – some furniture; a piece of furniture; two pieces of furniture

Móvel – alguns móveis; um móvel; dois móveis
Information – some information; a piece of information; two pieces of information

Informação – algumas informações; uma informação; duas informações
News – some news; a piece of news; two pieces of news

Notícia – algumas notícias; uma notícia; duas notícias

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Regarding moods and feelings, it’s not possible to use a piece of, but it’s possible to
use quantifiers, such as much, some, or little.
UNCOUNTABLE NOUNS
Quantifiers
I’ve been under too much pressure lately.

Tenho estado sob muita pressão ultimamente.
I feel a bit frustrated, but I see some hope for the future.
Eu me sinto um pouco frustrado, mas vejo alguma esperança no futuro.
I’d gladly accept a little help from my friends.

Eu aceitaria de bom grado um pouco de ajuda dos meus amigos.
When referring to gases, grains, and liquids, we can count them by using a
unit of measurement, such as kilos, liters, or ounces. We can also count the
containers in which they have been packed.
UNCOUNTABLE NOUNS
Units of measurement or containers
Water – liters/bottles/gallons of water

Água – litros/garrafas/galões de água
Rice – kilos/pounds/packs of rice

Arroz – quilos/libras/sacos de arroz
Sugar – cubes/spoons/cups of sugar

Açúcar – torrões/colheres/xícaras de açúcar
Now you know the most frequent countable and uncountable nouns
and how they can be quantified.

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Future Continuous
The future continuous is used to say that something will happen in the future
and continue for an expected period of time.
Check the structure of the future continuous in affirmative, negative,
and interrogative sentences.
FUTURE CONTINUOUS
Structure
Affirmative Form
Subject + Will + Be + Main Verb in the -ING Form +
Complement (if necessary)
I will be traveling tomorrow morning.

Eu estarei viajando amanhã de manhã.
Negative Form
Subject + Will + Not (Won’t) + Be + Main Verb in the -ING Form +
I won’t be travelling.
Eu não estarei viajando.
Interrogative Form
Will+ Subject + Be + Main Verb in the -ING Form +
Will you be traveling?

Você estará viajando?

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The future continuous is used to project future actions, make
predictions, and refer to previously fixed events.
FUTURE CONTINUOUS
Uses
Project Future Actions
Next week, I will be drinking margaritas by the pool.

Semana que vem, estarei bebendo margaritas na piscina.
Predictions
He will be feeling happy when he returns home.

Ele estará se sentindo feliz quando voltar pra casa.
Referring to Previously Fixed Events
I will be speaking at the next annual conference.

Me apresentarei na próxima conferência anual.
When the future continuous is used with still, it refers to events that are already
happening now, and that are expected to continue in the future.
FUTURE CONTINUOUS
Uses
Project Future Actions
Global temperatures will still be rising in ten years.

As temperaturas globais ainda estarão aumentando dentro de dez anos.
(The temperatures are already rising, and, in the future, this is expected to continue.)
(As temperaturas já estão aumentando e, no futuro, espera-se que continuem a aumentar.)

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Going to can also be used in the future continuous.
FUTURE CONTINUOUS
Going to
I can’t go with you because I’m going to be running that marathon I told you about.
Não posso ir com você porque estarei correndo naquela maratona de que eu te falei.
Now you know more about the future continuous,

its structure, and common uses.

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Infinitive Form
The infinitive form of the verb is the verb in its base form. In English, the infinitive
form is preceded by the particle “to.”
Have a look at some examples of verbs in the infinitive form:
INFINITIVE FORM
To eat To go To study
Comer Ir Estudar
To speak To travel To work

Falar Viajar Trabalhar
Just like it happens in most languages, the infinitive form is used in several
instances in English. One of the most common uses of the infinitive in English
is to follow other verbs.
VERB + INFINITIVE
We want to travel next month.

Nós queremos viajar mês que vem.
(verb: want in the simple present + infinitive: to travel)
She needs to study for the exam.

Ela tem que estudar para a prova.
(verb: need in the simple present + infinitive: to study)
Did you have to work last week?

Você teve que trabalhar semana passada?
(verb: have in the simple past interrogative + infinitive: to work)

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And the infinitive form is also frequently used after some adjectives.
ADJE CTIVE + INFINITIVE
I’m happy to see you!

Eu estou feliz em ver você!
(adjective: happy + infinitive: to see)
You are not allowed to stay here.

Você não tem permissão para ficar aqui.
(adjective: allowed + infinitive: to stay)
I’m ready to start.

Estou pronto para começar.
(adjective: ready + infinitive: to start)
All of these sentences have examples of verbs in the infinitive form, which is also called to-
infinitive, because it is composed of two words in English: the particle to + the verb.
But in English we also use the bare infinitive, which is the verb in the infinitive form, but not
preceded by the particle “to.” This is how verbs appear in the dictionary, and it’s also used after
some verbs.
VERB + BARE INFINITIVE
They watched me do the job before they tried it.

Eles me viram fazer o trabalho antes de tentarem.
(verb: watch in the simple past + object: me + bare infinitive do)
We can’t travel with you this weekend.

Nós não podemos viajar com vocês neste fim de semana.
( modal verb can in the negative + bare infinitive travel)
They will finish this job tomorrow.

Eles vão terminar esse trabalho amanhã.
( modal verb will + bare infinitive finish)
And this is how we use the infinitive form in English.

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Interrogative Form
Interrogative sentences in English follow some basic structures.
In a sentence with the verb to be as the main verb in the simple present or the
simple past, there is no need to use an auxiliary verb. Therefore, the sentence
will have the following structure: the verb to be as the main verb, the subject,
and the complement.
Sentences that have one auxiliary or modal verb are made by placing the
auxiliary right before the subject, and then the main verb, which may be
followed by a complement.
In the case of verb forms that have more than one auxiliary, the structure is the
first auxiliary verb, the subject, and then the second or third auxiliary verbs,
followed by the main the verb and a complement, if necessary.
INTERROGATIVE SENTENCES
Structures
Verb To Be + Subject + Complement (Simple Present and Simple Past)

Verbo To Be + Sujeito + Complemento (Simple Present and Simple Past)
Auxiliary or Modal Verb + Subject + Main Verb + Complement (if necessary)

Verbo Auxiliar ou Modal Verb + Sujeito + Verbo Principal + Complemento (se necessário)
First Auxiliary Verb + Subject + Other Auxiliaries + Main Verb +

Primeiro Verbo Auxiliar + Sujeito + Outros Auxiliares + Verbo Principal +
Complemento (se necessário)

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Check out some examples with these structures. In verb forms such as the simple present and
the simple past, in which the verb to be is the main verb, we don’t need an auxiliary to ask a
question.
Verb forms with the verb to be as the main verb (simple present and simple past)
Structure: Verb To Be + Subject + Complement
Is she a lawyer?
Ela é advogada?
Were you home last night?

Você estava em casa na noite passada?
However, in the case of verb forms in which the main verb is not
the verb to be, one auxiliary verb or a modal verb is required.
Verb forms with other verbs as the main verb
Structure: Auxiliary Verb + Subject + Main Verb + Complement (if necessary)
Does she work as a lawyer? ( main verb: work)

Ela trabalha como advogada?
(The verb to do works as an auxiliary, and the sentence is in the simple present)
Did you do your homework? ( main verb: do)

Você fez sua lição de casa?
(The verb to do works as an auxiliary, and the sentence is in the simple past)
Can you help me? ( main verb: help)

Você pode me ajudar?
(The modal verb can works as an auxiliary, and the sentence is in the simple present)
Are you studying for the test? ( main verb: study in the -ING form)
Você está estudando para a prova?
(The verb to be works as an auxiliary, and the sentence is in the present continuous)

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Depending on the verb form, there may be more than one auxiliary verb before the main verb, which is
the case of the present perfect continuous.
Verbs forms with more than one auxiliary verb
Structure: First Auxiliary Verb + Subject + Other Auxiliaries +

Main Verb + Complement (if necessary)
Have you been studying for the test? ( main verb: study in the -ING form)
Você tem estudado para a prova?
(The verb to have works as the first auxiliary, and the verb to be in the past participle, as the second)
Have you been waiting for a long time? ( main verb: wait in the -ING form)
Você está esperando há muito tempo?
(The verb to have works as the first auxiliary, and the verb to be in the past participle, as the second)
Notice that in English when someone asks a question using auxiliaries, we can give a long or a short
answer, and to give a short answer we need to use the auxiliary verb.
Long and short answers
Question Full Answer Short Answer Wrong Answer
Do you like chocolate? Yes, I like chocolate. Yes, I do. Yes, I like.
Você gosta de chocolate? Sim, eu gosto de chocolate. Sim, eu gosto.
And this is how we use the interrogative form in English.

Now, you know its basic sentence structure.

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Modal Verb Can
Modal verbs function as auxiliary verbs, adding meaning to the main verb.
Modal verbs express possibility, probability, ability, permission, assumption,
obligation, or prohibition.
Modal verbs have the same sentence structure. In the affirmative, the structure
is the subject, the modal verb followed by the main verb in the base form, and
it can be followed by a complement or not.
MODAL VERBS
Affirmative Form
I can drive.
Eu posso dirigir.
(subject: I + modal verb: can + main verb: drive)
I can play the piano.

Eu posso tocar piano.
(subject: I + modal verb: can + main verb: play + complement: the piano)
In negative sentences, we keep the same pattern, but include NOT after the
modal verb. We generally use the contracted form can’t.
MODAL VERBS
Negative Form
I can’t drive.
Eu não posso dirigir.
(subject: I + modal verb: can + not (can’t) + main verb: drive)
I can’t play the piano.

Eu não posso tocar piano.
(subject: I + modal verb: can + not (can’t) + main verb: play +
complement: the piano)

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In interrogative sentences, we invert the position of the modal verb and the subject.
The structure is the modal verb, the subject, the main verb in the base form, and a
complement, when necessary.
MODAL VERBS
Interrogative Form
Can you drive?

Você pode dirigir?
( modal verb: can + subject: you + main verb: drive)
Can you play the piano?

Você pode tocar piano?
( modal verb: can + subject: you + main verb: play + complement: the piano)
The modal verb can in its affirmative form typically expresses possibility, present ability,
and permission. In the negative form, it expresses lack of possibility, lack of ability, and lack
of permission.
MODAL VERBS
Uses
Affirmative Negative
Possibility Lack of Possibility

I can meet you later. I can’t meet you later.
Eu posso te encontrar mais tarde. Eu não posso te encontrar mais tarde.
Present Ability Lack of Ability

I can dance very well. I can’t dance very well.
Eu posso/sei dançar muito bem. Eu não posso/sei dançar muito bem.
Permission Lack of Permission

You can come in. You can’t come in.
Você pode entrar. Você não pode entrar.

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As for the interrogative form, the modal verb can is typically used to
make requests. It’s used to ask for favors and for permission, or to
ask about the possibility of something happening.
MODAL VERB CAN

Uses
Interrogative
Asking a Favor
Can you help me?
Eu não posso te encontrar mais tarde.
Asking for Permission

Can I come in?
Eu não posso/sei dançar muito bem.
Asking about Possiblity

Can we meet after work?
Você não pode entrar.
It’s important to acknowledge that these uses are usually easily noticed within the context, since the same
sentence in different contexts may have different meanings.
MODAL VERB CAN

Contexts
You can speak English. You have the ability to speak English.
Você pode/sabe falar inglês. Você tem habilidade para falar inglês.
It’s possible for you to speak English in a certain situation.

É possível que você fale inglês em determinada situação.
You have permission to speak English in a certain situation.

Você tem permissão para falar inglês em determinada situação.
And this is how you use the modal verb can.

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Modal Verb Could
Modal verbs are also known as modal auxiliary verbs because they add
meaning to the main verb. Modal verbs can express possibility, probability,
ability, permission, assumption, obligation, or prohibition.
Modal verbs follow the same sentence structure. Let’s look at structures
in the affirmative, negative, and interrogative forms.
In the affirmative, the structure is the subject, the modal verb, and the main
verb in the base form, which may be followed by a complement or not.
Take a look at the table.
MODAL VERBS
Affirmative
Subject + Modal Verb + Main Verb in the Base Form + Complement
We could go to the gym.

Nós poderíamos ir à academia.
In negative sentences, we’ll include the word not after the modal verb.
When we use the negative form, we generally use the contracted form couldn’t.
MODAL VERBS
Negative
Subject + Modal Verb + Not + Main Verb in the Base Form + Complement
We couldn’t go to the gym.

Nós não pudemos ir à academia.

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To make interrogative sentences, the modal verb is placed before the subject.
MODAL VERBS
Interrogative
Modal Verb + Subject + Main Verb in the Base Form + Complement
Could we go to the gym together?

Nós poderíamos ir à academia juntos?
It’s important to notice that modal verbs in general should be associated with their functions in the context,
and not with time ( past, present or future). This is particularly important when analyzing the modal verb
could, since the time reference may change drastically according to its function in the context.
The modal verb could in its affirmative and negative forms can be used to express probability or lack of
probability, either of a present or a future event. It can also refer to abilities, but in such case, could refers to
past abilities.
MODAL VERB COULD

Probability / Lack of Probability (in the Present)
Mary is not home right now. She’s usually at her parents’ in the morning. She could be there.
Mary não está em casa agora. Ela geralmente está na casa de seus pais de manhã. Ela pode estar lá.
(She could be there = It’s possible that she is there)
Mary’s parents are out of town. She couldn’t be there.

Os pais da Mary estão fora da cidade. Ela não poderia estar lá.
(She couldn’t be there = It’s not possible for her to be there)
We can also use the modal verb could to talk about probability in the future, that is, the chances for
something to happen.
MODAL VERB COULD

Probability / Lack of Probability (in the Future)
Sylvia is an excellent professional. I think she could be the new manager.

A Sylvia é uma profissional excelente. Eu acho que ela poderia ser a nova gerente.
(She could be the new manager = It’s likely to happen)
Brian is just as good. But he couldn’t be the new manager; he has no management skills.
Brian é tão bom quanto ela. Mas ele não poderia ser o novo gerente; ele não tem habilidades gerenciais.
(He couldn’t be the new manager = It’s not likely to happen)

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However, when we use the modal verb could to refer to ability, we are referring to abilities
people had in the past, and that they probably don’t have anymore, or, in the case of negative
sentences, abilities people didn’t have in the past.
MODAL VERB COULD

Ability / Lack of Ability (in the Past)
Kevin won a lot of football tournaments back in our school days. Boy, he could run!
Kevin ganhou muitos torneios de futebol americano na época de escola. Cara, como ele
sabia/podia correr!
George was a good player, but he couldn’t run long distances.

George era um bom jogador, mas ele não sabia/podia correr distâncias longas.
The modal verb could in the interrogative form is used to ask about possibilities
or abilities in the past.
MODAL VERB COULD
Could you meet me at the coffee shop tomorrow?

Você poderia me encontrar no café amanhã?
(Asking about possibilities for the future)
Could you speak English by the time you lived abroad?

Você podia/sabia falar inglês quando morou fora?
(Asking about past ability in the past)
In the interrogative, the modal verb could is also very frequently used to make
requests in a polite way, either asking for a favor or for permission.
MODAL VERB COULD

Making Requests
Could you lend me your car?

Você poderia me emprestar o seu carro?
Could I borrow your car?

Eu poderia pegar o seu carro emprestado?
And now you know how to use the modal verb could.

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Modal Verb May
Modal verbs are also known as modal auxiliary verbs because they add meaning
to the main verb. Modal verbs can express possibility, probability, ability,
permission, assumption, obligation, or prohibition.
The sentence structure of modal verbs follows the same pattern:
MODAL VERBS
Sentence Structure
Affirmative Form
Subject + Modal Verb + Main Verb in the Base Form + Complement (if necessary)
Sujeito + Modal Verb + Verbo Principal na Forma Base + Complemento (se necessário)
Negative Form
Subject + Modal Verb + Not + Main Verb in the Base Form + Complement (if necessary)
Sujeito + Modal Verb + Not + Verbo Principal na Forma Base + Complemento (se necessário)
Interrogative Form
Modal Verb + Subject + Main Verb in the Base Form + Complement (if necessary)
Modal Verb + Sujeito + Verbo Principal na Forma Base + Complemento (se necessário)

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The modal verb may can be used to express probability.
In such cases, we are saying that something is likely to happen, that there’s a
chance that something will happen. For example:
MODAL VERB MAY

Expressing Probability
It may rain.
Pode chover. / Pode ser que chova.
(There is a reasonable chance that it will rain).
I may go to the party.

Eu posso ir à festa. / Pode ser que eu vá à festa.
(There is a reasonable chance that I will go to the party).
She may be at home.

Ela pode estar em casa. / Pode ser que ela esteja em casa.
(There is a reasonable chance that she will be home).
The modal verb may can also be used to say that there
is a chance that something does not happen.
In this case, we use it in the negative form. Take a look:
MODAL VERB MAY

Expressing Unlikely Things
I may not be the best student in class, but I’m very dedicated.
Eu posso não ser o melhor aluno da turma, mas eu sou muito dedicado.
Be careful with the pieces of news you read on social media. They may not be true.
Tenha cuidado com notícias que você lê nas redes sociais. Elas podem não ser verdadeiras.
Researchers may not be able to find the cure to some diseases,

but they’ve been doing their best.
Pesquisadores podem (até) não ser capazes de achar a cura para algumas doenças,
mas eles têm dado o melhor de si.

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It is rare to see may in the interrogative form to give the idea of probability.
The interrogative form is used as a formal way to ask for permission. In such
cases, may is used in questions in the first person, either singular or plural.
MODAL VERB MAY

Asking for Permission
Excuse me, Ms. Sullivan. May I come in?

Com licença, senhora Sullivan. Eu posso entrar?
(May I come in? = First person singular – I).
May we talk to you for a minute, sir?

Nós podemos falar com senhor por um minuto?
(May we talk…? = First person plural – We).
When we ask for permission, the interrogative form can only be used in the first person.
However, when we answer these permission requests, that is, when we give permission or not, we will use
the affirmative or the negative forms in the second person. Have a look:
MODAL VERB MAY

Giving Permission (or not)
Asking for permission: Excuse me, Ms. Sullivan. May I come in?
Com licença, senhora Sullivan. Eu posso entrar?
Giving permission, or not: Yes, you may come in. / No, you may not come in.
Sim, você pode entrar. / Não, você não pode entrar.
Asking for permission: May we talk to you for a minute, sir?

Nós podemos falar com o senhor por um minuto?
Giving permission, or not: Yes, you may. / No, you may not.
Sim, vocês podem. / Não, vocês não podem.
And now you know how to use the modal verb may.

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Modal Verb Must
Modal verbs are also known as modal auxiliary verbs because they add meaning to the main verb.
Modal verbs will follow the same sentence structure in the affirmative, negative, and interrogative
forms, as you can see in the following table.
MODAL VERBS
Sentence Structure
Affirmative Form
Negative Form
Interrogative Form
Must is used in the affirmative form to express obligation or necessity.

For example:
MODAL VERB MUST

Obligation/Necessity
You must pay your taxes.

Você tem que pagar seus impostos.
You must be 18 to drive in some countries.

Você tem que ter 18 anos para dirigir em alguns países.

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It can also be used to make assumptions or deductions in the affirmative form. Have a look:
MODAL VERB MUST

Assumption/Deduction
John’s son was born. He must be very happy. It must be nice to be rich.
O filho do John nasceu. Ele deve estar muito feliz. Deve ser legal ser rico.
In the negative form, however, must is used to express prohibition. We generally

use the contracted form, mustn’t. If you wish to emphasize the prohibition, use
must not. For example:
MODAL VERB MUST

Prohibition
You must not ( mustn’t) drink and drive.

Você não pode beber e dirigir.
Visitors must not ( mustn’t) cross this line. This is a restricted area.
Os visitantes não podem cruzar esta linha. Esta é uma área restrita.
Must is rarely used in the interrogative form, but it can be used to confirm or to
double-check duties and obligations. For instance:
MODAL VERB MUST

Confirm and Double-check Duties and Obligation
Must I take the exam today? I didn’t know that.

Eu tenho que fazer a prova hoje? Eu não sabia disso.
Eu sou obrigado a fazer a prova hoje? Eu não sabia disso.
Mustn’t you be at the job interview at 9h? It’s 8:30h already.

Você não tem que estar na entrevista de emprego às 9h? Já são 8:30h.
Você não tem a obrigação de estar na entrevista às 9h? Já são 8:30h.
And this is how you use the modal verb must.

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Modal Verb Would
Modal Verbs are also known as modal auxiliary verbs because they add meaning to the main
verb. They express possibility, probability, ability, permission, assumption, obligation, or
prohibition.
The structure of the modal verbs follows the same pattern. Check the following table.
MODAL VERBS
Sentence Structure
Affirmative Form
Negative Form
Interrogative Form
In some cases, the modal verb would is used as a softer and less definitive form of the modal will,
or as the past of will when we are reporting sentences.
Expressing hypothesis is one of the most common uses of the modal verb would. And since it is
used to express hypothetical situations, you’ll see that it is used in many conditional sentences.
In such cases, we’ll use a clause with would to refer to unreal or uncertain situations together with
an if-clause.

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MODAL VERB WOULD
Hypothesis
If I had a lot of money, I would travel the world.

Se eu tivesse muito dinheiro, viajaria pelo mundo.
(I don’t have a lot of money. So, traveling the world is just a hypothetical situation.)
Would you invite your boss for your birthday?

Você convidaria o seu chefe para o seu aniversário?
(The question is asked out of curiosity. It’s a hypothetical situation.)
If I were you, I wouldn’t go the Caribbean now. It’s hurricane season.

Se eu fosse você, eu não iria para o Caribe agora. É temporada de furacão.
(It’s a hypothetical situation because I am not you, and I am not going to the Caribbean.)
We can also use would to make polite requests. If we observe it carefully, we’ll see that it’s still
a request made from a hypothetical perspective, but now you are actually asking something
from someone.
MODAL VERB WOULD

Polite Requests and Offers
Polite Requests Polite Offers
Would you help me with my project? Would you like some coffee?
Você me ajudaria com o meu projeto? Você aceitaria um café?
Would you go to the grocery store for me? Would you like me to drive you home?
Você iria ao supermercado para mim? Você gostaria que eu te levasse para casa?

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Would is also used to talk about a past habit or to express refusal in the past.
MODAL VERB WOULD

Talk about a past habit or express refusal in the past
I asked her what was going on, but she wouldn’t tell me.
Perguntei o que estava acontecendo, mas ela não quis me dizer.
(I asked her in the past and she refused to tell me.)
When I was younger, I would argue with my brother all the time.
Quando eu era mais novo, eu discutia com meu irmão o tempo todo.
(It was a typical behavior in the past.)
We can use would in expressions too. Would rather is used to say we prefer
one thing to another. Most of the times, we use the contracted form, which is
“I’d rather.”
MODAL VERB WOULD

Expressions – Would Rather
I’d rather stay home tonight. I’m tired.

Eu prefiro ficar em casa hoje à noite. Estou cansado(a).
Another commonly used expression with would is “would mind.” We use it to ask for favors or permission.
But the structure is a bit different. Check it out in the following box.
MODAL VERB WOULD

Expressions – Would Mind
Asking for a favor Asking for permission
Would you mind opening the window? Would you mind if I opened the window?
Você se importaria de abrir a janela? Você se importaria se eu abrisse a janela?
(Would you mind + verb in the -ING form) (Would you mind if + subject + verb in the past)
And this is how you use the modal verb would.

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Intensifiers
Intensifiers are words, adverbs, or adverbial phrases used to intensify the
meaning of other words and expressions—such as verbs, adjectives, and other
adverbs—and to show emphasis.
INTENSIFIERS
It’s a really interesting topic.

É um tema realmente interessante.
(The adverb “really” emphasizes the fact that I find it interesting.)
(O advérbio “realmente” enfatiza o fato de eu achar interessante.)
In English, very is the most common intensifier, and it can be combined with a great variety of adjectives. It
is important to highlight, though, that when we use strong adjectives such as huge, gorgeous, and awful, for
example, we do not use very before them.
These adjectives are called strong or extreme adjectives, and they already contain the idea of “very” in
their definitions.
INTENSIFIERS
Very + Standard Adjectives
very + adjective strong adjective/adverb very + adjective strong adjective/adverb
very big huge very good excellent

muito grande enorme muito bom excelente
very beautiful gorgeous very nice amazing

muito bonito(a) lindo(a) muito legal incrível
very bad awful very clear obvious

muito ruim horrível muito claro óbvio

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But it is possible to emphasize strong adjectives. You cannot use very before strong adjectives,
but it’s possible to combine them with some other intensifiers, such as absolutely, completely,
quite, or really.
INTENSIFIERS
Strong adjectives
This boat is really huge.

Esse barco é realmente enorme.
(The intensifier “really” was used to emphasize the strong adjective “huge”)
Mary is absolutely gorgeous.

Mary é absolutamente linda.
(The intensifier “absolutely” was used to emphasize the strong adjective “gorgeous”)
It’s quite awful.

Isso é bem horrível.
(The intensifier “quite” was used to emphasize the strong adjective “awful”)
To intensify comparatives, we can use a lot or much, for example.
INTENSIFIERS
Comparatives
Paris is a lot prettier than I thought.

Paris é muito mais bonita do que eu pensava.
This hotel is much more expensive.

Este hotel é muito mais caro.

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If we want to intensify superlatives, we can use by far, for example.
INTENSIFIERS
Superlatives
This experience was by far the most interesting.

Esta experiência foi de longe a mais interessante.
There are other intensifiers. In negative sentences, at all is

a common intensifier. And, with WH questions (questions
containing question words), the expression on earth can be
used as an intensifier. When that happens, it usually suggests
disapproval.
OTHER INTENSIFIERS
I’m not worried at all.

Não estou nem um pouco preocupado.
What on earth is happening here?

Que diabos está acontecendo aqui?
Now you know

And now
whatyou
theknow
present
somecontinuous
ways to express
is all about:
emphasis
you’ve seen its
structure,
using
somedifferent
examples,
intensifiers
and howintoEnglish.
properly use it.

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Question Word - How
Common question words include what, when, where, which, why, who,
and how. On this grammar guide, we’ll focus on the question word how.
The question word how means “in what way” or “to what extent” and, as all the
other question words, it can be used in direct and indirect questions.
QUESTION WORD – HOW

Direct and Indirect Questions
How are you feeling?

Como você está se sentindo?
(Direct Question: How + Structure of the Interrogative Form)
Can you tell me how you are feeling?

Você pode me dizer como está se sentindo?
(Indirect Question: How + Structure of the Affirmative Form)
The structure for direct questions is the question word followed by the
interrogative form, and it can be used with different verb forms.
In the simple present, we can use how with the verb to be or with other verbs.
The difference is that when the verb to be is the main verb, we do not use an
auxiliary verb. For all the other verbs, an auxiliary must be used to create the
questions.
Check out some examples:

Simple Present
Structure: How + Verb To Be + Subject + Complement (if necessary)
How are the kids?

Como estão as crianças?
( main verb is the verb to be = do not use an auxiliary verb)

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Structure: How + Auxiliary Verb + Subject + Main Verb in the Base Form
+ Complement (if necessary)
How do you go to work?

Como você vai para o trabalho?
( main verb is not the verb to be = the auxiliary verb do must be used)
How can also be used in the simple past, and the structure will follow the same
pattern of the simple present. The difference is that the verb to be or the auxiliary
verb will be conjugated in the past.

Simple Past
Structure: How + Verb to Be + Subject + Complement (if necessary)
How was the game?

Como foi o jogo?
( main verb is the verb to be = do not use an auxiliary verb)
Structure: How + Auxiliary Verb + Subject + Main Verb in the Base Form +
How did you go to the game?

Como você foi para o jogo?
( main verb is not the verb to be = the auxiliary verb did must be used)
The question word how can also be used with continuous forms such as the
present and the past continuous. In this case, we’ll use how followed by the
interrogative form of these structures.
For the interrogative form of the present and past continuous, the verb to be
works as an auxiliary verb, followed by the subject, the main verb in the -ING
form, and a complement, if necessary.

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Present and Past Continuous
Structure: How + Verb to Be + Subject + Main Verb in the -ING Form +

How are you organizing your tasks?

Como você está organizando as suas tarefas?
(I am asking about an action that is in progress now)
How were you feeling when you started therapy?

Como você estava se sentindo quando iniciou a terapia?
(I asked about a feeling that was going on before the person decided to start therapy)
It is also possible to use how with perfect forms such as the present perfect and
the present perfect continuous.

Present Perfect and Present Perfect Continuous
Structure: How + Verb To Have + Subject +

Main Verb in the Past Participle + Complement (if necessary)
How have you been?

Como você tem estado?
(I want to know how this person has been lately or since I last saw him or her)
Structure: How + Verb To Have + Subject + Been +

Main Verb in the –ING Form + Complement (if necessary)
How have you been dealing with this situation?

Como você tem lidado com essa situação?
(It’s an ongoing situation that started in the past and is still going on)

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We also use how with modal
verbs. In this case, they come right
Modal Verbs
after the question word.
Structure: How + Modal Verb + Subject +

Main Verb in the Base Form + Complement (if necessary)
How should we help her?

Como devemos ajudá-la?
(Should works as an auxiliary, and it was used to ask for
guidance or recommendation)
How can we go to the party?

Como podemos ir para a festa?
(Can works as an auxiliary, and it shows the idea of possibility)
If you want to ask more specific questions using how, you can use an
adjective or an adverb after it. Check out the examples.

Other Possibilities
How old is your brother? How often do you go to the gym?

Quantos anos seu irmão tem? Com que frequência você vai à academia?
(How + Old = Age) (How + Often = Frequency)
How much is this T-shirt? How many people were there at the concert?
Quanto custa esta camiseta? Quantas pessoas havia no show?
(How + Much = Amount or Price) (How + Many = Quantity)
How far is San Diego from Los Angeles?

Quão distante é San Diego de Los Angeles? / Qual é a distância de San Diego a Los Angeles?
(How + Far = Distance)
How long does it take to get there? How tall is your brother?
Qual tempo demora para chegar lá? Qual é a altura do seu irmão?
(How + Long = Duration) (How + Tall = Height for People)
How high is Mount Everest?

Quão alto é o Monte Everest? / Qual é a altura do Monte Everest?
(How + High = Height for Places)

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How can also be used with prepositions such as “about.” There are
two ways we can use it—to offer something or to make a suggestion.
HOW ABOUT
Offers and Suggestions
How about a cup of coffee?

Que tal uma xícara de café?
(How + About + Noun = Offer)
How about going to the movies?

Que tal irmos ao cinema?
(How + About + Verb in the –ING Form = Suggestion)
In spoken English, there is a very common expression with how—how come. It is

used to ask about the reason why something has happened. We could say that how
come is an informal way to ask “why.”
How come can also be used to show surprise. There is an important detail in the
structure of the question, though: how come is always followed by the affirmative
form, regardless of the verb form.
HOW ABOUT
Reason and Surprise (Informal)
How come she went to the party alone?

Como assim ela foi à festa sozinha?
(How Come + Structure of the Affirmative Form in the Simple Past)
How come she is not here?

Como é que ela não está aqui?
Como pode ela não estar aqui?
(How Come + Affirmative Form of the Simple Present)

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We can also use how in exclamations. It can either be followed by a complete
sentence or by an adjective. It’s important to notice, though, that what can also
be used in exclamations.
The difference is that when there is either a complete sentence or only an
adjective, you’ll use how. However, in the case of the structure adjective + noun
or just a noun, you’ll have to use what.
Compare the difference:
HOW AND WHAT

Exclamation
How + Complete Sentence
How I love this city!

Como eu amo essa cidade!
(How + Subject “I” + Main Verb “love” + Complement “this city”)
How + Adjective
How beautiful!
Que bonito!
(How + Adjective “beautiful”)
What + (Article) + Adjective + Noun
What a beautiful city!

Que cidade bonita!
(What + Article “a” + Adjective “beautiful” + Noun “city”)
And now you know different ways to use the question word how, it’s meaning, structures in
different verb forms, as well as how to use it in exclamations.

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Question Word -
What
Question words are used to ask direct and indirect questions. On this grammar
guide, we’ll focus on the question word what, which is used to ask general
questions.
In most cases, the structure of direct and indirect questions follows this pattern:
QUESTION WORD – WHAT

What is your favorite color?

Qual é a sua cor favorita?
(Direct Question: Question Word + Interrogative Form)
Tell me what your favorite color is.

Diga-me qual é a sua cor favorita.
(Indirect Question: Question Word + Affirmative Form)
But when we ask direct questions with the question word what, there are three
possible structures.

Structure – Direct Questions
1. What + Interrogative Form
2. What + Verb in the Third Person Singular + Complement
3. What + Noun + Interrogative Form

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Let’s analyze each structure, starting with the first one, which is the question
word what followed by an interrogative form. This structure can be used with
any verb form.
Let’s see some examples:

What + Interrogative Form
What does she want for breakfast?

O que ela quer de café da manhã?
(Simple Present: Question Word + Auxiliary Verb + Subject +

Main Verb in its Base Form+ Complement)
What did you do yesterday?

O que você fez ontem?
(Simple Past: Question Word + Auxiliary Verb + Subject +

Main Verb in its Base Form + Complement)
What were you doing last week?

O que você estava fazendo semana passada?
(Past Continuous: Question Word + Auxiliary Verb + Subject +

Main Verb in the –ING Form + Complement)
What have you been doing lately?

O que você tem feito ultimamente?
(Present Perfect: Question Word + 1st Auxiliary + Subject + 2nd Auxiliary +

Main verb in the –ING Form + Complement)
What would you do with a million dollars?

O que você faria com um milhão de dólares?
(Simple Present: Question Word + Modal Verb + Subject +

Main Verb in its Base Form + Complement)

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It is important to notice that the structure what + interrogative form will never be used for
questions about the subject of the sentence. When we follow this structure, it means that the
subject is included in the given question.
Let’s take a closer look:

What + Interrogative Form
What does she want for breakfast?

O que ela quer de café da manhã?
She wants eggs and toast.

Ela quer ovos e torradas.
(The question is not about who performs the action, but about what the person
wants. The subject “she” is part of the question. The core answer is “eggs and toast.”)
(Não tem relação com o sujeito, mas com o que o sujeito quer fazer.
O sujeito “ela” é parte da pergunta. A resposta central é “ovos e torradas”.)
What were you doing last week?

O que você estava fazendo semana passada?
I was traveling.
Eu estava viajando.
(It’s not about who was performing the action, but what the person was doing.
The subject “you,” which is part of the question, becomes “I” in the answer.
And the core answer is “traveling.”)
(Não tem relação com quem estava fazendo a ação, mas com o que a pessoa estava
fazendo. O sujeito “você”, que é parte da pergunta, vira “eu” na resposta.
A resposta central é “viajando”.)

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But it is possible to ask questions with the question word what to learn about the subject of a sentence.
In such cases, we will use the structure: What + Verb in The Third Person Singular + Complement.
Check the following examples:

What + Verb in Third Person Singular + (Complement)
What makes you happy? Spending time with my family makes me happy.
O que deixa você feliz? Passar tempo com a minha família me deixa feliz.
(The core answer is “spending time with my family,” which is the subject of the answer and is not
part of the question. That is why the verb in question is in the third person singular “makes.”)
(A resposta central é “passar tempo com a minha família”, que é o sujeito da resposta e não faz parte da
pergunta. Por isso o verbo da pergunta está na terceira pessoa do singular “makes”, deixa.)
There are so many people here. What’s happening?

Tem tanta gente aqui. O que está acontecendo?
A music festival (is happening here).

Um festival de música (está acontecendo aqui).
(The core answer is “a music festival,” which is the subject of the answer and is not part
of the question. That is why the verb in question is in the third person singular “is.”)
(A resposta central é “um festival de música”, que é o sujeito da resposta e não faz parte
da pergunta. Por isso o verbo da pergunta está na terceira pessoa do singular “is”, está.)
What’s bothering them?

O que está incomodando eles?
Not having money to pay their bills (is bothering them).

Não ter dinheiro para pagar as suas contas (está incomodando eles).
(The core answer is “not having money to pay their bills,” which is the subject of the answer and is
not part of the question. That is why the verb in question is in the third person singular “is.”)
(A resposta central é “não ter dinheiro para pagar suas contas”, que é o sujeito da resposta e não faz
parte da pergunta. Por isso o verbo da pergunta está na terceira pessoa do singular “is”, está.)

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Let’s take a closer look and analyze the structure of the examples
we have previously seen.
(1) (2) (3)

What + Verb in the Third Person Singular + Complement (if necessary)
(1) (2) (3)

What makes you happy?
(1) (2)
What’s happening?
(1) (2) (3)

What’s bothering them?
If you want to ask a more specific question using what, place a noun right after
the question word.

What + Noun + Interrogative Form
What time do you usually wake up?

A que horas você geralmente acorda?
(What + time = used to ask about the hour)
What kind of music do you like?

De que tipo de música você gosta?
(What + kind = used to ask about the specific type of a thing)
What size do you need?

De que tamanho você precisa?
(What + size = used to ask about size)

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There are still some special cases, such as what + about. It is used
to make an offer or to ask about your opinion or how you feel about
something.

Special Cases – What About
What about going to the movies?

Que tal irmos ao cinema?
Great idea.
Ótima ideia.
How are you?

Como vai você?
I’m fine, thanks. What about you?

Eu estou bem. E você?
In informal conversations, there are some common

expressions with the question word what.

Expressions
What’s up?
E aí?
What now?
O que agora?

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The question word what can also be used in exclamations to express surprise,
shock, or emotions. In this case, we use: what + an article + (an adjective) + a
noun. We may or may not include the adjective, but the noun must always be
there in exclamations with what.

Exclamations
Structure: What + Article + (Adjective) + Noun
What a (beautiful) place!

Que lugar (bonito)!
(What + Article “a” + (Adjective “beautiful”) + Noun “place”)
What a great song!

Que música ótima!
(What + Article “a” + Adjective “great” + Noun “song”)
What a ( nice) gesture!

Que gesto (legal)!
(What + Article “a” + (Adjective “nice”) + Noun “gesture)
What a song!
Que música!
(What + Article “a” + Noun “song”)
Now you know different ways in which you can use the question word what, the structure used
with different verb forms, as well as how to use it in exclamations and expressions.

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Question Word –
Who
Question words are used to ask direct and indirect questions. The question word
who is used to ask questions about people.
Question Word—W ho
Who is that girl?

Quem é aquela garota?
(Direct question = who + structure of interrogative form)
Tell me who that girl is.

Diga-me que é essa garota.
(Indirect question = who + structure of affirmative form)
As with all question words, the most frequent structure to ask a direct question is
the question word followed by the interrogative form in different verb forms.
In the simple present, when we use who with the verb to be, we do not use an
auxiliary verb.
WHO – SIMPLE PRESENT

To be
Who is your favorite singer?

Quem é o seu cantor favorito?
(Simple Present + To be = No auxiliary)

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With all the other verbs in all other verb forms, we need to use an auxiliary verb in the interrogative form. But
when we ask questions with the question word who, we have to pay special attention to this structure.
The question word who is always used to ask about the identification of a person. However, it is possible to
ask about the subject or the object of the sentence. This is important because the structure of the question
will change.
Take a look:
When we ask about the subject, the main verb is conjugated in third person singular. Pay attention to the
structure of the interrogative sentence:

Questions about the subject
Structure: Who + Verb in the third person singular + Complement
Who helps you with the kids?

Quem te ajuda com as crianças?
(Who + verb in the third person singular “helps” + complement “you with the kids”)
My mom helps me with the kids.

Minha mãe me ajuda com as crianças.
(Subject “my mom” + verb in the affirmative “helps” + complement “me with the kids”)
(The core of the answer is the subject “My mom.”)
(A parte central da resposta é o sujeito “Minha mãe”.)
When we ask questions to learn about the object of a sentence, then the subject is included in the question,
and we will use who followed by the structure of the interrogative form.

Questions about the object
Structure: Who + Structure of the Interrogative Form
Who do you want to win the elections?

Quem você quer que vença as eleições?
(Who + Interrogative Form: Auxiliary “do” + Subject “you” + Main Verb “want” + Complement)
I want Michael to win the elections.

Eu quero que o Michael vença as eleições.
(Subject “I” + Verb in the Affirmative “want” + Object “Michael” + Complement “to win the elections”)
(The core of the answer is the object “Michael.”)
(A parte central da resposta é o objeto “Michael”.)

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In the simple past, we follow the same pattern. The difference here is that the
auxiliary verb in the past is did regardless of the subject.
As with the simple present, if we use the verb to be, we don’t use the auxiliary
verb. We will use was or were, according to the subject.
WHO – SIMPLE PAST

Subject and Object Questions
Who was Anne Frank?

Quem foi Anne Frank?
(Who + Verb To Be)
Who called you?

Quem te ligou?
(Who + Verb in the Third Person Singular + Complement)
Who did you call?

Para quem você ligou?
(Who + Interrogative Form: Auxiliary Verb + Subject + Main Verb)
In continuous forms such as the present and the past continuous, we’ll use the
question word who followed by the interrogative of these structures.
WHO – CONTINUOUS FORMS

Present and Past Continuous
Who is driving today?

Quem está dirigindo hoje?
(Who + Verb in the third person singular + Complement)
Who were you talking to?

Com quem você estava falando?
(Who + Interrogative Form: Auxiliary + Subject + Main Verb)

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With perfect forms, such as the present perfect and the present perfect continuous,
we’ll use the same patterns.
WORD – PERFE CT FORMS

Present Perfect and Present Perfect Continuous
Who has won the most Oscars?

Quem ganhou mais Oscars?
(Who + Verb in the Third Person Singular + Complement)
Who have you been seeing?

Com quem você tem saído?
(Who + Interrogative Form: Auxiliary 1 + Subject + Auxiliary 2 + Main verb)
Who is commonly used with modal verbs. In this case, the modal comes right after the question word.
WHO – MODAL VERBS
Who should we consider for the project? Who can help us?
Quem devemos considerar para o projeto? Quem pode nos ajudar?
Who would you take to a desert island?

Quem você levaria para uma ilha deserta?
You can make questions using who and verbs followed by prepositions. In these cases, the prepositions
go to the end of the sentence.
WHO
Verbs + Prepositions
Who are you going out with? Who did you talk to?
Com quem você vai sair? Com quem você falou?
(I am asking about the person or (In this question, we want to know
people who are joining you.) who that person is.)
And now you know when and how to use who, and you’ve seen its
structure with different verb forms.

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Simple Present -
Other Verbs
The simple present was divided into two grammar guides, and we did that
because there is an important difference in structure.
In this grammar guide, we’ll talk about the simple present with verbs that are not
the verb to be, that is, all the other verbs.
When we use the verb to be, we do not use an auxiliary verb to make interrogative
and negative sentences. But when we use other verbs, we need to use the
auxiliary verb. The auxiliary verb for the simple present is do or does, according to
the subject.
Check out the difference in the box.
SIMPLE PRESENT
Verb To Be Other Verbs
Interrogative Is she a teacher? Does she work as a teacher?

Ela é professora? Ela trabalha como professora?
Negative She isn’t a teacher. She doesn’t work as a teacher.

Ela não é professora. Ela não trabalha como professora.
The basic structure for the affirmative form is the SVC structure, that is, subject,
main verb, and complement. And the verb conjugation works like this: we’ll use the
base form of the verb for all persons, except for the third person singular. In this
case, we’ll add –S, –ES, or –IES to the end of the verb, depending on how it’s spelled.

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If you want to learn more about the third person spelling rules, you can check the grammar
guide on this topic. However, most verbs will only take a final S in the third person singular,
as you can see in the following table.
SIMPLE PRESENT
Affirmative Form
Singular Plural
I work here. We work here.

First person
Eu trabalho aqui. Nós trabalhamos aqui.
You work here. You work here.

Second person
Você trabalha aqui. Vocês trabalham aqui.
He works here.
Ele trabalha aqui.
She works here. They work here.

Third person
Ela trabalha aqui. Eles/Elas trabalham aqui.
It works for now.

Isso funciona por enquanto.
Notice that we do not use the auxiliary verb in the affirmative form. But it’s possible to use it to
add emphasis to a statement. In that case, the auxiliary verb is placed before the main verb.
SIMPLE PRESENT
Affirmative Form: Adding Emphasis
Usage of the Auxiliary Do
I do have the right to speak my mind.

Eu tenho (sim) o direito de dar minha opinião.
(The verb “do” is used as an auxiliary. So it does not have a meaning, but a function).
(O verbo “do” é usado como auxiliar. Portanto, não tem um significado, mas uma função).

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Thus, it is possible to use the auxiliary with the simple present in the affirmative form, but it’s also important
to notice that it adds emphasis to the sentence, which means that it is only going to happen in very specific
contexts.
As for the negative and interrogative forms, the auxiliary do is not optional, it’s necessary.
The basic structure for the negative form is the subject, the auxiliary verb do conjugated according to the
subject, the negative particle not, the main verb in its base form, and the complement, if necessary.
You should pay close attention to the third person singular. In both negative and interrogative forms, the
conjugation goes in the auxiliary verb, that is, we will use does, and, because of that, the main verb goes
back to its base form.
SIMPLE PRESENT
Negative Form
Singular Plural
I don’t work here. We don’t work here.

First person
Eu não trabalho aqui. Nós não trabalhamos aqui.
You don’t work here. You don’t work here.

Second person
Você não trabalha aqui. Vocês não trabalham aqui.
He doesn’t work here.

Ele não trabalha aqui.
She doesn’t work here. They don’t work here.

Third person
Ela não trabalha aqui. Eles/Elas não trabalham aqui.
It doesn’t work for now.

(Isso) não funciona por enquanto.
In informal language, the contracted

forms don’t (do + not) or doesn’t SIMPLE PRESENT
(does + not) are used in most cases. Negative Form: Adding Emphasis
In formal written language, we avoid
using contractions. Do Not Use the Contracted Form
On the other hand, in spoken
language, if we use the full form, You do not have the right to shout at people.
it probably means we want to add Você não tem o direito de gritar com as pessoas.
emphasis to a negative statement.

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The basic interrogative form structure in the simple present is the auxiliary verb do conjugated according to
the subject, the subject, the main verb in its base form, and the complement, if necessary.
So the position of the auxiliary verb and the subject is inverted, and, once again, in the third person singular,
the main verb goes back to its base form, and the auxiliary verb is conjugated.
Check out the following table:
SIMPLE PRESENT
Interrogative Form
Singular Plural
Do I work here? Do we work here?

First person
Eu trabalho aqui? Nós trabalhamos aqui?
Do you work here? Do you work here?

Second person
Você trabalha aqui? Vocês trabalham aqui?
Does he work here?

Ele trabalha aqui?
Does she work here? Do they work here?

Third person
Ela trabalha aqui? Eles/Elas trabalham aqui?
Does it work for now?

Isso funciona por enquanto?
The simple present is used to talk SIMPLE PRESENT

about facts and to show repetitions, Other Verbs – Uses
habits, or generalizations.
I work at a law firm.

Eu trabalho em um escritório de advocacia.
She works a lot.

Ela trabalha muito.

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It can also be used to present a series of events when we narrate
something or give instructions and directions.
SIMPLE PRESENT
Other Verbs – Uses
First you read the questions, then you have to mark the correct statement.
Primeiro você lê as perguntas, depois você tem que marcar a afirmação correta.
You go straight and turn right on the traffic light.

Você segue em frente e vira à direita no semáforo.
The simple present can convey the idea of immediacy and drama, and that’s why it’s commonly
used in stories or novels, in sports broadcasting, and in newspaper headlines, even when
reporting past events.
SIMPLE PRESENT
Other Verbs – Uses
She crosses the street toward him, looks back, and decides to let it go.
Ela atravessa a rua em direção a ele, olha para trás e decide deixar para lá.
He gets the ball, passes through the defense and shoots, but the goalkeeper saves it.
Ele pega a bola, passa pela defesa e chuta, mas o goleiro agarra.
Firefighters save many lives in Brooklyn.

Os bombeiros salvam muitas vidas no Brooklyn.

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In English, some verbs cannot be used in continuous forms. These verbs are
called non-progressive verbs, and we use them in the simple present. This
group is divided into different subgroups of verbs.
SIMPLE PRESENT
Non-progressive Verbs
Mental process verbs
know, suppose, think, understand

saber, supor, achar, entender
Verbs that express feelings
admire, adore, hate, like, respect

admirar, adorar, detestar, gostar, respeitar
Verbs that describe senses
smell, taste, hear

sentir cheiro, sentir sabor, ouvir
Speech act verbs
promise, swear, agree, deny

prometer, jurar, concordar, negar
And now you know the structure and the most common uses of the simple present.

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Simple Present -
Verb To Be
The simple present is used to talk about factual information or things
that happen regularly.
SIMPLE PRESENT
This wall is white.

Esta parede é branca.
(It’s a factual piece of information.)
I sleep for 8 or 9 hours a day.

Eu durmo de 8 a 9 horas por dia.
(It’s part of a routine, something I do every day.)
The simple present will be tackled in two different grammar guides.

In this one, we’ll focus on the simple present sentences in which the
main verb is the verb to be.
Check the following table to see the conjugation of the verb to be in
the simple present.
SIMPLE PRESENT
Verb To Be
Singular Plural
First person I am We are
Second person You are You are
Third person He/She/It is They are

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There is a different sentence structure for the interrogative, negative, and
affirmative forms. In affirmative sentences, we’ll frequently use the SVC
structure, that is, Subject, Verb, and Complement. To make a negative
statement, you’ll place the negative particle not after the verb. And to ask a
question, we invert the order and place the verb before the subject.
SIMPLE PRESENT
Verb To Be
Affirmative
Subject + Verb To Be + Complement
I’m a writer.
Eu sou escritor.
Negative
Subject + Verb To Be + NOT + Complement
I am not a writer.
Eu não sou escritor.
Interrogative
Verb To Be + Subject + Complement
Are you a writer?

Você é escritor?
The simple present of the verb to be is commonly

SIMPLE PRESENT
used in its contracted form, also known as short
Verb To Be – Contracted Form
form. Contractions are considered informal, and they
are very common in everyday situations. However,
if you want to sound more formal or more emphatic, Affirmative Negative
use the full form. I’m I’m not
The short or contracted forms can be used in You’re You aren’t
affirmative or negative sentences. He’s/She’s/It’s He/She/It isn’t
We’re We aren’t
They’re They aren’t

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Now that you know the conjugation in the plural and singular forms, its structure
for affirmative, negative, and interrogative sentences, as well as its full and
contracted forms, check out the possible uses of the verb to be in the simple
present.
It can be used to refer to personal information such as name, age, profession,
marital status, and nationality.
SIMPLE PRESENT
Verb To Be – Uses
Name
I am Sophie. My name is Sophie.
Eu sou Sophie. O meu nome é Sophie.
Profession Age
I am an architect. I am 36 years old.
Eu sou arquiteta. Eu tenho 36 anos.
Nationality Marital Status

I am French. I am single.
Eu sou francesa. Eu sou solteira.
We can also use the verb to be followed by an adjective to talk about

permanent or temporary physical characteristics and feelings.
SIMPLE PRESENT
Verb To Be – Uses
I am thirsty.
Eu estou com sede.
(It’s a state. Something I am experiencing now.)
I am skinny.
Eu sou magro(a).
(It refers to a physical characteristic.)

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The verb to be in the simple present is also used to talk about permanent or
temporary qualities or states, personal characteristics, or mood.
SIMPLE PRESENT
Verb To Be – Uses
I am stressed. I am a stressed person.

Eu estou estressado(a). Eu sou uma pessoa estressada.
(It’s a current mood or a temporary state.) (It’s part of my personality.)
The verb to be in the simple present is also used to talk about time and dates.
SIMPLE PRESENT
Verb To Be – Uses
It’s eleven o’clock. Our meeting is on December 3rd.

São onze horas. A nossa reunião é no dia 3 de dezembro.
We can use the verb to be in the simple present to refer to places and locations as well.
SIMPLE PRESENT
Verb To Be – Uses
I am at the mall. The 9/11 Memorial is in Manhattan.

Eu estou no shopping. O memorial do 11 de Setembro é em Manhattan.
And now you know when and why we use the verb to be in the simple present.

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Superlatives
Superlatives are used to compare a person, thing, or idea to the group to
which they belong. We use different structures for short and long adjectives
or adverbs.
The structure used with short adjectives or adverbs, that is, one-syllable
adjectives or adverbs, is the following:
SUPERL ATIVES
Short Adjectives and Adverbs
Structure: The + Adjective/Adverb -EST + Noun
It was the longest distance I’ve run.

Foi a maior distância que eu já corri.
And the following table shows the structure for long adjectives or adverbs.
SUPERL ATIVES
Long Adjectives and Adverbs
Structure: THE + MOST/LEAST + Long Adjective/Adverb + Noun
Tokyo is one of the most populated cities in the world.

Tóquio é uma das cidades mais populosas do mundo.
This is the least interesting episode of the season.

Este é o episódio menos interessante da temporada.

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It is important to pay attention to some spelling rules as well. For the short
adjectives or adverbs, the general rule is to add -EST to the end.
SUPERL ATIVES – SPELLING

Short Adjectives/Adverbs – General Rule: Add -EST
Adjective/Adverb The + Superlative
long the longest

longo(a) o(a) mais longo(a)
high the highest

alto(a) o(a) mais alto(a)
old the oldest

velho(a) o(a) mais velho(a)
There are other spelling cases. For the short adjectives or adverbs finishing in E,
we add -ST.

Short Adjectives/Adverbs – Special Rules
Ending in E: Add -ST

Terminação em E: Adicionar -ST
nice the nicest

legal o(a) mais legal
safe the safest

seguro(a) o(a) mais seguro(a)

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For the short adjectives that finish in Y, we change Y to I and add -EST.

Ending in Y: Change Y to I and add -EST

lucky the luckiest

sortudo(a) o(a) mais sortudo(a)
happy the happiest

feliz o(a) mais feliz
There’s also a spelling rule for the short adjectives or adverbs that end in CVC:
consonant, vowel, consonant. In this case, we double the last consonant and
add -EST.

CVC: Double the Last Consonant and Add -EST

CVC: Dobre a Última Consoante e Adicione -EST
hot the hottest (double the T)

quente o(a) mais quente
big the biggest (double the G)

grande o(a) maior

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The superlative of most two-syllable adjectives and adverbs will be formed by
using the structure of the long adjectives and adverbs. However, there are some
exceptions.
Take a look:
SUPERL ATIVES
Two-syllable Adjectives – Exceptions
Ending in Y: Replace Y for -IEST

Terminação em Y: Substituir o Y por -IEST
easy the easiest

fácil o(a) mais fácil
shiny the shiniest

brilhante o(a) mais brilhante
Ending in E or LE: add -ST

Terminação em E or LE: Adicionar -ST
simple the simplest

simples o(a) mais simples
gentle the gentlest

gentil o(a) mais gentil
Ending in OW: Add -EST

Terminação em OW: Adicionar -EST
narrow the narrowest

estreito(a) o(a) mais estreito(a)
shallow the shallowest

raso(a) o(a) mais raso(a)

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For long adjectives or adverbs or for the two-syllable ones that do not finish in
Y, E, or OW, we’ll use: the + most + adjective or adverb.
SUPERL ATIVES – LONG ADJE CTIVES /ADVERBS

( THREE OR MORE SYLL ABLES)
The Most + Long Adjective/Adverb
The most expensive The most comfortable

O(A) mais caro(a) O(A) mais confortável
There are also irregular adjectives, which may change their form completely.
SUPERL ATIVES – IRRE GUL AR ADJE CTIVES

good the best
bom o(a) melhor
bad the worst

ruim o(a) pior
far the farthest/furthest

distante o(a) mais distante
Superlatives are often used to compare one person or thing to

other people or things of the same group.
SUPERL ATIVES – USAGE
Jackie is the most dedicated student in her class.

A Jackie é a aluna mais dedicada da turma dela.
This is the best English course.

Esse é o melhor curso de inglês.

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It is also possible to compare a person or thing in a situation to the
same person or thing in a different situation. In this case, we don’t
use the article the.
SUPERL ATIVES – USAGE
I am in my best shape.
Estou na minha melhor forma.
The company is facing its most difficult challenge.

A empresa está enfrentando o seu desafio mais difícil.
And now you know how to use the superlative form in English.

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There + To Be
The structure there + To Be expresses existence, and it can be used in the
affirmative, interrogative, and negative forms.
THERE + TO BE
Structures
Affirmative
There + To Be
There’s a restaurant near the hotel.

Há um restaurante perto do hotel.
Interrogative
To Be + There
Is there a restaurant near the hotel?

Há um restaurante perto do hotel?
Negative
There + To Be + Not
There isn’t (is not) a restaurant near the hotel.

Não há um restaurante perto do hotel.

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You can use the structure in the singular or plural according to the noun that follows it.
THERE + TO BE
Singular and Plural
Are there good schools in your neighborhood?

Há/Tem boas escolas no seu bairro?
(The noun “schools” is in the plural, so the verb to be is in the plural)
There is a good school in my neighborhood.

Há/Tem uma escola boa no meu bairro.
(The noun “school” is in the singular, so the verb to be is in the singular)
When we talk about singular or plural forms, there are some things to which we should pay
attention. If you are talking about a list of things, use there is when the noun that follows is
also in the singular.
If there are one or more nouns in the plural, use there are and place the nouns in the plural
before the ones in the singular, if there are any.
THERE + TO BE
Singular and Plural
There is an apple, a banana, and a pineapple in the fruit basket.

Tem uma maçã, uma banana e um abacaxi na fruteira.
(There is All nouns in the singular)
There are some apples, two bananas, and a pineapple in the fruit basket.
Tem algumas maçãs, duas bananas e um abacaxi na fruteira.
(There are One or more nouns in the plural)

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In informal spoken language you might as well hear there is followed by plural
nouns. This is perfectly acceptable in such case, but you should not use it in
written formal language.
THERE + TO BE
Informal Spoken Language
There’s two teachers in each classroom.

Tem dois professores em cada sala de aula.
(Informal: There is One or more nouns in the plural)
We have seen some uses of there + To Be in the present. However, it is important to highlight
that this structure can also be used in the past and in the future.
So we will conjugate the verb to be accordingly. If we are referring to the past, we use there
was for the singular and there were for the plural.
THERE + TO BE
Past: There Was / There Were
There was only one employee assisting the customers.

Só havia um funcionário auxiliando os clientes.
(“Employee” is a singular noun, so we used the verb to be in the singular: “There was”)
There were many people waiting in line.

Tinha muita gente esperando na fila.
(“People” is a plural noun, so we used the verb to be in the plural: “There were”)
To use there + To Be in the future, we’ll use there will be with singular or plural
THERE + TO BE
Future: There Will Be
There will be a mall near my house.

Haverá um shopping perto da minha casa.
There will be flying cars in the future.

Haverá carros voadores no futuro.

370
There + To Be can also be used with modal verbs. In this case, we’ll join the idea of existence
with the meaning that each modal verb expresses.
THERE + TO BE
Modal Verbs
Structure: There + Modal Verb + To Be
There must be a gas station around.

Tem que ter / Deve haver um posto de gasolina por perto.
There should be no wait.

Não deve haver demora.
There might be a cocktail after the meeting.

Deve ter / É possível que tenha / Pode ser que haja um coquetel após a reunião.
We can also use there with verbs such as seem and tend before to be. In these
cases, we’ll use the infinitive form to be.
SUPERL ATIVES
Two-syllable Adjectives – Exceptions
Structure: There + Verb + To Be
There seems to be a lot of vacant rooms in this hotel.

Parece haver muitos quartos vazios neste hotel.
(It’s the speaker’s perspective of an impression).
There tends to be tension between the parts

Tende a haver tensão entre as partes.
(It’s something that is expected).
And now you know what there + To Be means, its structures, and how to use it.

371
Verbs + Infinitive
or -ING
Sometimes, the complement of a verb may be another verb. In these cases, the
second verb will either appear in the infinitive or in the -ING form, depending on
the situation.
It’s important to know that because some verbs will only take the infinitive form,
others will only take the -ING form, and some others will take both the infinitive
and -ING forms.
Check some verbs that are commonly followed by the to-infinitive form.
VERBS + TO-INFINITIVE
Agree Decide
concordar decidir
Have Need
ter precisar
Plan Want
planejar querer
Now, check some sentences in which the first verb is commonly followed by the
second verb in the infinitive.
VERBS + TO-INFINITIVE
I’m planning to visit my parents on the holiday season.

Eu estou planejando visitar meus pais na época dos feriados.
(Verb to plan in the present continuous + verb to visit in the infinitive)
Mary wants to buy a new car.

Mary quer comprar um carro novo.
(Verb to want in the simple present + verb to buy in the infinitive)
I had to leave earlier yesterday.

Eu tive que sair mais cedo ontem.
(Verb to have in the simple past + verb to leave in the infinitive)

372
On the other hand, some verbs can only be followed by the -ING form.
VERBS + -ING
Admit Avoid
admitir evitar
Consider Enjoy
considerar curtir/aproveitar
Mind Risk
importar-se / tomar cuidado / prestar atenção arriscar
Check some examples.
VERBS + -ING
Emily enjoys watching cult movies on the weekends.

Emily gosta de assistir filmes cult nos finais de semana.
(Verb to enjoy in the simple present + verb to watch in the –ING form)
People should avoid smoking near children.

As pessoas deveriam evitar fumar perto de crianças.
(Verb to avoid in the bare infinitive (after a modal verb) + verb to smoke in the –ING form)
Anna should consider coming to her mother’s house at Christmas.

Anna deveria considerar vir para a casa da sua mãe no Natal.
(Verb to consider in the bare infinitive (after a modal verb) + verb to come in the –ING form)
Most verbs formed with prepositions, such as keep on and give up, will also be
followed by the -ING form.
VERB + -ING
Activists keep on asking the authorities to protect the environment.

Ativistas continuam pedindo às autoridades que protejam o meio ambiente.
Nancy gave up trying to convince Bob to come along.

A Nancy desistiu de tentar convencer o Bob a vir junto.

373
And there’s another group of verbs that can be followed either by the infinitive or
the -ING form. But we should divide them into two subgroups.
Verbs such as hate, love, like, and prefer may be followed either by the infinitive
or the -ING form, with no difference in meaning.
VERBS + INFINITIVE OR -ING
Hate Like
odiar gostar
Love Prefer
amar/adorar preferir
VERB + INFINITIVE OR -ING
Joyce hates driving when it’s raining.

Joyce hates to drive when it’s raining.
Joyce detesta dirigir quando está chovendo.
Henry loves cooking breakfast for his kids.

Henry loves to cook breakfast for his kids.
Henry ama preparar o café da manhã para seus filhos.
Notice that if this same group of verbs is accompanied by the modal verbs would
or should, then only the infinitive form is acceptable.
WOULD/SHOULD + VERB + INFINITIVE
Sharon would like to travel on the holiday.

Sharon would like traveling on the holiday.
Sharon gostaria de viajar no feriado.

374
Now, other verbs such as: forget, remember, stop, and try can be followed either
by the infinitive or the -ING form, but with a significant change in meaning.
VERBS + INFINITIVE OR -ING
Forget Remember
esquecer lembrar
Stop Try
parar tentar
VERB + INFINITIVE / -ING
Karen stopped smoking.

Karen parou de fumar.
(Stop + -ING form She quit smoking; Karen doesn’t smoke anymore.)
Karen stopped to smoke.

Karen parou para fumar.
(Stop + infinitive She interrupted something in order to smoke.)
I asked John, and he remembers turning off the lights before he left.
Eu perguntei ao John, e ele se lembra de ter apagado as luzes antes de sair.
(Remember + -ING form He remembers something he did in the past.)
John, remember to turn off the lights before you leave.

John, lembre-se de apagar as luzes antes de sair.
(Remember + infinitive It’s a warning so that he does not forget to do something)

375
There are still some special cases that should be pointed out.
Verbs such as let and make are followed by the bare infinitive, that
is, the infinitive form without the particle to. And there will always
be an object before the infinitive.
VERB + INFINITIVE WITHOUT TO
Let George do that for you.

Let him do that for you.
Deixe o George fazer isso por você.
Deixe-o fazer isso por você.
Paul made me wait for two hours.

Paul me fez esperar por duas horas.
The verb help can also follow this structure. But notice that,
sometimes, you will see this verb followed by the bare infinitive,
and some others, by the to-infinitive.
HELP + INFINITIVE
Your classmate is going to help you prepare the task.

Your classmate is going to help you to prepare the task.
Seu colega de turma vai te ajudar a preparar a tarefa.
So now you know how to use the infinitive or the -ING form after verbs.

376
Will
The modal verb will is mostly used to refer to the future. As all modal verbs,
it functions as an auxiliary verb, adding meaning to the main verb.
Check the structures for the affirmative, interrogative, and negative forms.
WILL
Structure
Affirmative
She will go to college next year.

Ela vai para a faculdade ano que vem.
Subject + Will + Main Verb in the Base Form +

Negative
Will you talk to her?

Você vai falar com ela?
Will + Subject + Main Verb in the Base Form +

Interrogative
It won’t rain.
Não vai chover.
Subject + Will + Not (Won’t) + Main Verb in the Base Form +


377
Will is commonly used to express willingness and decisions about
the future that we make at the moment we speak.
WILL
Uses
Willingness and Decisions
I’ll (I + will) get the door.

Eu vou abrir a porta.
I will quit smoking.

Eu vou parar de fumar.
In the interrogative, we can use will to tell people what to do or to

make proposals. We can also use it for promises in affirmative and
negative sentences.
WILL
Uses
Tell people what to do
Will you behave now?

Você vai se comportar agora?
Make an offer / a proposal
Will you marry me?

Você quer se casar comigo?
Promises
I will always be with you.

Eu sempre estarei com você.

378
It can be used to express refusal in the negative form.
WILL
Uses
Refusal
I won’t (will + not) talk to her.

Eu não vou falar com ela.
She won’t talk to anybody.

Ela não vai falar com ninguém.
Will is also used to refer to things that are inevitable.
WILL
Inevitability
You’ll have to attend driving classes to get your driver’s license.

Você terá que fazer aulas de direção para tirar a carteira de motorista.
Now you know that will is a modal auxiliary verb,

and you are familiar with its structures and common uses.

379
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Entertainment

1 The Power of Entertainment

5 Lights! Camera! Action! p. 164

6 Marketing and Release p. 197

7 And the winner is... p. 238

8 Grammar Guide p. 278

THE POWER OF ENTERTAINMENT

What do you usually do after a stressful day at work or school? Do

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Do you want to picture another scene? Well, what do you do while

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O PODER DO ENTRE TENIMENTO

O que vocês costumam fazer após um dia puxado no trabalho ou na

Bem, os gostos são diferentes, vocês sabem... Há quem goste de assistir

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Querem ver outra situação? O que vocês fazem enquanto aguardam

Só para ilustrar essa ideia, pensem em quanto trabalho sua banda

E isso acontece nos mais diversos tipos de entretenimento. As cerca de

Ao longo dos próximos episódios, vamos conhecer melhor o

Vocês vão perceber que o trabalho que lhes proporciona momentos

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movie/film documentary movies/films documentaries

the movies / movie theater / cinema movie theaters / cinemas

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series singular / plural reality show

A series is a set of television, streaming platforms or radio broadcasts on the

music = sheet music

music, as a discipline at school

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As previously mentioned, a song is a piece of music, usually short and featuring

book audiobook e-book

Do you watch a movie or a series? Maybe a reality show on television?

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THE FIVE BASIC SENSES

sight hearing touch

Jeff can’t see without his glasses.

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TO LOOK INTEN TIONALIT Y

Look at those pictures over there!

Let’s see this film at the movie theater tomorrow.

I watch great documentaries on this TV channel.

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Cristina has to watch her kid’s screen time.

Watch your words. They can hurt!

Note that to watch, in the previous sentence, means to be careful or beware of

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My grandfather doesn’t hear very well in his left ear.

Delilah listens to this song over and over every day.

In the previous example, we have the verb to listen. To listen implies

The blue cheese has a strong taste.

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TO TASTE + ADJE CTIVE

This apple tastes bad.

TO TASTE + ADJE CTIVE

to taste good to taste salty to taste sweet

TO TASTE + ADJE CTIVE

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TO TASTE LIKE SOME THING

This candy tastes like coffee.

People have different tastes.

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John has a taste for classical music.

John has a taste in classical music.

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