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Spanish to English - Standard rate: 0.10 USD per word / 32 USD per hour English to Spanish - Standard rate: 0.10 USD per word / 32 USD per hour Spanish - Standard rate: 0.10 USD per word / 32 USD per hour English - Standard rate: 0.10 USD per word / 32 USD per hour
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Sample translations submitted: 3
Spanish to English: El Rezador- Film Script- Extract General field: Art/Literary Detailed field: Cinema, Film, TV, Drama
Source text - Spanish EXT. CALLE NORTE DE QUITO. DíA
La chica camina por la acera cuando Antanacio la aborda.
ANTANACIO
Disculpa... sabes qué hora es.
CHICA
Las 3:30.
ANTANACIO
Gracias.
ANTANACIO (CONT’D)
No quiero molestarte, pero puedo hablarte de algo importante.
La chica lo mira un segundo, parece no saber si es un vendedor o un asaltante. Se asusta.
CHICA
No tengo tiempo.
Intenta seguir su camino.
ANTANACIO
No te asustes, es sobre tu abuela y el milagro.
La chica se detiene y lo mira extrañada.
INT. CASA DE ABUELA. DÍA
La casa es antigua, casi lujosa y decadente, es como si le faltara mantenimiento hace un buen tiempo. La chica camina por los pasillos, Antanacio la sigue.
CHICA
(Subiendo la voz)
!Abue!
Llegan a una sala de TV, donde se encuentra la abuela. La anciana mira al extraño y saluda.
ANCIANA
Buenas tardes.
ANTANACIO
Buenas tardes señora.
CHICA
El señor dice que es amigo de los papás de Gema.
Hace una pausa mientras su abuela esculca visualmente a Antanacio.
CHICA (CONT’D)
Quiere conversar contigo.
Aún desconfiada.
ANCIANA
Diga usted.
INT. NUEVO CUARTO ANTANACIO. NOCHE
Antanacio no duerme, vigila la casa de Gema desde la ventana de su nuevo cuarto. Un tipo borracho pasa y un perro le ladra sin mucha gana. Un automóvil se acerca lentamente, pone atención, pero el vehículo pasa de largo y deja ver detrás de si algo inesperado. Ahí está Gema caminando en pijamas. Se para frente a un poste eléctrico, está en “trance”, ve algo que no está y le sonríe.
Antanacio se da vuelta y sale del cuarto.
Translation - English EXT. STREET/ NORTH OF QUITO. DAY
The woman walks on the sidewalk when Antanacio approaches her.
ANTANACIO
Excuse me... Do you know what time it is?
YOUNG WOMAN
It’s 3:30.
ANTANACIO
Thank you.
ANTANACIO (CONT'D)
I don’t want to bother you, but I want to talk to you about something important.
The woman stares at him for a second, she doesn’t know if he is a sales person or a thief. She gets scared.
YOUNG WOMAN
I don’t have time.
She tries to continue walking.
ANTANACIO
Don’t get scared, it’s about your grandmother and the miracle.
The woman stops and looks at him surprised.
INT. GRANDMOTHER’S HOUSE. DAY
The house is old, not luxurious and decadent. It looks they have not fixed it in a long time. The woman walks through the halls, Antanacio follows her.
YOUNG WOMAN
(lowering her voice)
Grandma!
They get to the TV room where the grandmother is sitting. The old woman looks at the stranger and greets him.
OLD WOMAN
Good afternoon.
ANTANACIO
Good afternoon ma’am.
YOUNG WOMAN
This man says he is a friend of Gema’s parents.
She makes a pause while her grandmother scans Antanacio.
YOUNG WOMAN (CONT’D)
He wants to talk to you.
She is still distrustful.
OLD WOMAN
So, go on.
INT. ANTANACIO’S NEW ROOM. NIGHT
Antanacio doesn’t sleep, he watches Gema’s house from the window of his new room. A drunk man passes by and a dog lazily barks at him. A car approaches very slowly, he pays attention to it, but the car drives by and reveals something unexpected. Gema stands on the street in her pajamas. She stands in front of a post, she is in a trance, sees something that is not there and smiles at it.
Antanacio turns around and leaves the room.
Spanish to English: Alucina-Tratamiento- Extracto General field: Art/Literary Detailed field: Cinema, Film, TV, Drama
Source text - Spanish Llega un chico flaco de su misma edad con una caja de pizza, la tiran al suelo mientras se besan y se quitan la ropa. Están ya montados sobre el colchón. Camila cierra los ojos e imagina hacer el amor sobre la arena, la playa, cuando el teléfono vuelve a sonar. Ring, ring, ring. Se quedan quietos mirando el aparato.
Camila se incorpora, se queda sentada en la cama apoyada contra la pared que le hace de respaldar, saca un cigarrillo y lo prende. Observa el humo de sus bocanadas flotar en el aire. José desciende hasta la panza de ella y apoya su oreja en el ombligo.
- Esta nadando.
Ambos se quedan en silencio hasta que el teléfono comienza a sonar nuevamente, hasta que se corta abrupto.
José se baja de la cama y comienza a buscar su ropa.
-¿No quieres comer? Se va a enfriar la pizza, vamos – Camila intenta alivianar el ambiente.
Está sentada, desnuda, hasta la cintura, sobre la cama.
- ¿Nunca vas a contestar el teléfono? –le grita el chico.
- Ya está frío – dice mientras sigue mascando sin ganas.
Él no responde mientras saca una llave del bolsillo de su pantalón, no sabe qué hacer con ella.
- Déjala en la mesa – le dice Camila mirándolo a los ojos.
- Toma la llave, devuélveme la llave, nunca te decides – le dice, sin bajar el tono de voz, mientras se dirige a la puerta.
La cierra con fuerza, ella no se mueve pero deja de comer. Después de un rato tira la costra de la pizza sobre la caja abierta y corre a la ventana.
- Mañana te voy a buscar – grita pero él no la escucha, tiene el casco puesto y ya ha arrancado el motor.
Camila abre la puerta de su habitación cerca de las seis de la mañana, antes de salir se fija en la pequeña torre de cajas de pizza vacías que guarda en una esquina, regresa y levanta la primera del montón: "12 de marzo / mozzarella / hoy pizza número 31, un mes hecho con cada noche, pero esta noche fue especial". Sonríe una sonrisa triste. Sale y baja las escaleras. Ve a la dueña de la pensión que cambia el recipiente de agua de una jaula vacía y camina hacia ella. Le entrega un llavero.
- Doménica, no se olvide de decirle a Raquel que cuando arregle mi cuarto ni se le ocurra tirar las cajas…
Camila sale y cruza la ciudad. Es el recorrido de todos los días, que siempre realiza a pie. Nunca en bus, nunca en taxi. La rutina se repite día tras día. El call center impersonal lleno de cubículos: llega, se quita los audífonos para colocarse el micrófono y responder las llamadas. Nadie saluda con ella, ella no saluda con nadie. Una foto del mar es la única decoración de su cubo.
Translation - English A skinny kid of her same age arrives with a pizza box, they drop it on the floor while they kiss and take their clothes off. They are already on the mattress. Camila closes her eyes and imagines she is making love on the sand, the beach, when the phone starts to ring again. Ring, ring, ring. They stay still looking at the phone.
Camila gets up, she sits on the bed leaning against the wall, takes a cigarette out and lights it up. She observes the smoke of her puffs float in the air. Jose goes down to her belly and puts his ear on her belly-button.
- It’s swimming.
Both of them stay silent until the phone starts to ring again, until it stops abruptly.
Jose gets off the bed and starts looking for his clothes.
- Don’t you want to eat? The pizza will get cold, let’s go- Camila tries to lighten up the atmosphere.
She sits, topless, on the bed.
-You will never answer the phone? - the kid shouts.
- It’s already cold – he says while he chews bored.
He doesn’t answer while he takes his keys out of his pants’ pocket, he doesn’t know what to do with it.
- Leave it on the table- Camila tells him looking at his eyes.
- Take the keys, return the keys, you can never decide- he tells her, without lowering the tone of his voice while he walks to the door.
He shuts it close, she doesn’t move but stops eating. After a while she tosses the pizza crusts on the open box and runs to the window.
- I will look for you tomorrow- she shouts but he doesn’t listen, he has his helmet already on and has started his motorcycle.
Camila opens her bedroom’s door at about six in the morning, before leaving she notices the small tower of empty pizza boxes she piles up on a corner, she goes back and lifts the first on the pile: “March 12/ mozzarella/today is pizza number 31, one month made with each night, but tonight was special”. She smiles a sad smile. She goes out and goes downstairs. She sees the owner of the guest house that changes the water container of an empty cage and walks towards her. She hands her a keychain.
- Domenica, don’t forget to tell Raquel that when she cleans my room she shouldn’t even think about throwing the pizza boxes away…
Camila leaves and goes across the city. It’s the same way she takes every day on foot. Never on a bus, never in a taxi. The routine is repeated every day. The impersonal call center filled with cubicles: she arrives, takes her headphones out to put on a microphone and answer the calls. Nobody says hello to her, she doesn’t greet anybody. A photograph of the ocean is the only decoration on her cubicle.
English to Spanish: You Have No Idea How Much I Love You- Film Subtitles- Extract General field: Art/Literary Detailed field: Cinema, Film, TV, Drama
Source text - English #00047 00:05:20.01 00:05:23.17 00:00:03.16 #F CC00000D0 #C
"I'd like to be able
to talk to my mum properly".
#00048 00:05:23.21 00:05:27.13 00:00:03.17 #F CC00000D0 #C
I hope I'm not twisting anything.
You said:
#00049 00:05:27.17 00:05:31.00 00:00:03.08 #F CC00000D0 #C
"I've come because
my daughter had this idea,
#00050 00:05:31.04 00:05:34.02 00:00:02.23 #F CC00000D0 #C
and it's hard
not to go along with it".
#00051 00:05:39.03 00:05:43.23 00:00:04.20 #F CC00000D0 #C
I think it may be the only option,
because of course there's still time,
#00052 00:05:44.02 00:05:46.21 00:00:02.19 #F CC00000D0 #C
but it might work,
or it might not.
#00053 00:05:47.00 00:05:50.08 00:00:03.08 #F CC00000D0 #C
But how can I be useful to you,
in your view?
#00054 00:05:50.12 00:05:54.02 00:00:03.15 #F CC00000D0 #C
The outsider, the third person,
what help can he be?
#00055 00:05:54.06 00:05:56.24 00:00:02.18 #F CC00000D0 #C
To help my daughter.
#00056 00:05:57.03 00:06:00.06 00:00:03.03 #F CC00000D0 #C
-You've come for your daughter's sake?
-Yes.
#00057 00:06:00.10 00:06:02.04 00:00:01.19 #F CC00000D0 #C
Not for your own?
#00058 00:06:02.08 00:06:05.04 00:00:02.21 #F CC00000D0 #C
Yes, for my own as well,
of course.
#00059 00:06:05.08 00:06:09.23 00:00:04.15 #F CC00000D0 #C
-My daughter is very important to me.
-But how can I be of help to you?
#00060 00:06:10.02 00:06:14.19 00:00:04.17 #F CC00000D0 #C
What's your interest here? Is it only
secondary to your daughter's?
#00061 00:06:14.23 00:06:18.21 00:00:03.23 #F CC00000D0 #C
But it's all connected.
How can it be secondary?
#00062 00:06:19.00 00:06:21.17 00:00:02.17 #F CC00000D0 #C
Her happiness is…
#00063 00:06:25.03 00:06:27.06 00:00:02.03 #F CC00000D0 #C
You haven't finished.
#00064 00:06:37.09 00:06:42.04 00:00:04.20 #F CC00000D0 #C
I'm deeply convinced,
I may be wrong,
#00065 00:06:42.08 00:06:47.03 00:00:04.20 #F CC00000D0 #C
but if you don't have a good
relationship with your parents,
#00066 00:06:47.07 00:06:50.08 00:00:03.01 #F CC00000D0 #C
if you don't love them,
if you don't have respect,
#00067 00:06:51.10 00:06:55.01 00:00:03.16 #F CC00000D0 #C
then you'll have a tough time,
you've got an uphill climb.
#00068 00:06:55.05 00:06:57.09 00:00:02.04 #F CC00000D0 #C
Do you have a good
relationship with your parents?
#00069 00:06:57.13 00:07:01.14 00:00:04.01 #F CC00000D0 #C
-My parents are dead.
-My question still stands.
#00070 00:07:02.20 00:07:05.13 00:00:02.18 #F CC00000D0 #C
My mother died
when I was nineteen.
#00071 00:07:05.17 00:07:10.01 00:00:04.09 #F CC00000D0 #C
-Do you have a good relationship with
your parents nowadays? -Yes, I do.
#00072 00:07:11.13 00:07:17.02 00:00:05.14 #F CC00000D0 #C
But it was hard for me to do it,
and unfortunately…
#00073 00:07:20.07 00:07:24.11 00:00:04.04 #F CC00000D0 #C
I mended my relationship
with my parents after their death.
#00074 00:07:25.18 00:07:29.06 00:00:03.13 #F CC00000D0 #C
And I don't want Hania
to be in the same situation.
Translation - Spanish #00047 00:05:20.01 00:05:23.17 00:00:03.16 #F CC00000D0 #C
"Quisiera poder
hablar con mi mama apropiadamente".
#00048 00:05:23.21 00:05:27.13 00:00:03.17 #F CC00000D0 #C
Espero no estar distorcionando nada.
Tú dijiste:
#00049 00:05:27.17 00:05:31.00 00:00:03.08 #F CC00000D0 #C
"He venido porque
mi hija tenía esta idea,
#00050 00:05:31.04 00:05:34.02 00:00:02.23 #F CC00000D0 #C
y es difícil
no estar de acuerdo con ella".
#00051 00:05:39.03 00:05:43.23 00:00:04.20 #F CC00000D0 #C
Creo que puede ser la única opción,
porque por supuesto todavía hay tiempo,
#00052 00:05:44.02 00:05:46.21 00:00:02.19 #F CC00000D0 #C
pero puede que funcione,
o puede que no.
#00053 00:05:47.00 00:05:50.08 00:00:03.08 #F CC00000D0 #C
¿Pero como puedo ser de ayuda para tí,
según tu punto de vista?
#00054 00:05:50.12 00:05:54.02 00:00:03.15 #F CC00000D0 #C
La persona externa, la tercera persona,
¿cómo puede ayudar?
#00055 00:05:54.06 00:05:56.24 00:00:02.18 #F CC00000D0 #C
Ayudando a mi hija.
#00056 00:05:57.03 00:06:00.06 00:00:03.03 #F CC00000D0 #C
-¿Has venido por el bien de tu hija?
-Sí.
#00057 00:06:00.10 00:06:02.04 00:00:01.19 #F CC00000D0 #C
¿No por el tuyo propio?
#00058 00:06:02.08 00:06:05.04 00:00:02.21 #F CC00000D0 #C
Sí, por mi bien también,
por supuesto.
#00059 00:06:05.08 00:06:09.23 00:00:04.15 #F CC00000D0 #C
-Mi hija es muy importante para mí.
-¿Pero como puedo ser de ayuda para tí?
#00060 00:06:10.02 00:06:14.19 00:00:04.17 #F CC00000D0 #C
¿Cuál es tu interés aquí? ¿Es solamente
secundario al de tu hija?
#00061 00:06:14.23 00:06:18.21 00:00:03.23 #F CC00000D0 #C
Pero todo está conectado.
¿Cómo puede ser secundario?
#00062 00:06:19.00 00:06:21.17 00:00:02.17 #F CC00000D0 #C
Su felicidad es…
#00063 00:06:25.03 00:06:27.06 00:00:02.03 #F CC00000D0 #C
No has terminado.
#00064 00:06:37.09 00:06:42.04 00:00:04.20 #F CC00000D0 #C
Estoy realmente convencida,
que puedo estar equivocada,
#00065 00:06:42.08 00:06:47.03 00:00:04.20 #F CC00000D0 #C
pero si no tienes una buena
relación con tus padres,
#00066 00:06:47.07 00:06:50.08 00:00:03.01 #F CC00000D0 #C
si no los amas,
si no los respetas,
#00067 00:06:51.10 00:06:55.01 00:00:03.16 #F CC00000D0 #C
entonces tendrás una situación difícil,
todo será cuesta arriba.
#00068 00:06:55.05 00:06:57.09 00:00:02.04 #F CC00000D0 #C
¿Tienes una buena
relación con tus padres?
#00069 00:06:57.13 00:07:01.14 00:00:04.01 #F CC00000D0 #C
-Mis padres están muertos.
-Mi pregunta sigue ahí.
#00070 00:07:02.20 00:07:05.13 00:00:02.18 #F CC00000D0 #C
Mi madre murió
cuando yo tenía 19 años.
#00071 00:07:05.17 00:07:10.01 00:00:04.09 #F CC00000D0 #C
-¿Tienes una buena relación con
tus padres hoy en día? –Sí, la tengo.
#00072 00:07:11.13 00:07:17.02 00:00:05.14 #F CC00000D0 #C
Pero fue difícil para mí hacerlo,
y desafortunadamente…
#00073 00:07:20.07 00:07:24.11 00:00:04.04 #F CC00000D0 #C
Yo arreglé mi relación
con mis padres después de que murieran.
#00074 00:07:25.18 00:07:29.06 00:00:03.13 #F CC00000D0 #C
Y no quiero que Hania
esté en la misma situación.
#00075 00:07:30.17 00:07:34.05 00:00:03.13 #F CC00000D0 #C
¿Puedes comentar sobre
lo que ha dicho tu mamá?
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Bio
Me especializo en traducciones de guiones, tratamientos de documentales, sinopsis, cartas de motivación, proyectos cinematográficos para aplicaciones a fondos internacionales, películas y documentales para subtítulos y artículos académicos relacionados con cine. Tengo experiencia traduciendo este tipo de documentos y proyectos por más de 10 años.
Además soy productora audiovisual y de cine, 100% bilingüe, con más de 20 años de experiencia en estas áreas.
I specialize in translations for scripts, documentary treatments, synopsis, motivation letters, film projects for international applications, feature films and documentaries for subtitles and academic articles related to film. I have experience translating these types of documents and projects for more than 10 years.
I am also a film and audiovisual producer, 100% bilingual, with more than 20 years of experience in these fields.
Keywords: English, Spanish, film, TV, scripts, screenwriting, proofreading, art, culture, pop culture. See more.English, Spanish, film, TV, scripts, screenwriting, proofreading, art, culture, pop culture, subtitles, documentaries, movies, production, marketing, advertising, budgets, managing. See less.
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