تدريب Shadowing: Bernardo Bertolucci interview (1994) - تعلم التحدث بالإنجليزية عبر الفيديو
جارٍ إنشاء الدرس...
1
In 1973, Bernardo Bertolucci turned the cinematic world upside down with the premiere of Last Tango in Paris.
2
The New Yorker's Pauline Kael said the then 32 -year -old director had, quote, quote, altered the face of an art form.
3
But Bertolucci would spend the next 14 years largely unappreciated by the critics and audiences.
4
Then, in 1987, he made the epic Last Emperor, which won nine Oscars, including Best Picture and Best Director.
5
Bertolucci next went to the Sahara to film The Sheltering Sky.
6
Then, for his new $30 million epic Little Buddha, Bernardo Bertolucci spent over two years with Buddhist lamas filming in Nepal and Kathmandu.
7
Today's New York Times calls Little Buddha A Dazzling Mixture of Buddhist Thought and Cinematic Fireworks.
8
It opens today, and we're pleased to have the director here with us.
9
Welcome.
10
Do you see this as a kind of trilogy for you, as people are talking about some people looking for nice little ways to wrap it up,
11
view this coming after The Emperor
12
and Children's Sky as sort of the trilogy about your own journey into Eastern religions and into Asian thought?
13
When I did The Last Temple, I didn't know that that was the first part of the trilogy.
14
But, you know, it was the beginning of the 80s.
15
I had a great trouble to do movies in Italy because even if it was a moment of great economic boom,
16
in Italy there was such a smell of corruption and everything which goes with corruption,
17
which is especially cynicism, which I didn't feel inspired so I said I want to go as far as possible.
18
In fact, a year ago when this trial started in Italy called Clean Hand, you know, the judge in Milan,
19
so I thought maybe I wasn't so wrong about the state of my country.
20
So I went as far as possible.
21
I went to China and it was the first experience in the East and every completely, how can I say, victim of a kind of oriental temptation.
22
Well, tell me what you mean.
23
That to be able to see China not yet involved with consumerism as it was in 84
24
when I went for the first time.
25
I think now it's completely different.
26
Less consumerism?
27
Oh, yes.
28
You're talking about China or are you talking about Tibet or everywhere?
29
I'm talking about China in 84.
30
Now, today, there is an incredible boom also there.
31
But that was the eternal China, the one I met.
32
And then today, of course, I mean, Little Buddha is shot in Nepal and Bhutan.
33
Anyway, I felt like going, looking for something different.
34
And I found it, I think.
35
But what did you find?
36
Many things.
37
It's difficult to resume and to synthesize the experience of discovering the East.
38
For me, I mean, somebody else knows this, but for me it was a great discovery.
39
For example, I think Little Buddha is a bit the synthesis of things that I understood and I learned, especially with the last temple in the Chinese experience.
40
For example, how they refer to individuals.
41
How we refer to individuals in the West and how they think the individual is in the East.
42
here we have to come out from the masses we have to have a bigger name in the credits
43
and all this
44
and there is a kind of great I mean we are
45
able to develop our egos like big monuments in the East
46
in China especially I've seen people being very happy in a
47
kind of collective harmony to make to give an example
48
while I was visiting the Forbidden City at the beginning of
49
the pre -production of the last emperor with the Chinese guys
50
I was asking all the time who has done this who is the architect of this beautiful pavilion
51
or the sculpture of this
52
sculpture this turtle or this fresco the painters
53
and with a smile the Chinese were saying Ming Dynasty 1230
54
the 16th Qing Dynasty no names no names of artists it
55
was a fantastic lesson in Buddhism they talk a lot about the ego And for Buddhists,
56
the ego is one of the major enemies within us.
57
Have you become Buddhist?
58
Oh, no. I mean, I'm a...
59
I know you have enormous curiosity about it, but you spent time with the Dalai Lama.
60
Yeah, of course.
61
I went to see the Dalai Lama at the beginning of this project, the very beginning.
62
In preparing for this film.
63
Yes.
64
I wanted to tell him that there was the danger that a non -Buddhist like me...
65
He was preparing a movie about Buddhism.
66
And with this resistible Tibetan smile, the Dalai Lama said, go ahead.
67
You will have all the needed detachment, being a non -Buddhist.
68
By the way, detachment is a Buddhist quality.
69
And then he said, why do you want to call it Little Buddha?
70
And I said, because I would like to be able to do a movie that for the first time in my life, even children can see.
71
and I thought that also grown -ups in the West, I think that we are children when we talk of Buddhism,
72
we are so ignorant about this incredibly sophisticated philosophy.
73
And he said something I really liked, he said, you know, I think there is a little Buddha in all of us, which is this idea of Buddhahood that the Buddhists have,
74
that each one of us has the potential Buddhity inside, Buddhahood inside.
75
I mean, but it's asleep.
76
Tell me a little bit about the notion, is the story, tell us the story first, and then I want to...
77
At the beginning there was an idea of doing a movie about the life of Buddha.
78
Then I thought I'm more interested in seeing the confrontation between
79
the thoughts of a man who lived 2 ,500 years ago with our reality, our present, our days.
80
So I found this story of this...
81
So you had two ideas you needed to marry, one contemporary...
82
Yeah, the present and the past, and how Buddhism has a resonance in the present, today.
83
So I have this old Tibetan Lama going to...
84
Lama being teacher?
85
I mean teacher, guru, yeah.
86
Going to Seattle because he heard that maybe there is a boy who is the reincarnation of his old teacher,
87
his own Lama, who died nine years ago, exactly when the little boy was born and and then
88
so this little kid wants to know what's about what's all about
89
and so the old lama tells the story of Siddhartha
90
which is a young prince
91
which will become Buddha as a fairy tale as a fable to the little boy
92
and so you have this contrast between the present and the past and
93
and the past part is this young prince in his summer
94
palace somebody was never able to go out of his palace
95
to walk out of his palace he's there in a kind of wonderful golden cage
96
and one day will walk up he will wake up
97
and he will walk out of the palace
98
and we learn the meaning of words like suffering old age
99
sickness death let me take a look here is this is
100
a you may want to set this up the clip we'll
101
see from little buddha is where buddha greets the city oh
102
yeah this is what i was telling about the moment
103
when he goes out of his golden cage all right out of his palace here it is rotate
104
and how much how accurate is the story and with respect to buddha you know um the youth of buddha
105
the young buddha prince siddhartha it's a legend
106
and there is really no iconography about so in In some way we were lost,
107
on the other way we were very free visually to invent.
108
Speaking of visual, Vittorio Storaro was your cinematographer.
109
Did he also do The Emperor?
110
Yes, he's done all my movies since 1969.
111
What does he bring to your film?
112
What is the genius of a cameraman or a cinematographer because you paint on such a broad canvas in these films?
113
You know, we grew up together in some way.
114
I started very, very young, and Vittorio, in 1963 -4, when I did Before the Revolution, which is one of my first movies, I was, I don't know,
115
23 years old, was the focus puller.
116
Then in 69, he had become a director of photography, and we went through the years together.
117
So there is a kind of communal growing up together.
118
So what he brings?
119
Let's say that he's like my own private painter who is able to give with his lightning the colors,
120
the shadows, the light to my shots
121
so it's really my conscious of colors my conscious of light
122
and shadows and then and you know we know each other
123
so well that now when we start to do a movie we discuss
124
and I tell him how I think we should the perspective we should have on on the visual effects
125
and then we are we know each other so
126
that we can communicate just without speaking looking at each other
127
and it's as you know it's an important collaboration and I think
128
that cinema you know I come from poetry I was writing poetry
129
which is the most loneliness of all languages cinema is really
130
based on collaboration cinema is really based on the fact
131
that the director is able to stimulate the creativity of his collaborators speaking of poetry your father's a great poet
132
yeah did you go into film because you were looking for something to do that would not be in competition
133
with your father yeah you caught me i mean i started to write poems
134
when i was six seven when i started to write
135
because it was in the family it wanted to be a point yeah
136
and like i don't know in the family of a carpenter children worked wood and
137
when i was 16 17 i started to think my god
138
this is not mine this is not my language this is not my expression is my father
139
and i've been given a 16 mil i was 16
140
so 16 years old and i did i've done my little first 10 minutes
141
film and i then i was sure i would have been a film director and
142
a friend of my father was pierre parlo pasolini yeah
143
and i remember that the in 1960 he did his first film he met me said
144
that you want to do the movie why don't you come with me you will be my assistant
145
and that was a fantastic experience to see pasolini who was a writer becoming a film director
146
while i was already a cinephile i mean i was a movie girl he wasn't and
147
so i saw pier paulo inventing cinema it's like seeing griffith
148
i mean it's like seeing somebody who discovers yeah like like discovering cinema
149
so Pierpaolo once said that let's put down the dolly track
150
and that was the first dolly of history of cinema because it was done by somebody who didn't have a cinema
151
experience and that was extraordinary who else has influenced you whose work as a filmmaker
152
you know i am a not a very old man
153
but i'm an ancient filmmaker because i started in 62 so it's more than 32 years.
154
I really think that my great love in the 60s
155
when cinema was something very special was Jean -Luc Godard and some of the French directors.
156
Why those French directors?
157
Because there was a mutation in cinema and they were the authors of this mutation.
158
Cinema has changed there is a cinema before Godard
159
and after Godard in some way and I was how was it different after Godard
160
that all the way of rethinking cinema let's say in the 60s Godard
161
and all is kind of say since we are in Buddhism
162
I said devotees instead of followers I wouldn't say normally
163
and we wanted to tell a story
164
but we we also wanted to to analyze with our movie movies what cinema is
165
so cinema was a story characters
166
but also the conscious of conscience of cinema I remember saying
167
that a Dolly track movement of a pan of 360 degrees was an affair de morale,
168
something regarding morality and style was so important, style and politics.
169
It was about 20 years ago, as I remember, 73 when Last Tango in Paris came out.
170
Yeah, that was already after 10, 12 years I started.
171
Did you have some sense when you rapped
172
that you had something special there that would be heralded not just by Pauline Kael
173
but others as some kind of landmark movie
174
and landmark performance by Brando you know I think I'm the
175
only the last one to know what I'm what I have done and
176
because I work in a state kind of trance in some
177
way I mean I need to go to the cutting room to start to understand what the movie is
178
because and that's where it happens for you more than directing the shots
179
but it happens to you when you put it together in the editing room? For you?
180
I mean, directing is the letting out the beautiful chaos and the editing is to put order in the chaos.
181
Yeah. And...
182
So directing is creating chaos and editing is putting order into the chaos.
183
And editing is finding the reason within the chaos and the reason why.
184
And you don't see the order when you're making, when you're creating the chaos as out on the location?
185
No. I mean...
186
It's almost like you're creating the colors
187
that you can later bring together you know there is always
188
a kind of attempt to balance what is written on the script
189
and what life gives me i remember meeting jean renoir in
190
something like 10 20 years ago in 74 in hollywood he was eight years old he was an incredible
191
mind about cinema because he was speaking uh like goddard so he he had our experience in the 30s Anyway, he told me something.
192
He said, il faut toujours laisser la porte ouverte.
193
You have always to leave the door open on the set.
194
One door open, he said. Because.
195
Somebody can come in.
196
You weren't expecting.
197
And that is life intruding to cinema, and this is very important.
198
So to balance always the fiction and life, in fact, for example, the performance of Marlon in Last Dangle,
199
it's very much behind the mask of Marlon, behind the kind of actor -studio mask that we have seen in all his movies.
200
So I told him just two months ago, I met him again, and that I thought that there was a lot of himself and he smiled at me,
201
you think that it was really me?
202
But, I mean...
203
And what did you say?
204
You tell him you thought it was a lot of him?
205
I thought it was, but I know that it was him if he was lying.
206
Even if he was lying, it was.
207
Yeah, it was, yeah.
208
Yeah.
209
How brilliant was his performance in your judgment in the last tango?
210
Oh, I think that, first of all, I had the privilege of having Marlon in front of my camera different from,
211
in general, his other movies, because he was like forgetting his mask, forgetting his usual Brando persona,
212
and giving me something new.
213
So I think that he was another great collaborator, you know.
214
What's next for you now?
215
I mean, do you, now that you've completed this trilogy.
216
I think I want to go back to Italy.
217
Even though the political tenor there is quite different from one that I would think that would appeal to you.
218
I mean, Berlusconi is not your seemingly prime minister.
219
No, you know, Italy for the first time has voted right wing.
220
I've got 30 seconds, but go ahead.
221
Right wing, yes.
222
And we always said center, center, left in Italy.
223
For the first time, there is a right wing.
224
And I think that it's good to remind the Italians of what right wing means.
225
It's like if the Italians have lost their historical memory.
226
And to have a reminder, and I think I will do a third part of the movie called 1900, which was ending in 45, between 45 and today.
227
Wow.
228
All right.
229
I'm pleased to meet you.
230
Bernardo Bertolucci, Little Buddha, opens around the country.
231
As we go out, we'll see a clip from that.
232
I thank you again for coming here.
233
Thank you, Tom.
234
Look forward to seeing you again.
235
And we thank you for joining us this evening.
236
Notice this clip as we say good night and see you tomorrow night.
📺 نفس القناة
✨ فيديو موصى به
B22
394 جمل
The Odyssey : the only Christopher Nolan interview you need to watch
IELTS PrepTOEFL PrepUniversity Students
B21
92 جمل
Russell Crowe Faces the Vatican’s Dark Side | THE POPE'S EXORCIST
IELTS PrepTOEFL PrepUniversity Students
B210
27 جمل
Chris Cornell Talks About Religions and Why He Didn't Follow Any Religion - 2008 Interview
IELTS PrepTOEFL PrepUniversity Students
B275
19 جمل
Viggo Mortensen on fear, ignorance and prejudice and consumerism | ScreenSlam Exclusive
IELTS PrepTOEFL PrepUniversity Students
B22
83 جمل
(2020/10/01) GWTV Behind The Scenes - ANIMA - Thom Yorke (Video)
IELTS PrepTOEFL PrepUniversity Students
B26
66 جمل
ENGLISH SPEECH | SHAH RUKH KHAN: The Language of Cinema (English Subtitles)
IELTS PrepTOEFL PrepUniversity Students
B27
19 جمل
Nuremberg - Official Clip - You Are Not Alexander The Great - Russell Crowe & Rami Malek
IELTS PrepTOEFL PrepUniversity Students
C13
109 جمل
Festivaletteratura 2025 - Intervista a Ocean Vuong
IELTS PrepTOEFL PrepUniversity Students
B22
123 جمل
Emma Stone, Mark Ruffalo & Director Yorgos Lanthimos Break Down 'Poor Things' Scenes | Vanity Fair
IELTS PrepTOEFL PrepUniversity Students
B21
53 جمل
LAST MAN (2022) | Short Film
IELTS PrepTOEFL PrepUniversity Students
B25
35 جمل
Al Pacino's speech about God (The Devil's Advocate)
IELTS PrepTOEFL PrepUniversity Students
B25
49 جمل
"I forgo the vengeance of my son" | The meeting of the five families | The Godfather | CLIP
IELTS PrepTOEFL PrepUniversity Students
المفردات وملاحظات التحدث لهذا الدرس
يحتوي هذا الفيديو على 236 جملة و2793 كلمة للتدرب على الترديد. مدة الكلام 17:21. يتكلم المتحدث بسرعة طبيعية، نحو 161 كلمة في الدقيقة، قريبة من المحادثة اليومية. 81% فقط من الكلمات ضمن أكثر 3,000 كلمة شيوعًا في الإنجليزية، فالمفردات صعبة نسبيًا.
أهم المفردات في هذا الفيديو
15 كلمة من الفيديو تستحق التعلّم، مع النطق والمعنى:
| الكلمة | النطق | المعنى |
|---|---|---|
| cinema اسم | /ˈsɪn.ə.mə/ | سِينَمَا |
| chaos اسم | /ˈkeɪˌɑs/ | فَوْضَى |
| palace اسم | /ˈpælɪs/ | قَصْر, بَلَاط |
| edit فعل | /ˈɛdɪt/ | حَرَّرَ, عَدَّلَ |
| emperor اسم | /ˈɛmp(ə)ɹə/ | قَيْصَر, إِمْبْرَاطُور |
| trilogy اسم | /ˈtɹɪləd͡ʒi/ | ثُلَاثِيَّة |
| poetry اسم | /ˈpoʊ.ə.tɹi/ | شِعْر |
| discover فعل | /dɪˈskʌvə/ | اِكْتَشَفَ |
| mask اسم | /mæsk/ | قِناع, كِمامة |
| clip اسم | /klɪp/ | مِشْبَك |
| tango اسم | /ˈtæ̝ŋɡoʊ̯/ | تَانْغُو |
| refer فعل | /ɹɪˈfɜː/ | أَشَارَ |
| temple اسم | /ˈtɛm.pl̩/ | مَعْبَد, هَيْكَل |
| shadow اسم | /ˈʃædəʊ̯/ | ظِلّ, خَيَال |
| corruption اسم | /kəˈɹʌpʃən/ | فَسَاد |
الأفعال المركبة التي ستسمعها
| الكلمة | النطق | المعنى |
|---|---|---|
| grow up فعل | كَبُرَ, ْنَشَأ | |
| come out فعل | /ˌkʌm ˈaʊt/ | خَرَجَ, غَادَرَ |
| go out فعل | خَرَجَ | |
| wake up فعل | /ˌweɪk ˈʌp/ | صَحَا, اِسْتَيْقَظَ |
القواعد في هذا الفيديو
أكثر التراكيب التي يستخدمها المتحدث، مع العبارات نفسها من الفيديو:
| التركيب | في الفيديو |
|---|---|
| المضارع التام have/has + اسم المفعول — حدث ماضٍ ما زال له أثر الآن | I've seen · has done · i've been given |
| المبني للمجهول be + اسم المفعول — التركيز على ما يحدث لا على من يفعله | is shot · was born · were lost |
| جمل الوصل who / which + جملة — معلومة إضافية عن شخص أو شيء | man who lived · Revolution, which is · somebody who discovers |
نطق يحتاج إلى انتباه
يستخدم المتحدث 30 من الصيغ المختصرة، مثل I'm, don't, I've. انطقها بصيغتها القصيرة كما تسمعها.
- أصوات “th”: synthesis /ˈsɪnθəsɪs/, rethink /ɹiːˈθɪŋk/, synthesize /ˈsɪnθəsaɪz/
- أصوات “sh” و“zh”: conscious /ˈkɑn.ʃəs/, shadow /ˈʃædəʊ̯/, corruption /kəˈɹʌpʃən/, collaboration /kəˌlæbəˈɹeɪʃən/, mutation /mjuˈteɪʃən/
- الكلمات الطويلة — انتبه لموضع النبر: collaboration /kəˌlæbəˈɹeɪʃən/, photography /fəˈtɑ.ɡɹə.fi/, incredibly /ɪŋˈkɹɛdɪbli/, extraordinary /ɪksˈtɹɔːrdɪn(ə)ɹi/, communicate /kəˈmjuːnɪkeɪt/
كيف تتدرب بهذا الفيديو
- استمع إلى الفيديو كاملًا مرة واحدة دون أن تتكلم، ودوّن الكلمات التي لا تعرفها.
- ابدأ بسرعة 0.75×، وردّد جملة جملة، ثم عُد إلى السرعة العادية عندما يصبح الأمر سهلًا.
- سجّل صوتك وقارنه بالأصل، مع الانتباه إلى كلمات مثل cinema, chaos, palace.
ما هي تقنية التظليل الصوتي؟
التظليل الصوتي (Shadowing) تقنية تعلم لغة مدعومة علمياً، طُورت أصلاً لتدريب المترجمين الفوريين المحترفين. الطريقة بسيطة لكنها قوية: تستمع لصوت إنجليزي أصلي وتكرره فوراً بصوت عالٍ — كظل يتبع المتحدث بتأخير 1-2 ثانية. تُظهر الأبحاث تحسناً كبيراً في دقة النطق والتنغيم والإيقاع وربط الأصوات والاستماع والطلاقة.