تدريب Shadowing: 'The Odyssey' Cast Explains How Christopher Nolan Shoots Blockbusters Like Independent Films - تعلم التحدث بالإنجليزية عبر الفيديو
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1
The horse was next up on the schedule and so I said to Chris, you know, we were walking from one place to another, I said, hey, you know, Tuesday we're doing the horse.
كان الحصان التالي في الجدول الزمني، فقلت لكريس، كما تعلم، بينما كنا نمشي من مكان إلى آخر، قلت: "مهلاً، تعلم، يوم الثلاثاء سنقوم بتصوير الحصان".
2
I said, how are you going to shoot that?
قلتُ، كيف ستقوم بتصوير ذلك؟
3
No idea.
لا أعلم.
4
Okay, for the table.
حسناً، بالنسبة للجدول.
5
Everything about watching The Odyssey feels epic.
كل شيء في تجربة مشاهدة "الأوديسة" يبدو ملحميًا.
6
Was there a moment or series of moments in making this film when it felt larger than life?
هل كانت هناك لحظة أو سلسلة من اللحظات أثناء تصوير هذا الفيلم شعرتم فيها أن الأمر يتجاوز حدود الواقع؟
7
I Think visiting the set
أعتقد أن زيارة موقع التصوير
8
and watching the seizure the seizure of Troy like I have never seen anything like
ومشاهدة سقوط طروادة، سقوط طروادة، وكأنني لم أر شيئاً مشابهاً من قبل.
9
that before And I couldn't believe how quickly they could put it on fire and then just turn it off again Yeah,
قبل ذلك، لم أكن أصدق مدى سرعة تمكنهم من إشعال النار فيها ثم إطفائها مرة أخرى فجأة، نعم.
10
and they had these special effects I'm turning off again Yeah, I remember this tree like was completely engulfed in flames
وكان لديهم هذه المؤثرات الخاصة، أنا أغلقها مرة أخرى، نعم، أتذكر أن هذه الشجرة كانت مغطاة بالنيران تماماً
11
and then you called cut and I was like well They've
وبعدين أعلنت إيقاف التصوير وكنتُ أقول في نفسي حسناً لقد قاموا بـ
12
that trees I had the same and it just went out It was literally like a tap.
تلك الأشجار كان لدي نفسها وفجأة جفت تماماً، كان الأمر حرفياً كأن صنبوراً أُغلق.
13
It was amazing.
لقد كان مذهلاً.
14
And it was so cool seeing those guys come in with their fireman hats on
لقد كان من الرائع جدًا رؤية هؤلاء الرجال يدخلون وهم يرتدون قبعات رجال الإطفاء.
15
and they're on the radio talking about like F -1 -9 go down and put 10HT.
وهم على الراديو يتحدثون عن F-1-9، اذهب وأدخل 10HT.
16
It was amazing.
17
It was very cool.
لقد كان رائعاً جداً.
18
Yeah, the fire brigade.
نعم، فرقة الإطفاء.
19
The amount of coordination to make this happen and to do it all in camera.
مستوى التنسيق المطلوب لتحقيق هذا، ولإنجاز كل شيء مباشرة أمام الكاميرا.
20
Even the first day walking in Esauera, walking on that beach and seeing thousands of people,
حتى اليوم الأول الذي مشيت فيه في الصويرة، مشيت على ذلك الشاطئ ورأيت آلاف الأشخاص،
21
it just it just beggared the imagination bigger than anything I've ever seen yeah
لقد تجاوزت كل حدود الخيال، كانت أكبر من أي شيء رأيته في حياتي، نعم.
22
and I have to say the first the moment
ويجب أن أقول إن اللحظة الأولى
23
that we opened the gates of Troy we didn't know that Agamemnon
أننا فتحنا أبواب طروادة، لم نكن نعرف أن أغاممنون
24
and an army of 750 people were on the other side
وكان جيش مكون من 750 شخصًا في الجانب الآخر
25
we just thought we were taking it to the opening of the door
كنا فقط نظن أننا ندفع الأمر إلى مرحلة فتح الباب.
26
and we opened the door
وفتحنا الباب
27
and it is one of I will never forget seeing Benny in
وهي واحدة من اللحظات التي لن أنساها أبداً عندما رأيت بيني فيها.
28
that in that That costume standing in the middle
ذلك الشخص يرتدي ذلك الزي ويقف في المنتصف.
29
and it looked like it was Benny and 20 guys
وكان يبدو أن بيني وعشرون رجلاً هم من كانوا هناك.
30
Because it was dark behind them and then this roar and this 500 people came running
لأن الخلف كان مظلماً، ثم فجأة سمعوا هذا الزئير، وبدأ 500 شخص يركضون نحوهم.
31
You gods don't speak in ways we understand Who doesn't understand pain?
أنتم آلهة لا تتحدثون بطرق نفهمها، فمن الذي لا يفهم الألم؟
32
Or blood the gods told you Then I defy the gods Can I actually ask you about the music in
أو دم أخبرتك به الآلهة فأنا أتحدى الآلهة هل يمكنني حقاً أن أسألك عن الموسيقى في
33
that sequence because that is so stress inducing that kind of like repetitive Yeah, I don't even know how to describe it.
هذا التسلسل لأنه مسبب للتوتر بشكل كبير، هذا النوع من التكرار، نعم، أنا حتى لا أعرف كيف أصفه.
34
Yeah, well, it's a continuous associate acceleration It's a recent rhythm, right?
نعم، حسناً، إنها تسارع مستمر للارتباط، إنها إيقاع حديث، أليس كذلك؟
35
It's a thing that we
إنه شيء نحن
36
Hans Zimmer and I actually came up with on Dunkirk was the first time we sort of embraced
في الحقيقة، كانت المرة الأولى التي احتضننا فيها أنا وهانز زيمر هذا النهج أثناء عملنا على فيلم Dunkirk.
37
that and it's it's
ذلك، وهذا هو كل شيء.
38
It's the rhythmic equivalent of the shepherd tone shepherd tone being a sort of continuing ascension of a note, the rhythm just goes faster and faster and faster.
إنه المكافئ الإيقاعي لنبرة الراعي، حيث تكون نبرة الراعي نوعاً من الصعود المستمر للنغمة، بينما الإيقاع يزداد سرعة فحسب بشكل مستمر.
39
So it gives you this sort of feeling of anxiety, this kind of tension.
لذا فهو يمنحك هذا النوع من الشعور بالقلق، وهذا النوع من التوتر.
40
It's a wonderful musical structure and Ludwig Gorenson did the music for this film.
إنها بنية موسيقية رائعة، وقد قام لودفيغ غورانسون بتلحين الموسيقى لهذا الفيلم.
41
Yeah, fully embraced it, figured out a couple of different places in the film, including stuff I won't get into because it's spoilery towards the end,
نعم، تقبلت الأمر تماماً، ووجدت عدة مواضع مختلفة في الفيلم، بما في ذلك أشياء لن أتطرق إليها لأنها ستكشف تفاصيل نهاية الفيلم.
42
but Siege of Troy being one of these sequences where yeah
لكن حصار طروادة كان أحد هذه التسلسلات حيث نعم
43
you just want the audience on the edge of the seats
أنت فقط تريد أن تجعل الجمهور في حالة ترقب وتشوق شديد.
44
and you just want to continually put them in in the
وتريد فقط أن تضعهم باستمرار في الـ
45
heads of the the guys who were you know running through
رؤوس الرجال الذين كانوا، تعرف، يجرون خلالها.
46
that city at night uh
تلك المدينة في الليل، آه
47
and of course the way hoita's lit it you know it's
وبالطبع الطريقة التي أضاءت بها هويتا المكان، تعرف أنها...
48
lit by flames as it would be you know it's it's dark
مُضاءً باللهب كما سيكون، تعلم أن المكان مظلم.
49
and spooky and there's a there's a real race against time to get those get those gates open
والمكان مرعب، وهناك سباق حقيقي مع الوقت لفتح تلك الأبواب.
50
so i really wanted ludwig to just try and continually you know amp the tension It's super effective.
لقد كنت أريد حقًا أن يحاول لودفيغ باستمرار، كما تعلم، زيادة التوتر، وهذا فعال للغاية.
51
Yeah, it makes you feel like you're being chased.
نعم، هذا يجعلك تشعر وكأنك يلاحقك شخص ما.
52
Yeah.
نعم.
53
I was like writhing around.
كنتُ أتلوى في كل مكان.
54
Oh my God.
يا إلهي.
55
Yeah, no, he did an incredible job.
بالتأكيد، لقد قام بعمل مذهل.
56
And the whole school, I asked him to do it without an orchestra, because in the same way I've been saying to you guys,
وطلبتُ منه أن يؤدّي ذلك أمام المدرسة بأكملها من دون فرقة موسيقية، لأنني كما كنت أقول لكم يا شباب،
57
I didn't want the performances to feel like something from the Hollywood of the 50s and 60s, you know, kind of fake British accents or whatever that is,
لم أكن أريد أن تبدو الأداءات وكأنها شيء من هوليوود في الخمسينيات والستينيات، تعرف، مثل اللهجات البريطانية المزيفة أو أي شيء من هذا القبيل.
58
you know, that kind of elevated classical world thing.
أنت تعرف، ذلك النوع من الأجواء الكلاسيكية الرفيعة التي تميز العالم القديم.
59
You're trying to do something more accessible, more earthy, grounded.
أنت تحاول أن تفعل شيئًا أكثر سهولة في الوصول إليه، وأكثر واقعية وترابطًا بالواقع.
60
Those are the terms I've been using.
هذه هي المصطلحات التي كنت أستخدمها.
61
So I went to Ludwig and said, well surely that means we shouldn't have the kind of 19th century romantic tradition in music, which is so much of what movie music evolves from.
لذا ذهبت إلى لودفيغ وقلت له، حسناً، هذا بالتأكيد يعني أنه لا ينبغي لنا أن نتبنى التقاليد الرومانسية من القرن التاسع عشر في الموسيقى، وهي التقاليد التي نشأت منها الموسيقى التصويرية للأفلام إلى حد كبير.
62
And so he took the orchestra off the table and said, okay, well let's look at ancient instruments.
فأخذ الآلات الموسيقية من على الطاولة وقال حسناً، لنلقي نظرة على الآلات الموسيقية القديمة.
63
Let's look at gongs and things made of bronze.
لنلقي نظرة على الغونغات والأشياء المصنوعة من البرونز.
64
It's the Bronze Age.
إنها العصر البرونزي.
65
And then the Aulos, this sort of dual pipe, dual flute system that he found an expert who built this,
ثم الأولوس، هذا النوع من النظام المكون من أنبوبين ومزمارين مزدوجين، وجد خبيرًا قام بتصنيعه،
66
reproduced it and knew how to play it.
قام بإعادة إنتاجها وعرف كيف يعزفها.
67
And the Lyre, this string instrument.
والعود، هذا الآلة الوترية.
68
But using those instruments for his very modern purposes.
ولكنه يستخدم تلك الأدوات لأغراضه الحديثة للغاية.
69
He's an incredible producer as well as a great composer.
إنه منتج مذهل بجانب كونه ملحنًا عظيمًا.
70
Just really looking at what can you do with these sounds that you haven't heard before that will move an audience.
أنا فقط أتأمل حقًا ما يمكنك فعله بهذه الأصوات التي لم تسمعها من قبل، والتي من شأنها أن تثير انفعال الجمهور.
71
in a fresh way.
بطريقة جديدة.
72
Matt and Tom, you're both no strangers to action movies.
مات وتوم، أنتما كلاكما لستا غريبين على أفلام الأكشن.
73
How if at all did things like the Bourne
كيف أثرت أفلام مثل سلسلة بورن، إن كان لها تأثير، على الأمور؟
74
and Spider -Man franchises prepare you for the stunts and choreography of a movie like this, or are they completely different animals?
وامتيازات سبايدرمان هل تجهزانك للحركات البهلوانية والتصميم الحركي لفيلم مثل هذا، أم أنهما نوعان مختلفان تماماً؟
75
I would say it helps to have some experience in doing it
أود أن أقول إن امتلاك بعض الخبرة في القيام بذلك يساعد كثيرًا.
76
so you understand the kind of language of action and that choreography,
إذن أنت تفهم نوع لغة الحركة وتلك الكوريغرافيا.
77
but more than anything, what those Bourne movies taught me and what this one confirmed is that
ولكن فوق كل شيء، ما علمتني إياه أفلام بورن هذه، وما أكده هذا الفيلم، هو أن
78
it's all about the dance partner that you have.
الأمر كله يتعلق بالشريك الذي ترقص معه.
79
And George Cottle, who coordinated this and who is just so great at what he does,
وجورج كوتل، الذي قام بتنسيق هذا العمل، وهو متميز للغاية في ما يقوم به،
80
gave me for that last sequence the very top level people.
لقد منحوني لهذا التسلسل الأخير الأشخاص من أعلى المستويات.
81
Most of them were stunt coordinators in their own right.
كان معظمهم من منسقي الأعمال الخطيرة بحد ذاتهم.
82
And so a mediocre dancer can be made to be look good with an expert partner.
وهكذا يمكن جعل الراقص المتوسط يبدو جيدًا عند وجود شريك خبير.
83
And so I just was moving from expert to expert.
لذا كنت أنتقل من خبير إلى آخر.
84
And so I was very grateful to not only how well George choreographed it, but the people that he put me with.
ولقد كنت ممتناً جداً ليس فقط لمدى براعة جورج في تصميم الرقصات، بل أيضاً للأشخاص الذين جمعني بهم.
85
I do think you're selling yourself short a little bit because I saw you move and I was blown away.
أعتقد حقًا أنك تقلل من قدر نفسك قليلاً، لأنني رأيتك تتحرك وذهلت من أدائك.
86
And I remember running up to you and going, oh my god, Matt, do you have like a background in martial arts?
وأتذكر أنني ركضت نحوك وقلتُ: يا إلهي مات، هل لديك خلفية في الفنون القتالية؟
87
You're just like so good at this and you just went, no, I've just done a lot of fake karate.
أنت بارع جداً في هذا، وقلت فجأة "لا، لقد مارست الكاراتيه الوهمي كثيراً فحسب".
88
A lot of fake karate.
الكثير من الكاراتيه المزيف.
89
It helps when the other person's reacting exactly the right way.
يكون الأمر أسهل عندما يتفاعل الشخص الآخر بالطريقة الصحيحة تمامًا.
90
But I mean to be fair,
لكن أعني، لكي أكون عادلاً،
91
you know, I have to defer to the best among us at fake karate Tom is unbelievable at this stuff.
أنت تعرف، يجب أن أذعن لأفضلنا في الكاراتيه الوهمي، توم مذهل في هذا النوع من الأمور.
92
I you know do the spider -man stuff I think if I jumped and landed in a deep squat in my armor, you probably would have been like what?
أنت تعرف أنا أقوم بأشياء سبايدرمان، أظن أنه لو قفزت وهبطت بوضع قرفصاء عميق وأنا أرتدي درعي، لكان رد فعلك على الأرجح "ماذا هذا؟"
93
Now I had a really good time with the action on this movie.
لقد استمتعتُ حقًا بمشاهدة المشاهد الحركية في هذا الفيلم.
94
I really enjoyed it enjoyed it I found the swords and shields a really exciting new challenge, something I've never done before.
لقد استمتعتُ بها حقًا، لقد وجدتُ أن السيوف والدروع تمثل تحديًا جديدًا مثيرًا للغاية، شيئًا لم أقم به من قبل أبدًا.
95
Like you said, George's team is the absolute best.
كما قلت، فريق جورج هو الأفضل على الإطلاق.
96
And what they're so good at is they challenge you.
وما يبرعون فيه حقًا هو أنهم يضعونك أمام تحديات.
97
They know what you can do and they push you that little bit further.
إنهم يعرفون ما تستطيع فعله، ويدفعونك لتجاوز حدودك قليلاً.
98
I was really lucky that I had plenty of time to rehearse.
كنت محظوظًا حقًا لأنني كان لدي وقت كافٍ للتدريب.
99
So when we came to set, I don't think I've ever felt so prepared to do any of these sorts of scenes before.
لذا عندما وصلنا إلى موقع التصوير، لا أعتقد أنني شعرت أبدًا بهذا القدر من الاستعداد لأداء أي من هذا النوع من المشاهد من قبل.
100
Your style of shooting those scenes is really different to what I'm used to.
أسلوبك في تصوير تلك المشاهد مختلف حقًا عما اعتدت عليه.
101
Spider -Man world, you know, you might shoot one or two beats before you cut, you watch it back, you analyze it, you do it again.
عالم سبايدرمان، كما تعلم، قد تصور لقطة أو اثنتين قبل أن تقطع المشهد، ثم تعيد مشاهدتها، وتحللها، وتقوم بتصويرها مرة أخرى.
102
But what I loved about the way you work is
لكن الشيء الذي أعجبني في طريقة عملك هو
103
that you would have us run the entire fight all the way through, especially for that pre -fight.
أنك تريد منا أن ندير القتال بأكمله من البداية إلى النهاية، خاصةً ما يتعلق بمرحلة ما قبل القتال.
104
Because it just brings a rawness and an edginess and a dirtiness to the fight.
لأنها تضفي على المبارزة طابعًا من الصراحة الحقيقية، والحدة، والوحشية غير المصقولة.
105
It's not clean.
إنه ليس نظيفًا.
106
It's not, it doesn't feel like it's rehearsed.
لا يبدو الأمر كأنّه مُدرب مسبقاً.
107
And it feels really dangerous, even though it's not.
ويشعر المرء أنها خطيرة حقًا، رغم أنها ليست كذلك.
108
That's what George is really expert at, is making it look dangerous.
هذا ما يتفوق فيه جورج حقًا، وهو جعل الأمور تبدو خطيرة.
109
And I think of all the movies I've seen of yours, I've never felt the danger so much throughout the film.
وأعتقد أنني من بين جميع الأفلام التي شاهدتها لك، لم أشعر أبدًا بالخطر بهذه الشدة طوال مدة الفيلم.
110
Yeah, well, I mean, and the training that you guys have done
نعم، حسناً، أعني، والتدريب الذي قمتم به يا رفاق.
111
and that you already had in other movies where you're generally using your fists, what I was worried about,
112
and it was really interesting to see how well you picked up that thing of was making eye contact with your partner, knowing where the choreography goes,
113
because when you put a sword in your hand, that extra weight, that extra leverage, that extra two and a half feet is incredibly dangerous.
114
I think the stakes are raised enormously when you get into these kind of weapons and these kind of situations.
115
But you guys were so well prepared and well rehearsed.
116
By the time we came to shoot the scenes, I was able to talk to you about the character and about what's going on and say, what are we trying to do narratively with it?
117
And you could, with George and his guys,
118
you could adapt effortlessly to make the thing work narratively for how we were going to film it.
119
It was a real pleasure to shoot those scenes.
120
Fight scenes, they can be really arduous to shoot, but for me on this film they were really a joy actually, just to be able to put the camera on it
121
and really figure out how we wanted the audience to relate to it and see it.
122
You know, Kristen, something about the way you film and direct, which is really incredible, because you want such reality.
123
And you don't want any falseness.
124
You don't want any fakery.
125
You want things to be as real as possible, but everybody's still safe.
126
But you're always at the border of danger, because that's what you see on film.
127
It's so precarious, and it pulls you in as an audience.
128
I think that's incredible in how all the other actors went at it and did it.
129
Yeah, well, I think being in a real place...
130
In the real situation, you know with the real props and the real you know, I think it just informs what we all do It informs how I see it,
131
but it also I see it in form performance I see it, you know change the way you guys move and the way you want to You know get the camera,
132
you know or rather get the character across
133
that the camera could pick it up and everything It's just it's a very different thing to being on
134
On a set in the studio After years of war
135
No one could stand between my men And home
136
Not even me This is for Anne and Rob.
137
Did you both bond over your shared Batman experiences when you met for this movie?
138
It's all we talked about. Did we?
139
I don't think we talked.
140
No, I feel like we bonded over dinner, over pizza.
141
A lot of pizza.
142
A lot of pizza.
143
A lot of pizza.
144
Didn't you order something very strange?
145
Well, it was very normal.
146
It was tuna.
147
But then what came out was it didn't look like your normal tuna.
148
But it didn't taste nice either.
149
I thought it tasted wonderful.
150
It was like a sweet and sour tuna.
151
It was disgusting.
152
You guys didn't even try it.
153
It was very great.
154
It was interesting to find, but you liked it.
155
You both sat there and you just very politely just went, no, thank you.
156
And then at one point you're like, I think it looks a bit like roadkill.
157
And it was mind -boggling how unappealing it looked.
158
I don't know if you're eating it every day.
159
No, I don't, we didn't really do bonding rituals.
160
I'm just trying to think, you know, I think we all just felt bonded by the fact
161
that we'd been chosen and trusted and to be a part of this.
162
I felt like that was kind of what I needed.
163
And then the bonding was the doing of the thing.
164
Yeah, I felt every free moment we had was on set.
165
Yeah.
166
I think getting to film in Los Angeles, which is becoming rarer and rarer, that felt really amazing.
167
Oh, it's special.
168
Amazing and really special.
169
And also we filmed on stage 23, right?
170
Yeah.
171
On Sony, which is one of like the most mythic stages that we have in our country.
172
And you think about the history of the movies that have been filmed there, everything from The Wizard of Oz to I'm sure there's many more that I'm not thinking of right now.
173
Interstellar.
174
I was going to say I want someone else to provide one before I immediately come there.
175
The Wizard of Oz is the one that, yeah, when you walk onto that stage and you think about that movie and what it means in history and everything,
176
to be part of that tradition feels like a really profound thing.
177
And where our base camp was, we were in the parking lot just off of that and every day, one of the things I love about working on your sets is they're so regimented and at 7 a .m.,
178
everybody's through the works and they're on their marks, ready to start the day.
179
So that meant at like 6 .55 you had suitors
180
and beggars and queens and handmaidens and everybody just like hustling down the corridor.
181
Clicks up.
182
Yes, to try to get to the stage, to get to their mark on time.
183
And every single day I just felt like I was in the middle.
184
I felt like I was in a movie before I even got on set.
185
And then just you would step, and I don't know, maybe I'm just a little woo -woo, but I just, I felt the magic every time I walked through the doors onto that stage.
186
It was just beautiful.
187
Yeah.
188
No, I was just thinking of what you were talking about earlier, like just being on set from 7am and staying on set
189
and kind of being more of a repertory company than you usually have.
190
It's kind of It's really nice just kind of knowing that everyone will be there for your eye line, for off -camera and stuff.
191
It's so, you know, you work on so many movies where it's like
192
you're getting a stand -in or you're doing it with a tennis ball
193
or you're doing it with something and it's like on this It's just across the board You're doing with the real person.
194
It's my my favorite.
195
It's when you're dropping the ball
196
That's Chris that I might take my own cue for the drop the ball
197
and I don't know they're doing this The big spectacle for me was
198
when I got to Morocco and I was supposed to meet with you and they brought me to this
199
Sand pit with a ginormous horse And I go, where's Chris?
200
And they tell me he's in there.
201
With Hoyta, who's a big man, with the IMAX camera, with Matt.
202
And about 25 other guys.
203
And 25 other guys.
204
And I'm like, oh, I don't want to disturb anything because, you know, I don't want to bother anybody because this looks crazy.
205
And that was the first day, and I was like, wow, I wonder what's in store for me.
206
Yeah, that was wild.
207
But that's the first time I ever believed the Trojan story, because you never really believed how did they fool them?
208
How did they get the guys in there?
209
But this you believe that they were really in the horse and that they would have brought that horse in.
210
Yeah, well, I mean, I remember, Matt, you asking me at some point, well, how are we going to do the inside of the horse?
211
And one of my favorite moments.
212
Well, you tell it.
213
No, I was really excited because the first day in S .A .W .A .R., we went there and we saw the horse, right, which was a moment to see this thing and all of the Trojans pulling.
214
It was just incredible to see.
215
But as we were shooting Troy, the horse was next up on the schedule.
216
And so I said to Chris, you know, we were walking from one place and he said, hey, you know, Tuesday we're doing the horse.
217
I said, how are you going to shoot that?
218
He goes, no idea.
219
Oh, man.
220
I go, what?
221
And he goes, yeah, no, we're just going to get in there and figure it out.
222
And it's the thing I love about working with him is it is like shooting an independent film, but at this scale that is beyond anything I've ever had a chance to do.
223
But he really lets it be found and discovered.
224
And then he and Hoyt to figure out a way to capture that in that format.
225
And it looks like it was planned for years.
226
So we got in there with the camera.
227
And at some point, I don't know, I think it was at some point being in there for an hour or so.
228
You're like, maybe we should get out and take a break.
229
I'm like, no, no, no, no, don't.
230
If one guy gets out, we barely got in here.
231
This is a house of cards.
232
It wasn't comfortable in there.
233
If I let him get out, they're never getting back in.
234
So we just need to get out of the shop.
235
We stayed in there for hours.
236
We got it done.
237
I need everyone in this party dead.
238
I can still save them.
239
You're a man who needs to control his fate.
240
But you cannot control this. That world is gone.
241
Christopher and the table.
242
Each stop on the Odyssey felt like it had a distinct tone.
243
The Cyclops and Cersei felt more horror movie as opposed to the action nature of the armored giants.
244
Did you feel each location within the story, including the Ithaca, represented a different kind of tone or cinematic genre within the movie?
245
I mean, yeah, from my point of view, one of the attractions of taking on the Odyssey is it has that scope.
246
It has all these different stories.
247
So there are elements of horror and thriller and the war movie, but it's also a love story.
248
It's also a coming -of -age story.
249
It's got all these different genres kind of mixed together For me as a director
250
that that's a fun thing to take on
251
There was one of those takes where where they were shooting the beggars who were even further away
252
The background artists and we were on the steps doing the scene
253
and Annie was fully sobbing I said Annie there's no way they can see No, no, I have to give this for everybody.
254
She goes they can feel it I go, I don't know if they know we're here.
255
I didn't.
256
My whole thing about it was by that point, they had been there for weeks.
257
Yeah.
258
They had been waiting for their close -up for weeks.
259
And I was just like, we gotta go full out for them.
260
They've been there for us every day.
261
But I, because I'm nearsighted, I couldn't even see them.
262
I'm like, I don't think they could see us.
263
One of them has amazing vision, and we're here for that one.
264
Have we mentioned how large stage 22 is?
265
And how big that hall was that Ruth built.
266
Yeah, but I remember shooting your reactions to the fight at the end
267
and hearing Matt and the stunt guys behind camera hitting the ground pretty hard.
268
Yeah.
269
And he said, you can at least put some pads in.
270
We're literally shooting the other way.
271
Please save yourself.
272
For the entire fight sequence, I'm like, you don't need to do it, like fall out.
273
We actually got into it.
274
We were having fun at a certain point.
275
Yeah.
276
Yeah.
277
The female characters in the film felt way less villainous and way more understandable as figures.
278
What creative measures were taken to strike this tone?
279
How did you further make sure we felt and understood the plights of Penelope, Circe and Calypso?
280
Well, I mean, for me, a lot of that honestly is casting because when you look at the Homer, you know you look at the poem
281
and what it offers in terms of the female characters does
282
all the characters it's actually very simple it's deceptively simple
283
but each ear has really been able to to kind of reinterpret
284
or interpret those characters according to the interests of the time and the values of the time.
285
But I knew, you know, when we first talked about Penelope and everything, it was like, you were going to have to know everything about the reality of that character,
286
not just the symbolic or iconic aspects of the character, but who she is underneath and what that underlying reality is, because we're trying to flesh out the story and make it real.
287
And I think that applied to Charlize as Calypso and Lupita as Helen and everything really.
288
So yeah, for me it's a lot about working with actors who, as I like to put it, have to become expert on that aspect of the story
289
and their character
290
and bringing in collaborators who are going to really think through the reality of the entire character in this situation, which I thought you did beautifully with Penelope.
291
It's a very complex character.
292
And also the scenes between the two of you.
293
That relationship, I think, I just found it
294
so interesting to watch you guys develop that together in terms of how complicated it is,
295
particularly when you're talking about this absent figure, this absent father who your character doesn't remember,
296
but has heard all of the myths about and sort of idolized it, puts on a pedestal.
297
And you, who know Odysseus to be a real person, love your life, but just a man, not this mythical figure.
298
And that the friction that created I thought was really interesting.
299
If I were to add something.
300
Yeah, I was going to say.
301
No, please.
302
And I hope it's okay to mention this, but someone close to me has seen the film and she had such an emotional reaction to seeing it.
303
And when I was talking to her about why, she said, you know, I've always felt the women get blamed for everything in the Odyssey.
304
And the thing that I loved about this movie is you were all given so much dimension.
305
And I felt like each one of you it was
306
so clear that you had so much more going on even the goddesses were humanized
307
and so she felt like she had actually been invited into the Odyssey for the first time ever and
308
And I just I love this text.
309
I love Greek mythology
310
And I've never really gone deep with Penelope either I kind of accepted her at face value
311
and when I read your interpretation of it I realized
312
that this was the moment this was the opportunity to dive deep
313
and kind of see it and see her in a multi -dimensional way and maybe imagine that she wasn't just
314
Maybe the way that she was described as the role
315
that she had to play But that doesn't necessarily mean that
316
that was all who she was
317
and then I started to think about why why does she have to be
318
So patient why does she why is modesty the wise choice
319
because she's always known for her wisdom
320
and then I thought oh my gosh She's fighting for her life This is someone people aren't perfect
321
because they feel safe people try to be perfect because they're scared that one wrong we was going to get them killed.
322
And that's when the character really started bubbling up and I realized, oh my gosh, she's angry.
323
She is so angry about all of these things that are happening.
324
They're out of her control.
325
She loves that her son's growing up.
326
She's terrified that her son is growing up.
327
And all those other things.
328
And it was just all there.
329
I think I kept going up to you being like, I mean, it probably sounded insane, but maybe that just happens anyway.
330
But I just kept running up to you with the script and like, Chris, it's here.
331
It's all here.
332
And it was.
333
I think his king is coming back.
334
Tom.
335
What?
336
Says Tom.
337
All right, not for you Tom.
338
Okay.
339
You've called Robert your safety blanket.
340
That must be you.
341
Tom, you called Robert your safety blanket.
342
When did this happen?
343
He looked at you 70 of the day and I was like, he's my safety blanket.
344
How do you mean that during the making of this movie?
345
What is it about your relationship that means so much to you and why do you view him and call him that?
346
Rob and I have made three movies together now.
347
Oh, that's one.
348
All very different.
349
I've loved every minute of working with Rob, and I've always felt like I've left the set a better actor because he kind of raises the stakes of every scene.
350
And I think what was really exciting for me
351
and also really daunting is that we get to establish the stakes of the movie for Matt's journey right at the beginning.
352
And I felt the weight of that pressure and I think
353
that the kind of friction between our characters is
354
so important for my entire journey and I was really nervous about trying to make sure that that felt...
355
authentic
356
and you know scary enough for my character to kind of make this desperate decision to go on this journey and
357
I knew when I found out that you were playing
358
and cinema's that I could relax because you're so good at being a dickhead
359
Thank you so much the first ever EW roundtable to end with dickhead
تنزيل التطبيق
كل ما تحتاجه للتحدث بطلاقة
تقييم النطق بالذكاء الاصطناعيتقييم كل جملة
تدريب IPAأتقن كل صوت
المفرداتابنِ رصيدك من الكلمات
لعبة المفرداتتعلّم أثناء اللعب
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المفردات وملاحظات التحدث لهذا الدرس
هذا الدرس في المحادثة بمستوى B2 مبني على الفيديو “'The Odyssey' Cast Explains How Christopher Nolan Shoots Blockbusters Like Independent Films”. يحتوي هذا الفيديو على 359 جملة و4437 كلمة للتدرب على الترديد. مدة الكلام 25:18. يتكلم المتحدث بسرعة طبيعية، نحو 175 كلمة في الدقيقة، قريبة من المحادثة اليومية. 86% من الكلمات ضمن أكثر 3,000 كلمة شيوعًا في الإنجليزية، ويُستحسن مراجعة الباقي قبل البدء.
أهم المفردات في هذا الفيديو
أصعب 15 كلمة في الفيديو، مع النطق والمعنى:
| الكلمة | النطق | المعنى |
|---|---|---|
| beggar اسم | /ˈbɛɡɚ/ | سَائِل |
| choreography اسم | /ˌkɔɹiˈɑɡɹəfi/ | تَصْمِم الرَّقْص |
| karate اسم | /kəˈɹɑ.ti/ | كَارَاتِيه |
| tuna اسم | /ˈtjuː.nə/ | تُونَة, تُنّ |
| blanket اسم | /ˈblæŋ.kɪt/ | لِحَاف, بَطَّانِيَّة |
| stake اسم | /steɪk/ | وَتِد, خَازُوق |
| friction اسم | /ˈfɹɪkʃən/ | اِحْتِكَاك |
| shepherd اسم | /ˈʃɛpəɹd/ | رَاعٍ |
| continually ظرف | /kənˈtɪnjuəli/ | مرارا, مرارا وتكرارا |
| armor اسم | /ˈɑːɹ.mɚ/ | دِرْع |
| absent صفة | /ˈæb.sn̩t/ | غَائِب |
| orchestra اسم | /ˈɔː.kɪs.tɹə/ | أُورْكِسْتْرَا |
| rhythm اسم | /ˈɹɪð.əm/ | إِيقَاع |
| flame اسم | /fleɪm/ | لَهَب, شُعْلَة |
| inform فعل | /ɪnˈfɔɹm/ | بَلَّغَ, أَبْلَغَ |
الأفعال المركبة التي ستسمعها
| الكلمة | النطق | المعنى |
|---|---|---|
| grow up فعل | كَبُرَ, ْنَشَأ | |
| come back فعل | عَادَ, رَجَعَ | |
| come out فعل | /ˌkʌm ˈaʊt/ | خَرَجَ, غَادَرَ |
| come up with فعل | جَاءَ بِـ, أَتَى بِـ | |
| go down فعل | نَزَلَ | |
| go out فعل | خَرَجَ | |
| pick up فعل | قَطَفَ |
جمل تستحق التكرار
جمل قصيرة وكاملة من الفيديو يمكنك استخدامها في الحديث اليومي:
- I said, how are you going to shoot that?
- Those are the terms I've been using.
- Let's look at gongs and things made of bronze.
- You don't want any fakery.
- Didn't you order something very strange?
القواعد في هذا الفيديو
أكثر التراكيب التي يستخدمها المتحدث، مع العبارات نفسها من الفيديو:
| التركيب | في الفيديو |
|---|---|
| المضارع التام المستمر have/has been + -ing — حدث بدأ سابقًا وما زال مستمرًا | I've been saying · I've been using |
| المضارع التام have/has + اسم المفعول — حدث ماضٍ ما زال له أثر الآن | have never seen · I've ever seen · haven't heard |
| المبني للمجهول be + اسم المفعول — التركيز على ما يحدث لا على من يفعله | being chased · can be made · was blown |
| جمل الوصل who / which + جملة — معلومة إضافية عن شخص أو شيء | guys who were · music, which is · direct, which is |
نطق يحتاج إلى انتباه
يستخدم المتحدث 100 من الصيغ المختصرة، مثل you're, don't, I've. انطقها بصيغتها القصيرة كما تسمعها.
- أصوات “th”: rhythm /ˈɹɪð.əm/, earthy /ˈɝθi/, mythic /ˈmɪθɪk/, mythical /ˈmɪθɪkəl/, mythology /mɪˈθɑ.lə.d͡ʒi/
- أصوات “sh” و“zh”: friction /ˈfɹɪkʃən/, seizure /ˈsi.ʒɚ/, shepherd /ˈʃɛpəɹd/, gosh /ɡɑːʃ/, genre /ˈ(d)ʒɑnɹə/
- الكلمات الطويلة — انتبه لموضع النبر: choreography /ˌkɔɹiˈɑɡɹəfi/, continually /kənˈtɪnjuəli/, collaborator /kəˈlæbəɹeɪtɚ/, deceptively /dɪˈsɛptɪvli/, effortlessly /ˈɛf.ɚt.ləs.li/
أصوات يجدها متحدثو العربية صعبة:
- /p/ — ليس /b/: انطقه مع نفخة هواء: shepherd /ˈʃɛpəɹd/, deceptively /dɪˈsɛptɪvli/, pedestal /ˈpɛdɪstəl/, plight /plaɪt/, politely /pəˈlaɪtli/
- /v/ — ليس /f/: مع اهتزاز الأوتار الصوتية: deceptively /dɪˈsɛptɪvli/, elevate /ˈɛləveɪt/, repetitive /ɹɪˈpɛtɪtɪv/, evolve /ɪˈvɑlv/, leverage /ˈlɛv.(ə.)ɹɪd͡ʒ/
- تتابع الصوامت — لا تضف حركة بينها: tuna /ˈtjuː.nə/, blanket /ˈblæŋ.kɪt/, stake /steɪk/, friction /ˈfɹɪkʃən/, stunt /stʌnt/
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 beggar, choreography, karate.
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.