Shadowing-Übung: Cillian Murphy & Brendan Gleeson - Irish interview for Perrier's Bounty - Englisch Sprechen Lernen mit YouTube

Schwer
Shadowing-Steuerung
0% abgeschlossen (0/46 Sätze)
by asking what was it that attracted you to this movie per ofie um well uh it was it was the script
⏸ Pausiert
Geschwindigkeit:
Wiederholungen:
Wartemodus:
Untertitel-Sync:0ms
Alle Sätze
46 Sätze
1
by asking what was it that attracted you to this movie per ofie um well uh it was it was the script
0:04.96 – 0:15.48 (10.5s)
2
really it was the the the the words on the page you know uh I'd made a film that Mark Maro wrote called intermission a few years ago and uh you know I love
0:11.88 – 0:24.28 (12.4s)
3
his writing and so he talked to me about this back then and then the script arrived and I was very taken with it you know it was sort of dark and funny and
0:21.76 – 0:34.08 (12.3s)
4
weird and and um but I knew that you know he that Ian would be able to get a brilliant cast together so and it came together really really quickly in the
0:30.24 – 0:41.32 (11.1s)
5
end and yourself yeah same as that the words of the page you know they just jump out and I liked his work anyway I mean I hadn't worked with you know on on
0:39.12 – 0:51.72 (12.6s)
6
any of the macro stuff but it uh you know you just you just know when stuff is well constructed and well put together so yeah it was fun the
0:48.44 – 0:59.40 (11.0s)
7
character was kind of a blast so I said I wanted to get in touch with my psycho self again and uh so that yeah I didn't know how the time scale was going to worry
0:56.72 – 1:07.76 (11.0s)
8
out that work out that was the only problem and they worked out really well and just because you mentioned intermission there obviously there's been a lot of films recently in in Ireland that have concentrated in duin
1:06.40 – 1:18.60 (12.2s)
9
and the urban space that is is duin um kisses for example and intermission and films like that what is it that you think that makes duin work as a kind of urban space on
1:15.96 – 1:29.40 (13.4s)
10
film well uh I think you know you know it's the the movement has been um for cities to get bigger and bigger and bigger so like Millions upon
1:25.72 – 1:36.56 (10.8s)
11
Millions upon millions of people are living in cities and so therefore you're talking it is the universal language before I think even you know the rural the rural was what might have been
1:35.40 – 1:46.68 (11.3s)
12
called the ordinary I think now Suburbia is the norm and it's something that's been happening in film and in plays I remember doing with the passion machine like Paul Mercer and Rod doy and people
1:44.56 – 1:56.60 (12.0s)
13
like that he was concentrating on the Suburban reality that was neither the you know cosm City Center or out in the
1:54.20 – 2:04.28 (10.1s)
14
mushy luscious green kind of you know Hills of wherever uh so I think I think it's not just um Dublin in fact a lot of
2:02.16 – 2:13.60 (11.4s)
15
this movie was shot in London um but I think that sort of area that's that's just in where most people actually lives and then you go down the back
2:09.92 – 2:22.00 (12.1s)
16
Lanes where not everybody chooses to go at night H and you have a very interesting kind of a uh gloomy slightly dangerous place and this is your fourth
2:19.56 – 2:30.64 (11.1s)
17
or fifth film working together I think at this stage you obviously had 28 Days Later and breakfast and Pluto um does it get easier working together or how does
2:28.88 – 2:41.00 (12.1s)
18
it different Jee I mean it just seems to get worse every time it does yeah just it's got to be the last time you know I know at least the time before like brex
2:38.32 – 2:49.80 (11.5s)
19
and Pluto I was kind of in a very large suit I actually didn't have to look at him very much I know it's been great and hopefully we'll do it again you know
2:48.12 – 2:59.52 (11.4s)
20
very soon um so no it was great and actually just working with the whole clatter of them in this film you know conningham and all the rest of them um
2:56.40 – 3:06.48 (10.1s)
21
you just kind of felt it's the kind of stuff I want to do that's basically with Jim how was that great uh he's well I'd worked him before very briefly but we didn't have much to
3:05.08 – 3:16.20 (11.1s)
22
get on screen and gang's New York and he's he's just superb he's got um you know fantastic comic timing we're just talking about it earlier but it's also
3:14.36 – 3:25.60 (11.2s)
23
he's got a kind of a Humanity he just appears and immediately your heart is broken for him for some reason uh he just has he just communicates um such
3:23.80 – 3:34.52 (10.7s)
24
Humanity I think people appetize him immedately you have tips from him for the the Irish accent that he was coming up Killian told him that nobody talks like
3:32.60 – 3:45.00 (12.4s)
25
that nobody uses those words really do it's quite heightened um but I know it's a beautiful performance he gives in it you
3:41.08 – 3:52.16 (11.1s)
26
know and as brenon says you can't help but just adore him even though my character is intensely irritated by him but yet you can see that there's a there's a love there between the two of
3:50.32 – 4:00.64 (10.3s)
27
them and that's another great thing about the film like IT addresses that father son that complex relationship to Father and Sons have uh particularly this one where it's being aranged and
3:59.44 – 4:11.60 (12.2s)
28
kind of fractured and then they you know he it reconciles and resolves towards the end of the film in in a in a nice
4:08.72 – 4:19.44 (10.7s)
29
sad way and just to talk about someone else that was on screen with you a lot the dogs how was that like you have to be an animal lover obviously to deal with them I think you should really ask
4:17.04 – 4:29.04 (12.0s)
30
the dogs it's the dogs I felt sorry for they were great they were great they were very good they got knackered at about 3:00 in the morning that was the only problem with them just on to liay
4:25.68 – 4:37.64 (12.0s)
31
down and had enough of show Showbiz but um no they were brilliant they were great great Savages yeah and um you yourself you've had right year you've
4:35.28 – 4:45.76 (10.5s)
32
had the ammy win obviously and then the nomination for um secret life Cals was that a surprise to you at all or were you very happy with that uh I was very
4:43.52 – 4:55.20 (11.7s)
33
surprised about um I was very surprised when I heard the secret of KS um because not because I was surprised because the nature of the work the quality of the
4:52.88 – 5:03.60 (10.7s)
34
work is such that uh of course I didn't but I it was one of those I completely lost sight of it I wasn't even thinking about it the next thing I got this text and I was absolutely over the moon about
5:01.36 – 5:11.88 (10.5s)
35
that I have to say um and I think it just shows you like it gets such bad press you know and all the rest of it um the Oscars and there so much you know schmalz and rubbish and politics and
5:09.64 – 5:21.16 (11.5s)
36
everything that people talk about but actually you know over there there is a real kind of conscientious search for for good stuff and the fact that they found it and that they brought it in
5:19.44 – 5:30.48 (11.0s)
37
mean to get in Academy Award a nomination in animation which is so labor intensive so expensive and needs such kind of ambition to make happen uh
5:28.96 – 5:39.60 (10.6s)
38
I just thought it was absolutely brilliant achievement I can't really proud of them and really and really proud of the whole the fact that the academy went and saw it and took it and
5:38.12 – 5:48.40 (10.3s)
39
brought it over there and showcased it you know so yeah it's been a great year that way and next up is your directorial debut I believe hope so yeah hope so that coming along now it's I'm trying if
5:46.68 – 5:57.48 (10.8s)
40
I can lose Killian out of the film I think we might we might have a chance of making it yeah you've got a big cast for that and who else is yeah it is well I mean col and TL and Gabriel burn and a
5:56.12 – 6:07.64 (11.5s)
41
whole crowd of people like Damon Mor's and all that we did a table reading about three years ago um it's that long ago now when we're just trying to you know developing the script and there
6:05.36 – 6:16.76 (11.4s)
42
were four generations of Irish actors at the table and it was one of the best days I ever spent quite nerve-wracking up to a point but then fantastically enjoyable so uh if we can get that
6:15.00 – 6:26.16 (11.2s)
43
actually working on a SAT I'd be I'd be over the moon and Kaden what's next for you uh I have film called Inception it
6:23.76 – 6:33.84 (10.1s)
44
comes out in July um so and uh just kind of reading stuff now and seeing what what lies around the corner really can you give us any spoilers about inception
6:30.60 – 6:41.92 (11.3s)
45
no I I couldn't possibly no it's worth it'll be worth the wait I think and it'll be worth not really knowing I think uh because it should be should be
6:39.52 – 6:50.24 (10.7s)
46
quite special I hope anyway perfect okay that's everything I have for you guys thanks cheers
6:47.52 – 6:55.04 (7.5s)

Über diese Lektion

In dieser Lektion analysieren wir ein Interview mit Cillian Murphy und Brendan Gleeson, in dem die beiden über das Filmprojekt "Perrier's Bounty" sprechen. Die Lernenden werden das Skript und die Art und Weise, wie die Schauspieler über ihre Erfahrungen und das Filmhandwerk diskutieren, erkunden. Diese Übung bietet eine hervorragende Gelegenheit, Vokabeln zum Thema Film und Schauspiel zu erlernen sowie wichtige grammatische Strukturen zu üben, wie z.B. das Present Simple und die Verwendung von indirekten Fragen. Zudem werden wir uns mit den verschiedenen Sprechkontexten in Interviews beschäftigen, was für die IELTS Speaking Prüfung besonders relevant ist.

Wichtige Vokabeln & Redewendungen

  • attracted to - angezogen von, interessiert an; beschreibt, was das Interesse an einem bestimmten Thema oder Projekt weckt.
  • dark and funny - dunkel und lustig; wird oft verwendet, um Filme oder Geschichten zu beschreiben, die ernste Themen mit Humor kombinieren.
  • brilliant cast - großartige Besetzung; bezieht sich auf eine Gruppe talentierter Schauspieler, die in einem Film oder Theaterstück spielen.
  • character - Rolle; die Figur, die ein Schauspieler in einem Film oder Stück spielt.
  • comedic timing - komisches Timing; die Fähigkeit, humorvolle Momente in einem Gespräch oder einer Darbietung effektiv zu platzieren.
  • father-son relationship - Vater-Sohn-Beziehung; ein häufiges Thema in Film und Literatur, das oft Konflikte und Versöhnung umfasst.
  • Oscar nomination - Oscar-Nominierung; eine Anerkennung für hervorragende Leistungen in der Filmindustrie.
  • directorial debut - Regiedebüt; der erste Film, den ein Regisseur inszeniert.

Übungstipps für dieses Video

Um das Beste aus diesem Interview herauszuholen, empfehle ich die Shadowing-Technik. Achte besonders auf die Sprechgeschwindigkeit während des Interviews – die Schauspieler sprechen oft klar und deutlich, aber auch mit einem typischen irischen Akzent, der einige Herausforderung für Lernende darstellen kann. Versuche, ihre Sätze nachzusprechen, während du das Video pause oder zurückspulst, um ihre Aussprache und Betonung besser zu erfassen. Die thematische Schwierigkeit ist moderat, daher ist es sinnvoll, sich auf humorvolle und emotionale Aspekte der Sprache zu konzentrieren, insbesondere in Bezug auf die beschriebene Vater-Sohn-Dynamik. Diese Technik wird dir helfen, deine Englisch Sprachflüssigkeit zu verbessern und dich besser auf Prüfungen wie dem IELTS Speaking vorzubereiten.

Was ist die Shadowing-Technik?

Shadowing ist eine wissenschaftlich fundierte Sprachlerntechnik, die ursprünglich für die professionelle Dolmetscherausbildung entwickelt und durch den Polyglotten Dr. Alexander Arguelles populär gemacht wurde. Die Methode ist einfach aber wirkungsvoll: Du hörst englisches Audio von Muttersprachlern und wiederholst es sofort laut — wie ein Schatten, der dem Sprecher mit nur 1–2 Sekunden Verzögerung folgt. Anders als passives Hören oder Grammatikübungen zwingt Shadowing dein Gehirn und deine Mundmuskulatur, gleichzeitig echte Sprachmuster zu verarbeiten und zu reproduzieren. Studien zeigen, dass es Aussprachegenauigkeit, Intonation, Rhythmus, verbundene Sprache, Hörverständnis und Sprechflüssigkeit signifikant verbessert — was es zu einer der effektivsten Methoden für die IELTS Speaking-Vorbereitung und reale englische Kommunikation macht.

Wie man auf ShadowingEnglish effektiv übt

  1. Wähle dein Video: Suche ein YouTube-Video mit klarem, natürlichem Englisch. TED Talks, BBC News, Filmszenen, Podcasts oder IELTS-Beispielantworten eignen sich hervorragend. Füge die URL in die Suchleiste ein. Beginne mit kürzeren Videos (unter 5 Minuten) und Inhalten, die dich wirklich interessieren — Motivation ist wichtig.
  2. Zuerst hören, den Kontext verstehen: Beim ersten Durchgang die Geschwindigkeit auf 1x lassen und nur zuhören. Versuche noch nicht zu wiederholen. Konzentriere dich auf das Verstehen der Bedeutung, das Aufnehmen neuer Vokabeln und darauf, wie der Sprecher Wörter betont, Laute verbindet und Pausen nutzt.
  3. Shadowing-Modus einrichten:
    • Wartemodus: Wähle +3s oder +5s — nach jedem Satz pausiert das Video automatisch, damit du Zeit hast, ihn laut zu wiederholen. Wähle Manuell, wenn du die volle Kontrolle möchtest und nach jeder Wiederholung selbst auf Weiter drücken willst.
    • Untertitel-Sync: YouTube-Untertitel erscheinen manchmal leicht vor oder nach dem Audio. Nutze ±100ms, um sie perfekt auszurichten, damit du genau folgen kannst.
  4. Laut nachsprechen (die Kernübung): Hier passiert die eigentliche Arbeit. Sobald ein Satz gespielt wird — oder während der Pause — wiederhole ihn laut, klar und selbstbewusst. Sprich nicht nur die Wörter nach: Ahme den exakten Rhythmus, die Betonung, Tonhöhe und verbundene Sprache des Sprechers nach. Ziel ist es, wie ein Schatten des Sprechers zu klingen, nicht wie eine Wort-für-Wort-Rezitation. Nutze die Wiederholen-Funktion, um denselben Satz mehrfach zu trainieren, bis er sich natürlich anfühlt.
  5. Die Herausforderung steigern: Wenn sich eine Passage angenehm anfühlt, erhöhe die Herausforderung. Steigere die Geschwindigkeit auf <code>1.25x</code> oder sogar <code>1.5x</code>, um Hochgeschwindigkeits-Sprachreflexe zu trainieren. Oder stelle den Wartemodus auf <code>Aus</code> für kontinuierliches Shadowing — der fortgeschrittenste und lohnendste Modus. Konsequentes tägliches Üben von 15–30 Minuten wird innerhalb von Wochen spürbare Ergebnisse bringen.

☕ Kauf uns einen Kaffee

Über PayPal spenden