Shadowing-Übung: Matt Damon & Ben Affleck Were Temporarily “Allergic” To Collaborating | Conan O'Brien Needs A Friend - Englisch Sprechen Lernen mit Video
Laden...
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I wanted to talk to you because about this current movie, The Rip, which is fascinating to me.
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First of all, I knew nothing about the movie when I watched it.
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I watched it last night.
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And one of the things that I didn't realize is that, oh, you're in this with, I knew nothing.
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Which is not the way you usually experience a movie these days.
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But someone arranged, oh, Conan can watch the movie.
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If you log into this, you can watch it.
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So I knew absolutely nothing.
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I knew you were in it and that's it.
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and it's a movie that you have made with Ben.
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You and Ben are in it together.
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And that was a surprise to me.
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And I thought, this is interesting.
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This is such a loaded situation for you guys now because in a very nice way,
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in a complimentary way, it's this dynamic duo getting back together.
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But I don't know if you feel the weight of that at all when you guys work together.
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We did the movie Air together a few years ago
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that ben directed and he's also he's
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and we're both in it together um you know
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and we we started this little studio together yeah um a few years ago
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and and one of the one of the reasons
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that we started it like i was watching
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that beatles documentary the the peter jackson get back get back
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and um in at the end of that documentary there's this incredible scene
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when they when they play on the roof right together
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and it's just there it's pure joy you see them you know the cops show up and McCartney turns around.
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He's like, what the fuck?
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You know, and they're, and they're, and it's like the most joyful thing.
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They're all in their twenties.
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And then Peter Jackson put this Chiron up and it said, this is the last time the Beatles played live together.
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Yeah.
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Yeah.
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And I was watching it.
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My, my youngest was, I think 11 at the time.
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And, and she just goes, dad, why are you crying?
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And I, tears were just pouring down my face
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because it was like what uh it made me so sad
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that these guys who were just you know this was it
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that that they they didn't they couldn't get past whatever it was that wouldn't allow them to kind of keep
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doing it together and and and i called ben
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and i was like man because i think you know this was our dream
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and our lives from the time we were teenagers and and
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and it was something we did together and we wanted to do movies together
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and we we we wrote goodwill hunting together and and
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and starred in it together and you know all of
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that um and and i think after
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that i think we we were like oh well we should
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try to you know make names for ourselves individually right
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so i think we were a little allergic to working together for a while i mean we're still very connected and, you know, saw each other all the time.
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But after a success of that magnitude, you don't want to get locked in.
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Exactly.
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Great.
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We'll do the movie.
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Is Ben in or okay, Ben, but where's Matt?
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You don't want to get locked into that.
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Exactly.
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And we had done, you know, Kevin Smith's movie Dogma together right after that.
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So we were kind of like, all right, we should chill.
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And then suddenly a couple of decades went by and it was like, now we're in our 50s we're starting this company
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and it's kind of like i don't i don't care it
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doesn't have to be a thing it doesn't have to be
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a stop the presses they're together it's like we just like working together yeah
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and also what's evident in the movie is you guys have a connection
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when when you have scenes together there's a connection that you can't manufacture it's very clear that you two really love,
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I don't know, you're on the same wavelength.
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You're on the same, you're clicked in and you're two characters in this movie.
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There's a lot of tension between you.
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There are times where you just want to kill each other.
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And then as you go on, many things are revealed and you understand what their true dynamic is.
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But I don't know, it's just, it was something you can't, you couldn't have figured that out with an acting coach if you didn't know each other, I don't think.
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It helps to have that kind of, you know, we also did, by the way, The Last Duel, another movie that we wrote with, you know.
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So we were trying, you know, we're, but yeah, no, I think that that connection definitely, obviously kind of loads every scene in a different way.
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I think here's the thing that happens.
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I was, I know in my 20s, 30s, 40, I was very intense all the time, thinking about every move.
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And as I've gotten older, I am much more interested in being with people that I really like,
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that I love, making things with them and enjoying myself.
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Because I, and it comes a little bit from a place of, oh, who cares?
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I mean, I just wanna do this.
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I don't wanna overthink it.
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I just wanna be with- I think you see that you start to see the, you're in the second half, right?
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And you go- I had planned to live to 150.
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I hope you do.
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I hope we both do.
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So we're still in the first half.
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I really don't wanna live to 150.
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Well, if you could stay healthy, I don't know.
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Might be great.
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I'll be in constant pain.
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But yeah, that's literally the whole point of this company is to work with great people
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that we really want to be with.
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And every movie that we make through our studio is, even if Ben and I aren't in it, or he's directing and I'm not in it,
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we're connected around the work and trying to facilitate whoever's coming in.
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Do you guys give each other shit on set?
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Or in a professional environment, do you give each other a teasing, like brotherly kind of relationship?
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Sure, sometimes.
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Do you want another take?
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Because you might want another take, you know, that kind of thing.
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That's what I would do.
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I know you would.
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I would, that's what I would do.
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Yeah, I think you're going to want another take.
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But look, the good thing is, you know, I think it really helped with our writing, you know, 30 years ago,
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Jesus, 35 years ago when we started, you know, Ben said this great thing, which was judge me for how good my good ideas are, not how bad my bad ideas are.
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And it's a very profound thing for a 20-year-old to say
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because he recognized that we needed the freedom to kind of barf out all those ideas.
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And so often, as you know, when you're writing, you write down the bad idea because it's iterating, right?
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That can build into a good idea.
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And so he was basically giving both of us the permission to just keep the window as wide open as we could.
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And yeah, I mean, I forget why I started that story,
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but I haven't had enough coffee.
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This coffee is terrific, by the way.
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If you want more, we can get you some.
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They say whenever someone writes their big, great American novel and it's a big smash and everyone thinks It's genius.
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They have nine other ones in their drawer that they wrote before that.
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And I'm a big believer in you just have to do time.
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To to me the process doesn't change like you could look at your career
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or ben's and say like oh you've clicked off you guys have clicked off every single box
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that you would want to check but still when you show up
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there's work to be done and you have to be a little scared
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and there are scenes where you think i didn't get this i gotta try it again um
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and time in the edit room and all of that stuff it's if If they're paying you, it's work.
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Yeah.
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And we want to love everything we work on from now on.
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You know, it's kind of going back to your point.
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And yeah, it's a hugely labor-intensive thing to do, no matter what.
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You know, I mean, if you sign up for it, that means that you're willing to, you know, you can't phone it in.
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Nor would I want to, you know, take a job for money that I was phoning.
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Like, I never did that.
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I never.
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I always thought whatever I was working on had a chance to be great.
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Yeah.
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I was wrong most of the time.
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But I was working with the intention of it being something really wonderful for people to see.
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But also, people don't, the nice thing I have found, this very smart Simpsons writer, George Meyer, told me this a long time ago.
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Early in my career, when things were not going well, he said, people will remember you for your good work.
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Right.
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And he's absolutely right.
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I think about that all the time.
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He said, you're just laying tile individually and it's going to make a bigger mosaic, which is what you did with your life.
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And he was right that the work you made later on that didn't quite click with people,
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what they do is they seek out all these things you've made that are great.
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And then they almost rule the other ones out.
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So in your mind, you're saying, oh man, so many times I've been wrong and that's not what anyone else would say.
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That's just what you would say.
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Yeah, exactly.
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I was just, it just made me think of someone like Shohei Ohtani where they go like whatever his career batting average ends up being, if it's 350 or whatever, 320, people aren't gonna say,
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well, you know, he missed 680.
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Yeah, exactly.
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They're gonna go, you know what I mean?
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I did go to the game and shout that at him.
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Cause even when the Red Sox are out of it, I still go to games and wear a Red Sox hat.
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Good for you, by the way, I do the same thing.
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Thank you.
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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.