Shadowing Practice: Characters: Internal vs. external features - Learn English Speaking with Video
Creando lección...
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Hi.
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I'm Christian Roman and I'm a story artist at Pixar.
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I'm your host for this second lesson on storytelling.
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which is on character development.
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and I have a few friends joining me.
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I'm Austin Madison.
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I am a story artist.
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My name is Afton Corbin, and I'm a storyboard artist.
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My name is Louise Smyth, and I am a storyboard artist.
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My name is Ronnie Del Carmen.
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I am a story person, director, designer, and all -around troublemaker around here at Pixar.
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The goal of this lesson is to explore our character development process.
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by which we go from simple character concepts, such as a robot or a fish or a girl, to complex characters people can actually care about.
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Take Wall -E.
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He's not just a robot.
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He's a lonely, curious robot who fears, thinks, and ultimately loves. or Nemo.
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He's not just a fish.
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He's a young fish who craves independence from his father.
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but endangers himself in trying to achieve it. or MERDA.
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She's a young princess who wishes to pursue her own hopes and dreams.
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rather than conform to her parents' expectations.
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We can call these characters fully developed.
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This means we've gotten to know them so well that we can imagine them in almost any situation.
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Creating a fully developed character isn't easy.
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You're basically creating a new life from scratch.
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but it's really special when you get there.
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So, How do we begin character development at Pixar?
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We can talk about characters in two ways.
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They have their external features, which is their design, their clothes, what they look like.
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And then much more interesting is the internal features.
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Are they insecure?
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Are they brave?
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Are they jealous?
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pretend like I'm having a conversation and getting to know a friend.
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and think, "Okay, well, what do they like to do?
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What are their beliefs?
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What do they enjoy?
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What do they not enjoy?" I think actually I work more externally first now that I think about it.
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You know what they're wearing, how they style their hair, and that kind of informs internally what's going on.
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You know one of my favorite Pixar characters is Syndrome.
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You look on the outside and he actually kind of looks like a superhero.
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He's got the superhero costume on, he's got a cape, he's got this dazzling hair, but inside he's totally a villain and he wants to actually do away with all the supers.
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So you kind of have that great little contrast there with that character that makes him feel really rich and really real.
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- Characters have to come from authentic human emotions and experiences.
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And that doesn't necessarily have to mean make every character you.
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It could also be draw from people you know, things from real life.
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Listen to that little voice saying, "Oh, that's just like what my mom used to do," or, "Oh, that's just like this friend I had in high school," or,
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"Oh, my little brother was like that when we were growing up." Because it's much easier to go from your
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family members or a friend when you're trying to search for a character.
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The specificity that
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people bring that you can't make up on your own is something that I
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look forward to and I enjoy when I'm trying to pinpoint down a character.
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I was working on Up, I was the story supervisor.
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Now, I'm a little invested in Carl's journey because back then my father was not well.
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He also had a full head of white hair.
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So when he gets to the Teppui, Carl actually has to be alone in his house.
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essentially looking back at the life that he had led. with Ellie.
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And he does this.
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silently.
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At that point, when I was storyboarding that sequence, my father was already in the hospital, and he was unable to speak.
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And when I actually talk to my father, he can only communicate to me through his eyes.
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and with smiles and facial movements.
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That actually helped me storyboard those moments when Carl silently thinks about his life with Ellie.
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And without dialogue, we understand the emotions that he's going through.
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And without my experience with my father, I wouldn't have been able to actually tackle that moment in the movie and storyboards credibly.
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And I told him that Dad, I'm drawing you. as Carl.
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Understanding a character, both inside and out, will help you figure out what the character really desires.
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which is what drives them through their journey.
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In this first exercise, you'll have a chance to think about the difference between internal and external character traits.
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Remember, The more you know about your character, the more real that character will feel.
📺 Mismo canal
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Motion
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Video 2: Shape
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Pixar in a Box: Character Development
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Story Structure: Advice
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Story spine
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Video 5: Advice for storytellers
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Character: Advice
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VIdeo 4: World & Character
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Story Structure: Act 2
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Pixar in a Box: Story Structure
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Story Structure: Act 1
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Pixar in a Box: The Art of Lighting
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Video 1: We are all storytellers
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Story Structure: Act 3
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Character: Wants vs. needs
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Video 2: Your favourite stories
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Character: Stakes
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Character: Obstacles
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Character arc
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Vocabulario y notas de pronunciación para esta lección
Esta lección de conversación de nivel B2 se basa en el vídeo “Characters: Internal vs. external features”. Las palabras que más se repiten: character, father, Pixar, storyboard, artist. Este vídeo tiene 70 frases y 792 palabras para practicar shadowing. La parte hablada dura 4:59. El hablante habla a un ritmo natural de unas 159 palabras por minuto, cercano a una conversación cotidiana. Solo el 81 % de las palabras está entre las 3.000 más comunes del inglés, por lo que el vocabulario es exigente.
Vocabulario clave de este vídeo
Las 15 palabras más avanzadas del vídeo, con su pronunciación y significado:
| Palabra | Pronunciación | Significado |
|---|---|---|
| silently adverbio | /ˈsaɪləntli/ | silenciosamente, callando |
| superhero sustantivo | /ˈs(j)upɚhɪɹoʊ/ | superhéroe |
| emotion sustantivo | /ɪˈməʊ.ʃən/ | afecto, emoción |
| dazzle verbo | /ˈdæzəl/ | deslumbrar, obnubilar |
| endanger verbo | /ɛnˈdeɪnd͡ʒɚ/ | apeligrar |
| externally adverbio | externamente | |
| specificity sustantivo | /spɛsɪˈfɪsɪti/ | especificidad |
| troublemaker sustantivo | /ˈtɹʌbəlˌmeɪkə(ɹ)/ | alborotador, bullanguero |
| conform verbo | /kənˈfɔɹm/ | conformarse con, conformar |
| storytelling sustantivo | narración, narrativa | |
| trait sustantivo | /tɹeɪt/ | rasgo, característica |
| insecure adjetivo | /ɪnsəˈkjʊɹ/ | inseguro, en globo |
| internally adverbio | /ɪnˈtɜːnəli/ | internamente, interiormente |
| villain sustantivo | /ˈvɪl.ən/ | villano |
| supervisor sustantivo | /ˈsupɚˌvaɪzɚ/ | supervisor, director |
Phrasal verbs que vas a escuchar
| Palabra | Significado |
|---|---|
| do away with verbo | desechar, deshacerse de |
| figure out verbo | averiguar, captar |
| go through verbo | atravesar |
| grow up verbo | crecer |
| look forward to verbo | no ver la hora de, quedar a la espera de |
Pronunciación a tener en cuenta
El hablante usa 18 contracciones y formas reducidas, como I'm, you're, can't. Dilas en su forma corta, tal como las oyes.
- Los sonidos de “th”: cloth /klɒθ/, authentic /ɔˈθɛn.tɪk/
- Los sonidos de “sh” y “zh”: emotion /ɪˈməʊ.ʃən/, expectation /ˌɛk.spɛkˈteɪ.ʃən/, facial /ˈfeɪ.ʃəl/
- Palabras largas — cuida el acento: superhero /ˈs(j)upɚhɪɹoʊ/, specificity /spɛsɪˈfɪsɪti/, troublemaker /ˈtɹʌbəlˌmeɪkə(ɹ)/, internally /ɪnˈtɜːnəli/, supervisor /ˈsupɚˌvaɪzɚ/
Sonidos difíciles para hispanohablantes:
- s + consonante al inicio — sin añadir una “e” delante: specificity /spɛsɪˈfɪsɪti/, scratch /skɹæt͡ʃ/
- /v/ — no es /b/: los dientes tocan el labio inferior: villain /ˈvɪl.ən/, supervisor /ˈsupɚˌvaɪzɚ/
- /z/ — sonora, no /s/: dazzle /ˈdæzəl/, supervisor /ˈsupɚˌvaɪzɚ/
Cómo practicar con este vídeo
- Escucha el vídeo entero una vez sin hablar y anota las palabras que no conoces.
- Empieza a velocidad 0,75×, haz shadowing frase por frase y vuelve a la velocidad normal cuando te resulte fácil.
- Grábate y compara con el original, prestando atención a palabras como silently, superhero, emotion.
¿Qué es la Técnica de Shadowing?
Shadowing es una técnica de aprendizaje de idiomas respaldada por la ciencia, desarrollada originalmente para la formación de intérpretes profesionales y popularizada por el políglota Dr. Alexander Arguelles. El método es simple pero poderoso: escuchas audio en inglés nativo y lo repites en voz alta de inmediato, como una sombra que sigue al hablante con solo 1-2 segundos de retraso. A diferencia de la escucha pasiva o los ejercicios de gramática, el shadowing obliga a tu cerebro y músculos de la boca a procesar y reproducir simultáneamente patrones de habla reales. Las investigaciones muestran que mejora significativamente la precisión de la pronunciación, la entonación, el ritmo, el habla conectada, la comprensión auditiva y la fluidez al hablar, convirtiéndola en una de las metodologías más efectivas para la preparación del IELTS Speaking y la comunicación en inglés en el mundo real.