Shadowing Practice: Kevin Spacey Interview on "The Usual Suspects" Movie - Learn English Speaking with Video
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Kevin Spacey started acting at Juilliard.
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He received a Tony Award for Lost in Yonkers.
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Wider acclaim came to him after his performance in the television series
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Wise Guys, but it is his work in films, films like The Ref, Swimming with Sharks,
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and Seven that has solidified his status as one of the most versatile and talented actors in Hollywood.
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With the role of Verbal Kent in The Usual Suspects, he has earned an Academy Award nomination,
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and I am very pleased to have him here to talk about a film that I make,
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have no qualms in saying it was one of my favorite films and his performance, one of my favorite performances in 1995.
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So I'm pleased to have you here.
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Thank you very much.
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Having stated out my prejudices, it's great to have you on the podcast.
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Listen, I'll tell you, it's been helpful to the film because any time that critics are like you, I know you've spoken often about usual sessions.
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Connoisseurs.
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Yeah, it's made a difference.
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I mean, I think that it's helpful when critics not only write good reviews, but continue to talk about films like this one,
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which was made for, you know, a little under $6 million.
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This was just stunning to me.
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It is, in a sense, an ensemble effort.
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It is.
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It was conceived as one.
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It was shot as one.
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All of these parts in this film are so dazzlingly played by such great actors
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that it's a little embarrassing to be singled out, but it's a heck of a group to be singled out from.
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And written and directed by such dazzlingly young artists.
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These two young men.
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I had the privilege of seeing Chris McQuarrie, the writer of Usual Suspects, and Brian Singer, the director.
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Their first effort was a picture that hasn't been released yet, but I think probably will now,
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called Public Access, which actually won or co -won the award at the Sundance Film Festival, I think now two or three years ago.
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and so I saw that at a screening
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and I met both of them the night of the screening
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and we became friendly
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and about almost two years later they began to talk to me about this script
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that they had yeah and and they didn't tell me anything about it
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and then eventually they sent it along
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and they were very clever they didn't tell me what part they wanted me to read
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why not I don't exactly know I'm I I I suspect
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that it probably had to do with what they felt was the strength of the film
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and that sometimes maybe they also knew
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that sort of my own philosophy about this is
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that I don't like to read scripts knowing what part
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it is they want me to read for I like just reading the stories
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I like just being able to sort of because you can't help it I think
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You open a script and they've said, oh, it's the role of George.
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And you get to George, and oh, that's a pretty good monologue.
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I can do that.
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And it taints your ability to judge it as a story without sort of thinking of what you can do to it.
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You sort of already get your hand on it.
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So I read it without any knowledge.
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And there were a lot of parts.
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I mean, Gabriel's part was a great part.
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Chaz's part was a great part.
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They were certainly appealing and a little snazzier, perhaps, I thought, a little more uh but but i also felt
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that that i had played some flamboyant parts um prior to
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that and what i was looking for um to sort of test myself
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and challenge myself was something
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that asked me to to bring to the table a little
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subtler all right let's talk about i want to talk about the performance
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but first before in case the audience and and um some academy judges haven't seen this performance.
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Let's talk about the storyline here and what it's about.
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Well, you know, I know people have seen the film four and five times.
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Still wondering.
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Still are wondering what it's about.
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That's why I want to see if you got it.
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I think that...
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It has a surprise ending, and so you're always a little bit wary of delivering the...
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Well, yeah, one has to be slightly cryptic in talking about it.
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But set it up.
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I mean, this is a story of...
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This is a story of five sort of criminals who are all experts in their own various fields of criminal activity.
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Nothing new so far.
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Nothing new so far.
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Who are accused of having stolen a truck filled with gun parts.
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And they're brought in on a lineup.
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One of them is an ex -cop who's played by Gabriel Byrne.
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One of them is a con man who I play.
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One of them is an explosives expert who Kevin Pollack plays.
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One of them is a great man with guns who Stephen Baldwin plays.
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And one of them is from another planet who Benicio Del Toro plays.
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Benster.
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And an extraordinary performance by Benicio.
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And they're brought up in a lineup and it's a sort of a setup
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and what the cops don't realize is that while they're in this lockup together they plan another robbery or two.
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So they go off and do another robbery
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which is a heist in Los Angeles
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and then they get hoodwinked into having to try to stop a cocaine deal
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that's happening in a dock in San Pedro, California.
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and the story is told from the beginning of the film at the aftermath of this drug deal
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that has gone down very badly and Verbal the character
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that I play is the only survivor of the five suspects from this particular crime escapade
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and he is brought in to be interrogated by the character
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that Chaz Palminteri plays who is a customs agent
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because Chaz Palminteri doesn't believe that the character that Gabriel Byrne plays is actually dead.
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He thinks that he is in fact someone else, a sort of crime lord.
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So a great part of the film takes place inside
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this room in a police station in San Pedro between Chaz and the character that I play.
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Including this excerpt.
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Take a look at this.
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This is Kevin Spacey is being interrogated by Chaz Palminteri and he's making up things trying to keep Palminteri from questioning him.
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Take a look at this from usual suspects.
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I mean, did you enjoy this?
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I mean, was this, when you look at all the, I mean, clearly you enjoyed it more than you did
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Outbreak, which was a different kind of role.
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Very different kind of role.
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The guy who was so good, you knew he had to die.
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Yeah, exactly.
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I mean, there's no fun in that.
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Let me just stop you right there.
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You have played a bunch of characters that are not so good.
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And there is more meat there.
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There's more interest there.
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There's more you can do with them.
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Yeah, I think that those in the last couple of years, certainly in film, have been the roles that, first, I've been offered.
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And secondly, that have sort of jumped off the page at me.
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It's interesting to me because I don't play those kind of roles in the theater.
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And I never have.
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I don't quite know why that is, but the kind of characters I played in the theater are
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men who are not evil and not sort of on the dark side, are at some degree of decay in their lives,
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perhaps morally, are struggling with some kind of internal issue, whether it's Athol Fugard's Playland or Dennis McIntyre's National Anthems,
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which I'm going to do again this year in New York.
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So it's interesting to me that this sort of has just happened.
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There also seems to be a hostage theme happening in my life.
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I don't know why that is.
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I keep getting tied up in the film.
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And it's interesting to me.
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There's obviously, you know, a certain danger inherent in that, which is that it's the way that people begin to think of you,
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is that only in terms of being able to do that kind of role.
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So I think that I probably won't do that for a
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while because the fun thing that I've had an opportunity to do, even in this year, and even if you look at all of these roles,
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they're a little dark, but they all give me really different kinds of challenges.
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How many films released in 1995?
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Four.
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Let's go through them.
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Outbreak.
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Outbreak.
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Was the first.
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Swimming with Sharks.
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Right.
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We'll talk about it in a minute.
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Usual Suspects.
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Usual Suspects.
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And a little film we did called Seven, which I don't think that many people have seen.
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Sure.
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I mean, does it get any better than 95?
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I mean, so that it comes together on film for you.
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And how do you explain that in a person's career?
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I mean, for me, I know
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that this year has a lot to do with decisions and opportunities that were taken and given to me 10 years ago.
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Last night at the National Board of Review, I had the opportunity to thank two gentlemen who were sitting in the audience.
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Gene Sachs, who cast me in Lost in Yonkers.
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And Alan Pakula, who fought against the studio in casting me in a film called Consenting Adults,
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which was really one of the first major roles that I had played.
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and there have been people like
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that for the last I've only been really doing films
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or substantial roles in film since 1990
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so I'm relatively you know new at it
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but there have been people like that who have really given me such enormous opportunities
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that I think that if you try to do different things
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and you try to not get pegged and on some level also you don't try to take advantage of opportunity,
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that you don't try to use it as a stepping stone to something else, that you try to maintain a certain focus
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and try to maintain an integrity about the kind of things that you do and do things that you believe in doing.
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I think that after a while, you know, you sort of become like an old building.
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People are surprised you're still there.
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So I think that that has something to do with it.
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It sort of accumulates after a while.
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And the year for me couldn't have gotten any better because while all that's been happening out there,
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I've spent the better part of the year directing a film.
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And you find that equally more satisfying than acting?
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I think in terms of the addiction, the needle is fully in my arm and I'm running out of serum.
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Really?
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What is it about directing for someone who is just, notwithstanding how long you might have been practicing your craft,
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certainly on theater and the awards you get and will get, to go behind the scenes?
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I think it's ultimately the responsibility of being the storyteller.
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I've always felt that my function as an actor, on just a mechanical level, let's say, is to serve the writer.
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that if you understand and recognize the world that the writer is trying to create,
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and you try to go in there and interpret whatever part you've been offered within that framework,
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that's the job.
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That and convincing an audience that you're somebody else for a couple of hours.
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I also like the anonymity that I have had up to just recently.
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That's a new aspect of being an actor
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that I've not dealt with on quite the level that I have in the last couple of months.
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And to me, it's the ultimate way in which to tell a story, to serve a writer, and to be anonymous.
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And I was enormously fortunate that I was offered a script by a company called Motion Picture Corporation of America
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that Miramax Films and UGC in Europe came on board as my distributors.
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This is Albino Alligator.
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Albino Alligator.
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that I was, you know, someone asked me, did you act in this film?
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And I said, no, I did all my acting convincing everybody else to do it.
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To do it, yeah.
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And who do you have in the film?
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Matt Dillon, Gary Sinise, Faye Dunaway, Viggo Mortensen, M.
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Emmett Walsh, Joe Mantegna, and two actors, William Fichtner and Skeet Ulrich.
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You don't need to show up.
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They'll direct themselves.
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I'll tell you, it was so satisfying, partly because it was a visual challenge.
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It's a film that is a hostage situation, similar to Dog Day Afternoon.
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That kind of situation occurs in this film.
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So 85 % of the movie takes place in one location, sort of a room, not unlike this.
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And we shot in sequence.
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Shot in sequence?
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Shot in sequence.
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Why'd you do that?
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Partly because I felt it was a way for me as a first -time director to protect myself.
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That if I was, you know, shooting and I hadn't yet found my stride, my editor could say to me,
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you know, you really should go back and get that close -up of Miss Dunaway.
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I was able to do it.
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And I was very fortunate to be able to help actors.
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It was just extraordinarily satisfying.
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You do an interesting thing, which is just what I mean,
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one of the reasons I admire you a lot is because I see things that I would do, at least I think.
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You will go to the video, your local video, and take all the movies made by a particular actor or a particular director,
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and look at them through and watch the evolution and see the growth and see change because it might be instructive.
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Yeah, if you sit, if you are lucky enough to be able to rent,
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let's say, all of the movies that are out on video of Spencer Tracy or Henry Fonda,
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and you look at them chronologically,
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you watch the development of an actor's talent and expression grow, and it's a great lesson.
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And you also do it with directors.
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I've done it with John Huston and others, Martin Scorsese.
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and others, you learn an enormous amount.
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I mean, you know, I didn't go to film school.
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I mean, these producers who offered me this movie had absolutely nothing to look at to prove that I could do this.
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And so my film school...
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Except your powers of persuasion.
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Yeah, my powers of persuasion persuasion.
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And so my film school became this first experience
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and to have been given the kind of autonomy and freedom that we were given to make this very complex film.
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So what is it about Fonda, Henry, that makes him the person you admire the most?
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Well, when I look at those actors that I admire, whether it's Duvall or Nicholson,
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them, Pacino, Tracy, and in particular Fonda.
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When I was growing up, Fonda was my idol big time.
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Henry Fonda certainly was one of the few actors who we never lost to Hollywood in terms of the theater.
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There was a period of time where he actually left
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Hollywood for about seven years and did nothing but plays.
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I know that most people think that the last performance he gave was in On Golden Pond, but in fact it was a play,
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a little play he did at the, I believe it was in Stanford, Connecticut.
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I might be wrong about that, but a little play called Showdown at the Adobe Motel, which he did I think about four or five,
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maybe six months before
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Golden Pond had actually opened.
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And I think that I have enormous respect for those actors who continually came back to the theater.
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And I think that you look at Henry Fonda
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and yes he was a movie star and yes he was in some ways always
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Henry Fonda but I just think he had the most extraordinary career
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and was uniquely American and and I always admired that and
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and then later in my own life
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I had the opportunity a few years ago to play 30 years in the life of Clarence Darrow
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which of course he had done on stage in the one -man show
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and that was one of the greatest thrills ever to have I think Orson Welles, Paul Muni, Henry Fonda and me have played Clarence Darrow
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and I was very happy to join that company and tackle what was a really extraordinary man.
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I want to come back then a moment before
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because I've got a clip is what I want to do is just show you in action.
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This is from Swimming with Sharks also released.
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The point here is tell me what this film is about.
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Swimming with Sharks is a film that we made in 18 days for under a million dollars.
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You're the king of low budget, aren't you?
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Absolutely.
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Except for outbreaks.
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A little thing like that balances it out.
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Yeah, exactly.
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Go ahead.
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And this is a film that the backdrop of which is Hollywood,
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and in it I play a kind of megalomaniac Hollywood producer.
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and it's the story of a young man who
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Frank Whaley plays quite hilariously
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and it's about his rise through the ranks in Hollywood you know many people start out as assistants
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and it's a film ultimately about ambition
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and about people learning about you know what it takes to survive here
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it is roll tape you make one point about the cutaway there was of Benicio del Toro playing my outgoing assistant.
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With not much time left, Jack Lemmon played a role in your life.
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Yes.
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Several times, in fact.
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How so?
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Well, when I was about 14 years old, my thespian class in school in California,
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we used to take these trips to the Marte Perform and Amundsen Theater and see plays.
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One of the plays, productions that we saw was Juneau and the Peacock.
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in 1974, I think I was 14 years old, Jack Lemmon, Maureen Stapleton, Walter Matthau.
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And we did a seminar with them in the morning before the production.
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I still have the 8x10 picture that
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Jack signed for me that day.
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And years later, 1985, I auditioned for the Broadway production of Long Day's Journey, and tonight that Jonathan Miller is directing, and I get cast.
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So we spend the better part of the next year, Peter Gallagher, Bethel, Leslie, Jack and myself on the road in New York,
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in Washington, D .C., London, Israel And finally taping it for American Playhouse up in Canada
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Just one of the most extraordinary times of my life A great learning experience
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Learned an enormous amount about myself, about my weaknesses as an actor had one of the great relationships with both
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Jack and Peter Gallagher that I've ever had with two actors on a stage.
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Back to that in a moment, what weaknesses did you find?
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Well, I look at that period as a kind of...
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It was interesting that I was playing Jamie,
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who is a sort of flailing, alcoholic, maybe angry actor.
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And I think that I myself was flailing a little bit.
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I was just sort of, you know, had this role in this play, and I was sort of just beginning to get noticed.
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And I think that, you know, one thought that.. perhaps drinking heavily was a good way to rehearse.
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And I just think that I came away from that experience humbled.
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And that was very important.
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And he brought you into Glen Gary Glen Ross?
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Well, actually, that was much later.
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What happened was George Stevens Jr. cast
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Peter Gallagher and Jack and I in a miniseries called The Murder of Mary Fagan, the following year, which is a terrific miniseries.
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Then I got cast with Jack in Dad, which is a picture we did for Gary David Goldberg.
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So this is a long history.
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And then finally, Glen Gary Glen Ross.
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And let me just tell you briefly, he played my father in Long Day's Journey.
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He played my governor in Mary Fagan.
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He played my father -in -law in Dad.
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So when I found out that I was going to play his boss in Glen Gary Glen Ross, I was very excited about that.
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A little payback.
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Do you do a Jack Lemmon?
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I do.
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I have done a little, yeah, I do a Jack Lemmon.
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Jack is, you know, Jack talks very fast.
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He's a very, very quick talker, and sometimes his tongue gets ahead of his brain.
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I'll just tell this quick little story.
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We did this production of Long Day's Journey, and at a very serious moment in the play, he came out onto the stage,
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and he looked at Peter Gallagher, and he looked at me, and his line, as O 'Neill had written it,
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was, there's a gloom in the air you could cut with a knife.
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And Jack came on the stage for about 100 performances and said this line just perfectly the way O 'Neill had written.
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And one night in London, he walked out on stage.
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He looked at Gallagher, he looked at me, and he said, there's a doom in this room you could shake with a stick.
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We got backstage and I said, Jack, what's your first line in the scene that we just did?
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He said, there's a gloom in the air you could cut with a knife.
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I said, that's not what you said.
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He said, yes, I did.
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I said, no, you didn't.
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He said, yes, I did.
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I said, no, you said there's a doom in this room you could shake with a stick.
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He said, well, it's the same thing. Who cares?
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Shut up, kid.
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That's great.
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Much luck.
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When will Albino Alligator be available for release?
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Well, we are in discussions about a fall release with Miramax here in the United States
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and possibly in Europe in the summertime.
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And we're also in the first initial stages of discussing what film festivals we might want to take it to.
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Usual Suspects is now, I guess, out on cassette.
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It is out on cassette.
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So if you haven't seen it, go see it.
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A remarkable performance.
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The reason he is nominated for an Academy Award.
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Kevin Spacey, thank you.
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Thank you.
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Vocabulario y notas de pronunciación para esta lección
Esta lección de conversación se basa en el vídeo “Kevin Spacey Interview on "The Usual Suspects" Movie”. Este vídeo tiene 338 frases y 3774 palabras para practicar shadowing. La parte hablada dura 22:25. El hablante habla a un ritmo natural de unas 168 palabras por minuto, cercano a una conversación cotidiana. El 82 % de las palabras está entre las 3.000 más comunes del inglés; conviene repasar el resto antes de empezar.
Vocabulario clave de este vídeo
15 palabras del vídeo que vale la pena aprender, con su pronunciación y significado:
| Palabra | Pronunciación | Significado |
|---|---|---|
| theater sustantivo | /ˈθi(ə)tɚ/ | teatro |
| extraordinary adjetivo | /ɪksˈtɹɔːrdɪn(ə)ɹi/ | extraordinario, descomunal |
| script sustantivo | /skɹɪpt/ | escrito, escripto |
| enormous adjetivo | /ɪˈnɔː.məs/ | enorme, ingente |
| outbreak sustantivo | /ˈaʊtbɹeɪk/ | brote, irrupción |
| admire verbo | /ədˈmaɪɹ/ | admirar |
| sequence sustantivo | /ˈsiː.kwəns/ | secuencia |
| satisfy verbo | /ˈsætɪsfaɪ/ | satisfacer |
| producer sustantivo | /pɹəˈdjuːsə/ | productor, productora |
| helpful adjetivo | /ˈhɛlp.fl̩/ | servicial, adyuvante |
| knife sustantivo | /ˈnaɪ̯f/ | cuchillo |
| shake verbo | /ˈʃeɪk/ | agitar, sacudir |
| partly adverbio | /ˈpɑɹtli/ | en parte, en cierto modo |
| convince verbo | /kənˈvɪns/ | convencer, llevar al huerto |
| weakness sustantivo | /ˈwik.nɪs/ | debilidad, flaqueza |
Phrasal verbs que vas a escuchar
| Palabra | Pronunciación | Significado |
|---|---|---|
| find out verbo | averiguar, anoticiarse | |
| go ahead verbo | /ˌɡoʊ əˈhɛd/ | venga, adelante |
| go off verbo | explotar | |
| go through verbo | atravesar | |
| grow up verbo | crecer | |
| make up verbo | /ˌmeɪk ˈʌp/ | reponer, suplir |
| show up verbo | comparecer, personarse | |
| shut up | /ʃʌt ʌp/ | cállate la boca, cállate |
Frases que vale la pena repetir
Frases cortas y completas del vídeo que puedes reutilizar en la conversación diaria:
- I mean, did you enjoy this?
- I mean, there's no fun in that.
- There's more you can do with them.
- Why'd you do that?
- You're the king of low budget, aren't you?
Gramática en este vídeo
Las estructuras que más usa el hablante, con las palabras exactas del vídeo:
| Estructura | En el vídeo |
|---|---|
| Present perfect have/has + participio pasado — una acción pasada que sigue importando ahora | has solidified · has earned · it's been |
| Voz pasiva be + participio pasado — importa lo que ocurre, no quién lo hace | was made · was conceived · was shot |
| Oraciones de relativo who / which + oración — información extra sobre una persona o cosa | man who I · Outbreak, which was · guy who was |
Pronunciación a tener en cuenta
El hablante usa 55 contracciones y formas reducidas, como don't, I've, I'm. Dilas en su forma corta, tal como las oyes.
- Los sonidos de “th”: theater /ˈθi(ə)tɚ/, aftermath /ˈæf.tɚˌmæθ/, thrill /θɹɪl/, notwithstanding /ˌnɑtwɪθˈstændɪŋ/, thespian /ˈθɛzbi.ən/
- Los sonidos de “sh” y “zh”: shake /ˈʃeɪk/, evolution /ˌiːvəˈluːʃ(ə)n/, substantial /səbˈstænʃəl/, addiction /əˈdɪkˌʃən/, nomination /ˌnɑmɪˈneɪʃən/
- Palabras largas — cuida el acento: extraordinary /ɪksˈtɹɔːrdɪn(ə)ɹi/, evolution /ˌiːvəˈluːʃ(ə)n/, mechanical /məˈkænəkəl/, integrity /ɪnˈtɛɡɹəti/, anonymous /əˈnɒn.ə.məs/
Sonidos difíciles para hispanohablantes:
- s + consonante al inicio — sin añadir una “e” delante: script /skɹɪpt/, steal /stiːl/, stride /stɹaɪd/, stun /stʌn/
- /v/ — no es /b/: los dientes tocan el labio inferior: convince /kənˈvɪns/, evolution /ˌiːvəˈluːʃ(ə)n/, clever /ˈklɛv.ɚ/, privilege /ˈpɹɪv.(ɪ.)lɪd͡ʒ/, survivor /sɚˈvaɪvɚ/
- /z/ — sonora, no /s/: accuse /əˈkjuz/, excerpt /ˈɛɡzɜː(p)t/, thespian /ˈθɛzbi.ən/
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 theater, extraordinary, script.
¿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.