Pratique du Shadowing: Charli xcx - Camera | Behind the Song - Apprendre l'anglais à l'oral avec la vidéo
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171 phrases
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This is quite a confessional and in some ways embarrassing, well for Brits I think at least,
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you know talking about your dreams and your ambitions is inherently embarrassing for a British person, maybe not so much for an American, I don't know.
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All of my albums are kind of in communication with each other even if they're sort of repelling each other.
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As an artist I think you know some artists spend years
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and years sort of like honing their sound and really digging deeper
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and deeper and deeper into it and I've definitely done
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that at points in my past but over the past five years
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or so I'd say I'm definitely more interested in being a bit more reactive to the sounds of previous records
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that I've made and And then also just like playing shows, DJing, throwing parties.
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It was very constantly within that world.
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I felt that I needed to sort of do something drastic to feel inspired personally again.
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Well you had a song didn't you?
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I think that's the thing.
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It wasn't like, oh now I'm going to make guitar music.
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You had a song that was a guitar song.
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Right.
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And that I think didn't make the album.
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Oh yeah, yeah, of course.
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But that's what I mean.
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And then you're like, oh this is quite cool as a song.
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It wasn't even really talking about the production.
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I think it was just, I like this song.
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Yeah.
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And then I think we were just fleshing out that idea, not talking about it too much, not right.
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Yeah, and then it just became like, oh, this is inspiring to us.
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Like, I think we all in ways do have some kind of a history with certain types of guitar music.
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Even though I think to some people maybe it feels extremely alien.
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I think for us, it's like, it's just another tool, really.
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It's not actually that like provocative to us.
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Like, oh my god, we're using a guitar.
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It's like not like I don't personally see it like that.
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It's just like, oh, that's just another tool that we can use in the way that only we would use it.
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In my mind, the song is about doing something that feels uncomfortable, that actually is quite jarring and awkward in one way,
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but makes you feel something.
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Every sort of part of the production I think is sort of trying to emphasize that feeling,
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you know, even if you take the initial stuttering guitar, it's like there's something quite anxious in that, but then also something quite propulsive about it.
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This is actually what I played initially, which is just this.
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And that was one snippet.
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I think that's two different guitars, two simple guitars.
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Just like going straight into the Boss Superdrive and I think that's the second one.
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The first one I think is just a DI into the Apollo, so incredibly simple.
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And then I chopped it up into individual sections and if I take off the shaper box you'll see sort of like...
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Being drawn also to those moments when I'm not quite hitting it
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and finding a weird point where you get a strange attack
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or some kind of strange artifact that's in there
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and then like leaning into that
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and then the final process was just this putting on this shaper box
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which then kind of adds this weird time and panning sequencing thing so then you get there
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and then that's adding another level of like
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because then that's hearing the chops and then adding them in at weird places
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so then it's like clicks on clicks
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and it just kind of contributes it's this feeling of it being kind of awkward and unsettling in some way.
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Like here, for example.
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And then, yeah, having this final little snippet produced quite differently.
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So then having that one be super stereo and just these kind of things, like trying to break it up and feel it,
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make it feel as fragmented as possible to sort of give it that awkward quality.
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I think this song did kind of come together in quite a free flowing type of way.
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I don't think I sat for a long time labouring over lyrics.
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It was kind of quite a sort of flow state,
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kind of a song, which I think is cool because this is quite a confessional and in some ways embarrassing,
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well, for Brits, I think at least, you know, talking about your dreams and your ambitions is inherently embarrassing for a British person,
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maybe not so much for an American, I don't know.
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So, you know, it's like there is this element of like putting yourself out there
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and saying the thing that is like coming into your mind.
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And I think that is really captured in the lyrics
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and emphasised by the fact that there isn't really like a clear rhyme pattern.
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When you went to record the idea first, I think you just did the whole thing in one take.
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Yeah.
69
Because it was a really very emotional moment to hear it because I hadn't heard it before.
70
You know, I've got this idea and it was all there, the whole song.
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And it was actually, I think we only did like, you know, six takes or something.
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And it was they're all complete performances.
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And that's something that we carried through the whole album.
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Yeah, I was like preserving these performances that you do.
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This is a moment where we wanted this to feel like because obviously reflects the lyrics so well.
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Like there's that sort of like dramatic step up.
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And actually, this was something that Alex had when we were mixing it.
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He had this idea to like suddenly make the vocal really, really wide at that point.
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And you wouldn't have it.
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It's like halfway through a word, I think.
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So if you hear the vocal here, this is just Charlie direct.
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The other ones in your eyes, but let's be honest, I'm talking about the ones on the pavement.
83
And then suddenly there's this extra layer.
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It's like much sort of weirder and like morphing a bit more and more chorus and panned and stereo.
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And then also just preserving quite a jump up in volume as well.
86
I think we even did that with the automation on the drums.
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You'll see here, we just allowed the drums to just jump up in automation here, up six, then up nine again, sorry, up another one there.
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So it's just trying to create these extreme volume shifts, I think, is the key thing.
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Suddenly the drums feel a little bit too loud you know it's like quite a strange way of mixing
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that but yeah then the final thing is just um at the end of the chorus like yeah keeping in
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that glitch and keeping in this weird lead static that we have
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that we quite liked and actually having the track come out
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so brutally to affect that lyric
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so by itself i think it's just like quite cute on its own
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so nice and then the final thing i'd also just draw attention to i think in terms of like
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that feeling of like being quite exposed
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and like vulnerable is just how we just drop everything down right at the end to just the bass
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and charlie's vocal which is also like really heavily
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and quite awkwardly gated yeah i love the gate on this i can be anything i want to be
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and i can feel like the way the gate is cutting in
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and and cutting out the breaths in a slightly strange way
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or cutting off the end of a word or the beginning of a word in an unpredictable,
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chaotic way, that I think really works really well there.
104
I can be anything I wanna be and I can feel the things I don't normally feel.
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The beginning though, I feel you can really hear when there's like a breath.
106
Yeah, yeah.
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I can be anything I wanna be and I can feel.
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It's like very staccato in a way.
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The ands slower than it should be and like...
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I can feel the things I don't know.
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It's subtle.
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In the choruses, I think we like, have my kind of tuned vocals lead and then we have...
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And then we have these very kind of more natural vocals.
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With no tune.
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So we did these two left right doubles
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and this has no tune on it at all and we allowed it just to sort of feel weird and drifting.
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Very lazy, you know, paired with the kind of anchoring tuned.
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And then obviously that sounds very different from how exposed the end vocal is, where it's just like...
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It can be anything, I won't be anything.
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But imagine if that, like usually you have all these breaths in there and stuff, you could hear the breathing and all that stuff
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and I think just cutting all of
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that out gives it a kind of strange uncanny quality
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or something yeah something quite puts you on edge a bit it's like someone's crying
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or something you know yeah
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when they can't like catch their breath it's like that's yeah it's kind of breathless totally we'd filmed the moment
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because we were shooting that at the beginning of 2025
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and like I'd had this really amazing experience of working on
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that film where as a cast
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and crew we were all like super super bonded Aidan Zamiri
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who's one of my best friends was the director we'd all
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sort of like fallen in love with each other in this way
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and it was the longest time i'd been on set on a film
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and had felt this new level of feeling inspired
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which to be honest i don't get as much in music anymore probably
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because i've been doing it for you know
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so long now like over 20 years apart apart from when I'm working with Finn of course.
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But actually seriously though, when I'm working with Finn and Alex, when I'm in the studio generally speaking, I will say I do feel that feeling,
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but there are other elements of being a musician now that I find less thrilling, let's say.
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But I think because, you know.. acting is kind of a newer thing for me
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and being a part of making films whether
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that be in front of the camera
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or behind the scenes is like a newer thing for me i do feel this buzz
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and so i think yeah i had felt that on the moment
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and i wanted to kind of like capture
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that in a song you know there's this moment
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which is super sort of vulnerable and like kind of sparse and then and having these prettier elements with it.
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Those kind of extreme contrasts, like for example, we have this kind of cute, quite sweet guitar riff sound,
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and then combined with this higher one,
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that's like, we sound shifted things up and down a lot to kind of create this grainier texture to it.
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So if you hear this, this is shifted up very artificially.
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But there's, it's kind of sounds like a synth is actually a guitar
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and feels quite fake in one way but has a kind of nice graininess to it.
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When we were writing we did a lot of the drums just on very very basic sort of 606 kits.
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Yeah.
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So we'd almost write to this you know, we'd just be writing to this.
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Like really really small drums, not even like worrying about how the drums sound yet
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because the most important thing is just writing the song at that point.
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There's definitely like versions of all of these songs,
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especially songs like this or maybe like Wink Wink, where I don't know, there is this like shinier,
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more perfect production that is like very crafted, like a little more electronic.
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Even like for example on rock music
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when we had we initially we didn't have the live drums right it was like doing a slightly different thing
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which was maybe a bit more sort of i don't know like immediately understandable
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or something like that and i feel like there's probably versions of like this song where it's like way more
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definitely 100 we could have definitely like 2015'd out we could have made the sound way slicker
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and and way neater and better played and better mixed and all those things.
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Yeah, but then it's not the point.
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It's just funny to think about.
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I'm like, oh, what is that version?
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Like, it's probably good.
171
It's not the same thing, but it's just interesting.
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Vocabulaire et conseils d’expression pour cette leçon
Cette leçon d’expression orale s’appuie sur la vidéo « Charli xcx - Camera ». Cette vidéo contient 171 phrases et 2136 mots à répéter en shadowing. La partie parlée dure 12:22. Le locuteur parle à un rythme naturel d’environ 173 mots par minute, proche d’une conversation courante. 85 % des mots font partie des 3 000 mots les plus courants en anglais ; le reste mérite d’être vu avant de commencer.
Vocabulaire clé de cette vidéo
15 mots de la vidéo à retenir, avec leur prononciation et leur sens :
| Mot | Prononciation | Sens |
|---|---|---|
| guitar nom | /ɡɪˈtɑɹ/ | guitare |
| drum nom | /ˈdɹʌm/ | tambour, batterie |
| vocal adjectif | /ˈvoʊ̯.kəl/ | vocal |
| tune nom | /tjuːn/ | mélodie, air |
| gate nom | /ˈɡeɪ̯t/ | portail, porte |
| element nom | /ˈɛləmənt/ | élément |
| lyrics nom | /ˈlɪɹ.ɪks/ | paroles |
| awkward adjectif | /ˈɔk.wɚd/ | maladroit, gauche |
| breathe verbe | /bɹiːð/ | respirer, inspirer |
| inspire verbe | /ɪnˈspaɪə(ɹ)/ | inspirer |
| capture verbe | /ˈkæp.(t)ʃɚ/ | saisir, capturer |
| pan nom | /pæn/ | poêle |
| vulnerable adjectif | /ˈvʌln(ə)ɹəbl̩/ | vulnérable |
| preserve verbe | /pɹəˈzɝv/ | préserver |
| expose verbe | /ɪkˈspoʊz/ | exposer, dénoncer |
Les verbes à particule que vous entendrez
| Mot | Prononciation | Sens |
|---|---|---|
| come out verbe | /ˌkʌm ˈaʊt/ | sortir |
| cut off verbe | /ˌkʌt ˈɔf/ [ˌkɐɾ ˈɔf] | tailler, couper |
| cut out verbe | arrêter de | |
| step up verbe | accroître, augmenter | |
| take off verbe | enlever, ôter |
Des phrases à répéter
Des phrases courtes et complètes de la vidéo, à réutiliser dans la conversation de tous les jours :
- Well you had a song didn't you?
- I think that's the thing.
- It's not actually that like provocative to us.
- I think that's two different guitars, two simple guitars.
- I'm like, oh, what is that version?
La grammaire de cette vidéo
Les structures que le locuteur utilise le plus, avec les mots exacts de la vidéo :
| Structure | Dans la vidéo |
|---|---|
| Voix passive be + participe passé — l’accent est mis sur ce qui arrive, pas sur qui le fait | Being drawn · is really captured · is shifted |
| Present perfect have/has + participe passé — une action passée qui compte encore maintenant | I've definitely done · I've made |
Prononciation à surveiller
Le locuteur utilise 47 contractions et formes réduites, comme don't, I'm, I'd. Prononcez-les sous leur forme courte, telles que vous les entendez.
- Les sons « th »: breathe /bɹiːð/, synthetic /sɪnˈθɛtɪk/, thrill /θɹɪl/, breathless /ˈbɹɛθləs/
- Les sons « sh » et « zh »: capture /ˈkæp.(t)ʃɚ/, ambition /æmˈbɪʃ.ən/, automation /ˌɔ.təˈmeɪ.ʃən/, contrast /kənˈt(ʃ)ɹæst/, flesh /flɛʃ/
- Mots longs — placez bien l’accent: automation /ˌɔ.təˈmeɪ.ʃən/, inherently /ɪnˈhɛɹəntli/, incredibly /ɪŋˈkɹɛdɪbli/, differently /ˈdɪf.ə.ɹənt.li/, uncomfortable /ʌnˈkʌm.fɚ.tə.bl̩/
Les sons difficiles pour les francophones :
- /h/ — il se souffle, il n’est pas muet: inherently /ɪnˈhɛɹəntli/, halfway /ˌhæfˈweɪ/, hone /hoʊn/
- /tʃ/ et /dʒ/ — à ne pas adoucir en « ch » et « j »: chop /t͡ʃɑp/, jar /d͡ʒɑː/, texture /ˈtɛkst͡ʃə(ɹ)/, glitch /ˈɡlɪt͡ʃ/
- /r/ anglais — langue recourbée, sans frotter la gorge: guitar /ɡɪˈtɑɹ/, drum /ˈdɹʌm/, lyrics /ˈlɪɹ.ɪks/, breathe /bɹiːð/, inspire /ɪnˈspaɪə(ɹ)/
Comment s’entraîner avec cette vidéo
- Écoutez la vidéo en entier une fois sans parler et notez les mots que vous ne connaissez pas.
- Commencez à la vitesse 0,75×, répétez phrase par phrase, puis revenez à la vitesse normale quand cela devient facile.
- Enregistrez-vous et comparez avec l’original, en faisant attention à des mots comme guitar, drum, vocal.
Qu'est-ce que la technique du Shadowing ?
Le Shadowing est une technique d'apprentissage des langues fondée sur la science, développée à l'origine pour la formation des interprètes professionnels. Le principe est simple mais puissant : vous écoutez de l'anglais natif et le répétez immédiatement à voix haute — comme une ombre suivant le locuteur avec un décalage de 1 à 2 secondes. Les recherches montrent une amélioration significative de la précision de la prononciation, de l'intonation, du rythme, des liaisons, de la compréhension orale et de la fluidité.