Pratique du Shadowing: Don't Write Past the Punchline: Deadpool Screenwriter's Rule for Lines That Land - Apprendre l'anglais à l'oral avec la vidéo
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When communicating, there are often two stories being told at the same time.
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My name is Matt Abrahams, and I teach strategic communication at Stanford Graduate School of Business.
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Welcome to Think Fast, Talk Smart, the podcast.
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Today, I'm excited to speak with Rhett Reese.
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Rhett is an acclaimed American screenwriter and producer best known for co -writing massive blockbuster hits like Deadpool, Zombieland, and G .I.
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Joe Retaliation.
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Alongside his longtime collaborative partner, Paul Wernick, together, their films have grossed over $3 billion.
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Rhett has also been very vocal on the impact of AI on films and television.
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Well, welcome, Rhett.
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Not only am I a huge fan of yours, we go way back.
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We do, and I'm so happy you had me so we could catch up because we do.
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We go back all the way to the psychology department as undergrads.
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At Stanford, we had a professor, Phil Zimbardo, who was a guest on the show, and he would have people take tests in pairs.
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And we were actually, we took tests together, and I'm sure you carried me.
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We each reached out to each other as a lifeline, I think.
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And we got an A, I remember.
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We did very well on that test.
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It was a great class.
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Well, I really appreciate you being here.
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Thank you.
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Thank you for having me.
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Yeah.
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Shall we get started?
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Yes, let's do it.
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So, I mean, you've had an amazingly well -accomplished career.
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Congratulations and you are known for very witty and punchy lines.
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I'm curious, how do you toggle being really concise and clear and getting ideas across,
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but at the same time being playful and allowing for that spontaneity that you're known for?
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Well, I mean, I do think that comedy, much like other forms of communication, is best delivered in short bursts.
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I do.
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I think I, and I am pretty ruthless
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when it comes to reducing a line to its absolute essential number of words and its comedic elements.
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And when we write comedy,
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we tend to try to find a rhythm that ends with the funniest word of the sentence.
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So, for instance, we try not to write past our punchline
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or to write past the funniest word because when you're hearing a joke, you are hearing a setup,
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a setup, a setup, and then the word that contains the surprise
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or the twist or the humorous thing that makes you laugh.
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And the rhythm is very much like, boom, like that.
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It comes at the end of the sentence.
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And if you write past that, if you write a line that has the funniest word, not at the very end,
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but near the end and you write extra words i think what happens to the brain is
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that the brain hears the funny word it wants to laugh
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but then it hears subsequent words it needs to assimilate those words
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and understand what's being communicated there and i think it somewhat muffles
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and or mutes the comedy
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so we really try whenever we write a a line that's
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intended to be funny to pare it down to its bare minimum a
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and then b have it finished with the funniest word uh
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and and that is that has held us pretty good stead that strategy
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and those very same rules apply to writing presentations pitches absolutely
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this is like a reunion show um hillary price who is
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a stanford uh undergrad with us as well writes the single
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panel comic strip rhymes with orange she talks very similarly to you about
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whittling it down to what's the essence of the the most important part the humor
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because if you about a one panel you gotta do
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that right away but it's the same idea
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that you have to be thinking about the exact word the placement of the word
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so you're echoing that advice that as we think through
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our communication many of us just want to get
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that information out there but you can be very strategic about
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that and i appreciate that let's talk about pitching
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because you've had to pitch a lot of movies uh do
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you beyond sort of seeing it as as a story which i think is really important and taking people on that journey.
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What other advice and guidance do you have and have you learned in the pitching that you do?
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Well, one of the things I would say is that we're all salespeople at the end of the day.
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Everybody who works in freelance work certainly is.
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And so we're selling.
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When we go into that room, we're selling.
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And we're selling with two stories, really.
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The first story is the actual story we're selling, right?
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And we treat it very much like a campfire story.
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Like we're sitting at a campfire.
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This is when I say we, I've got a writing partner.
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We are sitting around a campfire and there's someone opposite us
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and it's at camp late at night and we are telling them a story
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and we really treat it as such where we take the listeners needs into account.
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We try to keep it short and fun and funny and exciting and it builds and it has a climax.
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just like the actual screenplay.
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So that's one story we're telling.
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And then I think the second story we're telling, which is a subtle one,
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is one in which the executive to whom we're pitching is the protagonist.
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And we are basically pitching them a story of their success should they buy this project, if that makes sense.
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No, absolutely.
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So everybody has got their own problems and their own challenges.
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And an executive's problem and challenge is I've only got
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so much money and I've got to spend it in ways that are beneficial to my company.
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I've got to buy the right ideas and I've got to make hits.
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And in order to do that, I have to place faith in the right people.
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And so I think part of what we do is sort of pitching them a vision that, hey, we know what we're doing.
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You're in really good hands.
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You have a problem.
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You need good movies, right?
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Like we are the solution to that problem.
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If you decide to hire us, if you decide to buy this pitch, it is going to lead to you in your life having greater success.
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It is going to pay off down the road.
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You are going to see a vision where you, the protagonist of your story, succeed and win out, so to speak.
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And I think that is the second story that's very subtly being worked in, not in a manipulative way, but in a way that just says,
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look, I'm here because I have an idea for a movie.
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I'm here because I really believe in that idea.
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I'm here because, uh, you know, I kind of know what I'm doing.
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And my goal is to convince you that you can bet on me and it will succeed for you.
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So those are the two stories that we're telling ultimately.
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I really liked this idea that whenever you're pitching, they're actually really two stories, the, the, the story of the thing you're pitching,
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But then the story that you were creating for the person who needs to buy into that, maybe in your case, it's an executive producer or a film.
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You could apply this to a VC.
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It could be a boss asking for a raise.
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You name it.
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You know, it's like if you're a plumber, you could apply that lesson as you're talking to the client, trying to convince them why, you know, to hire you.
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I also want to distinguish
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because we talk a lot on the show about how we can use frameworks
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and structure and the structure of the story you're telling for the movies you're pitching
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or for the businesses the entrepreneurs are pitching can have a different structure than that second story.
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The second story has the structure of you have a problem, I have a solution, and you're going to benefit in some way in your personal career.
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And the other thing I heard you say that I think is so important when pitching
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is helping the person understand that you're the safe bet.
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Yes, totally.
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Your credibility, in your case, the experiences that you've had, that makes the person feel more comfortable taking the risk on you.
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So this notion of two stories - want to lower the risk in their mind
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and amplify the reward in their mind
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and really ultimately once the pitch starts you are they're your audience right
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and it just is no different from someone who sits down in a darkened theater
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or does sit across the fire at at camp
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and you walk them through it as
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if they're seeing it you're trying to make them visualize it that's right
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and that again is such expert advice for anybody pitching anything trying to persuade is show don't tell.
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Give people an experience of it.
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Don't just tell them what you're going to.
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And that connects with them on a much different level.
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You mentioned as part of your answer there that you have a writing partner.
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You've done a lot of work with Paul Wernick.
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I've always been fascinated by collaboration, but especially collaboration in a creative space, right?
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You have deadlines you have to hit.
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You have big budget based on what you're doing.
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There's a lot of pressure in that, but at the same time, you want to remain free and creative to do the work.
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Any guidance or insight you have from working so closely with somebody for
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so many years how do you stay creative but also deliver on time
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and on budget we're like an old married couple um
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and we have very famously never fought um maybe unlike most
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married couples you know things have gotten slightly testy maybe here
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and there but largely our rule that we apply to keep things moving
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and to resolve conflicts or disputes and make decisions
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when we have two brains instead of one is that whoever cares the most wins.
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That's the rule.
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We oftentimes see eye to eye, right?
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And we oftentimes, someone says an idea and the other person says, I love it.
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Great.
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Let's do it.
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Other times we hit a sticking point.
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We don't necessarily see eye to eye or something.
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We just have a little bit different vision of what it is.
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The conversation will start to ramp up as we each pitch our version to the other, trying to convince the other and
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if we don't get to a place where one of us
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convinces the other like thoroughly convinces the other it tends to come down to look I sense
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that you're more passionate about this and you care more about this than I do
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so tie goes to that person right like so let's do it
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that way you clearly start to care more
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and it's a nice way of defusing any I'll see you next week potential conflict because one person realizes, this is starting to get under his skin.
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It's clear he really, really likes this.
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And now I know it's time to back off and let him have that one.
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And then maybe the next time it'll be me who's more convinced that I'm right and wants to get the idea across.
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So I think that policy is a pretty darn good one.
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We also have a strategy of not really criticizing or critiquing each other in front of each other.
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So what we do is we split up our scenes, we send them to each other, and we don't write together in the same room, nothing like that.
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We're completely in two different households.
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We write them separately.
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We email them to each other.
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And then we rewrite each other's work from the privacy
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and safety of our own computer where we can just simply change everything we don't like.
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And then we bold the changes, and then we send the scenes back and forth, and we start to unbold as we're both happy with something but it's a very,
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very nice way to take a little bit of the emotion out of it
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and a little bit of whatever could become testy or territorial.
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And just, you just get the document back and some things have been changed and some things haven't been changed.
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And now it's up to you to pivot off that and continue to move it forward.
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So what's very impressive is that you've come up with a system that works for you.
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Did you guys consciously sit down and think about it or did it evolve over a time.
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We did.
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We did.
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We, we kind of made those rules.
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I think the best thing about having a partner creatively is you have a first line of defense against doing something bad.
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I think the toughest thing as a creative person is that you don't often know if you're, if your material is good or bad.
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It's very hard to judge.
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You're very subjective.
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We have that first audience, right?
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That first person who can say that joke isn't funny or that scene doesn't make sense or whatever.
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So we've got a first line of defense against writing something poor.
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And that is incredibly, incredibly helpful.
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But we did need to sort of set these rules to make it safe to fail
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and to have it such that you felt okay when that document came back and was changed.
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There was something sort of private about it.
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Again, that you're seeing his reactions privately in a room safe.
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Our other rule was if he makes a change, like you don't have to necessarily go with the change.
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You can then change it a third time.
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But you're not really supposed to go back to what you had before, unless you've got a pretty compelling reason to go back.
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And the other person, if they made a change, they made it for a reason, and it probably wasn't good enough.
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And the minute you can set aside your ego and realize, okay, if he changed that line, it probably wasn't right.
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And I don't like his line, so I'll move off to a third line, but I'm not going to go back to the first line, at least not in most cases.
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So the lesson I think from all of us is to be strategic about how you collaborate
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and to have that meta conversation about here's how we're going to do it and you you found ways that work
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i really like this idea of the person who cares the most wins it is
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so typical in a conversation that's leading to conflict to assume
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that the other person cares as much as you do and
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so much so that my wife
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and i we learned this tool for a technique from some friends
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if if we have something
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that might lead to conflict we on a scale of one to ten declare our priority
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so let's imagine she and I want to go out to dinner and she wants Mexican food, I want Italian food.
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She might say it's an eight and I'm saying it's a four, then we don't have the conflict.
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There you go.
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That's a great example.
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I love this idea of how the other person cares.
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And then I like this idea of not having the confrontation immediately, giving yourself time to think about it,
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but knowing that if there is still ambiguity or debate that you will come together and actually discuss it.
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There's a path.
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Really interesting.
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I'd love to move into the world of AI.
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And I'm actually going to read some notes because you have some quotes
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that you made that actually took a life of their own.
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So you have some opinions on AI and the impact on the type of work that you do.
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As a result of a viral video that went out
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that shows a fight scene between Tom Cruise and Brad Pitt that never happened.
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It was all AI generated you said it sent chills down my spine for people who have devoted their careers
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and lives to the film industry this is truly frightening i can already see jobs disappearing but in a separate
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situation or time you said hollywood has long been a gatekeeper
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that keeps young poor people away from creative levers
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when a young person with no capital sets out to impress hollywood they can use tools like these
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and young chris nolens will be among them
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and amazing stuff will result those two quotes seem almost they are uh schizophrenic in the different sides
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so i'm curious where are your thoughts and it's okay to say it's ambiguous
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because i feel the same way i think it is ambiguous
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i think we're all in a place where we're being confronted with this new wave of technology
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and we have to decide how we feel about it
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and i think it's okay for there to be two answers to the same question yes i would say
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if i had to put a number on it i'm about 85 terrified and about 15 % really excited, right?
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Like, so the 85 % is - I'm, uh, set aside the existential issues of,
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is AI gonna blow us all up or is it gonna fall into the wrong hands?
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And as someone going to nefariously use it to blow us all up, you know, set aside those questions and look at questions of joblessness and particular professions,
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there may only be a few now, but I think that's gonna be a growing number of professions
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where a computer ultimately can do a better job than a person, uh, that is where my fear lies for Hollywood with AI is a big elephant
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and I'm only touching one part of the elephant. So right.
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And so to speak metaphorically, so I'm only seeing it through my own specific lens and my own specific career, but I can see when I watch that Brad Pitt,
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Tom Cruz video, that there are going to be the means in the hands of creators
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that provide crazy shortcuts to producing Hollywood quality material to the point where, you know,
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a lot of people will likely lose their job over time as it becomes clear to the money spenders
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that there are cheaper ways to make a movie than to
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go out into the field with an army of people in some far -flung place and shoot for months.
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When those bells ring and those people decide, oh, there's a cheaper way to do this, they're going to take those cheaper ways.
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On the other side of the equation, I do think it is likely that within the next three years,
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probably, someone is going to be able to sit at a keyboard and use various tools, probably provided by different companies, depending on the task that they're approaching at the time,
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to create a Hollywood quality movie by themselves without ever going onto a set
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and without ever hiring an actor or maybe even a writer and create something that is digestible and entertaining and awesome.
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Now, will there be a lot of slop that results from processes like that?
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Absolutely.
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There's going to be a lot of slop, but among those people are going to be people who Hollywood kept at arm's length for whatever reason.
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And they've decided, you know what?
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I'm going to go around Hollywood.
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I'm going to do this on my own.
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I'm going to create something amazing.
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I'm going to show them what I'm capable of.
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And among those people are going to be the Chris Nolans and the Charlie Chaplains and, and the true auteurs, right?
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And when that happens, it is going to be a revolution.
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And, and I, I love the idea of somebody being able to scale the Hollywood walls,
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uh, via another means and go directly to the people, you know, so to speak and, and fight the man.
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I love that idea.
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I think it's really cool.
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That's the 15 % of me and the 85 % of me is, is, is super nervous.
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Yeah.
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I, I, I hear the ambiguity in your voice
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and I think it's not unreasonable to be very concerned for all the reasons
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that you've talked about but there is this notion
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that people who have not had access getting access i think is really interesting
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so before we end i ask three questions of everybody
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when i make up just for you
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and two i've been asking people for a long time are you up for
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that yes let's do it excellent you have been very successful
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uh especially in a certain genre of of film how do you feel about being, I don't want to say pigeonholed,
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but people come to you expecting a certain thing because you're very good at it.
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I can imagine somebody as talented as you might have other ideas for other things.
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And a lot of us in our roles and our jobs, people see us as you're really good at that and they keep coming to you back for that.
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And it in some ways can be constraining.
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How do you deal with the constraints from your success?
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Yes.
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A very interesting question.
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Hollywood's quick to pigeonhole, right?
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They're quick to typecast paul
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and i have done what we can to as we take
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on subsequent jobs to try to move half steps away from
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what we did before nothing too great of a leap
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but like for instance we wrote zombieland first was our sort of our first feature uh screenplay
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that we did together and it was a horror comedy
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and after that we got a lot of submissions for vampires werewolves
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that kind of thing and we decided to take a half step away and do an action comedy, but not a horror action comedy, right?
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Like, so we did that.
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And then after that, we did a straight action movie that was not comedy, but had action in it.
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And then we did a romantic comedy.
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You know what I mean?
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So we were taking half steps away.
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Over time, what that allowed us to do was to create a resume that we could point to and say, look, we can do drama.
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We can do comedy.
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We can do science fiction.
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We can do superheroes.
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We can do horror.
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So we were careful about that to try to slowly broaden the resume because you're right.
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People will immediately see you do something well and want to keep you doing that thing forever.
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And so that was very, very intentional on our part.
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On the other hand, there are worse things than having a brand, right?
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Like, you know, having a brand that's saleable, that people can trust and that they feel like, hey, if we need this, then we need to hire them because this is what they did.
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And we have had success and we have made a point of creating a brand.
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I think you clearly articulated that having a brand is important, but I like this idea of half step, of where's the boundary and can we push it just a little bit?
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And then that gives you a wider circumference when you can say, here's, we can do these things.
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That's really important.
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Question number two, who's a communicator you admire and why?
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My favorite communicator is Sam Harris.
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He went to Stanford.
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He is a sort of a philosopher, thinker, writer on things like religion and politics and any number of topics.
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But what I love about him is that he has this almost supernatural ability to speak extemporaneously in complete,
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not only sentences, but paragraphs like, like he, and, and he doesn't use a lot of the annoying little utterances that we all have,
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like, you know, and I mean, and like, and sort of, and kind of, and, you know, when you start to hear those things, you ignore them, your brain ignores them,
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but on some level, it's taking them in and it's making a speaker who's trying to be clear and trying to,
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uh, emphasize a point or make a point a little less adept at it
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because it just kind of drags the text down a little bit
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but sam speaks so eloquently with such great word choice uh he is very articulate
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and i really appreciate that part of what you like about him is not only
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that he's a good extemporary and a speaker but
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that he's very good at being broad but also specific
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and word choice is really very much
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so final question yes what are the first three ingredients that go into a successful communication recipe?
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I think the first is honesty.
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I mean, there's a, I forget the Dr. Seuss book, I say what I mean.
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And I mean, what I say, it might've been important.
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Here's a who or something like that.
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But I really do think that honesty is the most important bedrock of any bit of communication.
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When you lose faith in a speaker's honesty, right?
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You can take almost nothing from what they say.
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You know, most people don't lie all the time, but if you lie some of the time, or if you're selling something or putting a spin on something and it's not true,
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either your audience is going to take that communication
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and go into the world with it thinking that it was true and end up falling on their face, which is terrible, or they're going to hear a lie somewhere in there
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and it's going to destroy the credibility of what you're saying.
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In a world of fake news and AI slop
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and all this stuff where people are spinning things and trying to be partisan and trying to sneak untruths into communication,
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I think almost the most important communication skill is just honesty.
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It's just to really believe.
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Like if I'm selling something, I want to really believe in that product, right?
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I want to believe that when I say, hey, this is a good story.
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You're going to like this and you should buy this, that I mean it.
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I'm not faking it, right?
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I'm not being dishonest. So honesty?
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Honesty.
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The second one I would choose would be just considering your audience, right?
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Like every piece of communication in theory is delivered to somebody specific, right?
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Like maybe you're talking to a crowd of millions, like the president might or something like that.
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But most often in our lives, we're talking to a specific person.
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And I think so much of what we communicate to them needs to be tailored to them, right?
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Like if I'm talking to my four -year -old, it's a very different me.
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I'm trying to make something that will appeal to him and he'll understand and he'll latch into.
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And if I'm talking to my dad, that's a whole different conversation.
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Right.
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And I probably say if I had to pick a third, it would be a little bit of the brevity and the clarity and just trying to,
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to keep things as sparse and as simple as possible.
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Right.
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We all have only so much time in this world.
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And, and it is a drag to be around
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that person who talks in circles and repeats themselves and is redundant and goes on tangents.
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And it's nice to have to talk to someone who gets to the point
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and communicates what it is they're trying to communicate.
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Honesty, understanding your audience, being concise and clear, very important.
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And you role model that in the work that you do.
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And it's been wonderful, Rhett.
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And your insights are really fascinating.
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And as somebody who has enjoyed and admired your work from afar laughing and eating lots of popcorn, it has been a lot of fun.
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Thank you.
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Thank you so much.
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Thank you for joining us for another episode of Think Fast, Talk Smart, the podcast.
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To learn more about communication in films, please listen to episode 167 with Jeff Small.
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This episode was produced by Katherine Reid, Ryan Campos, and me, Matt Abrahams.
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Our music is from Floyd Wonder, with special thanks to our friends at Spotify Los Angeles and Podium Podcast Company.
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Please find us on YouTube and wherever you get your podcasts.
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Be sure to subscribe and rate us.
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Also, follow us on LinkedIn, TikTok, and Instagram.
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And check out FasterSmarter .io for deep dive videos, English language learning content, and our newsletter.
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Please consider joining our Think Fast Talk Smart Learning community at FasterSmarter .io slash learning.
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You'll find video lessons, learning quests, discussion boards, an AI tool, and book club opportunities.
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Again, that's FasterSmarter .io slash learning.
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Vocabulaire et conseils d’expression pour cette leçon
Cette leçon d’expression orale de niveau B2 s’appuie sur la vidéo « Don't Write Past the Punchline: Deadpool Screenwriter's Rule for Lines That Land ». Cette vidéo contient 383 phrases et 4855 mots à répéter en shadowing. La partie parlée dure 25:16. Le locuteur parle vite, environ 192 mots par minute : attendez-vous à des liaisons et à des sons réduits. 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
Les 15 mots les plus avancés de la vidéo, avec leur prononciation et leur sens :
| Mot | Prononciation | Sens |
|---|---|---|
| honesty nom | /ˈɑ.nɪ.sti/ | honnêteté |
| campfire nom | /ˈkæmpˌfaɪ̯ɚ/ | feu de camp |
| slop nom | /slɑp/ | bouillie, bouillasse |
| podcast nom | /ˈpɑdˌkæst/ | podcast, balado |
| ambiguity nom | /æm.bɪˈɡjuː.ɪ.ti/ | ambiguïté |
| communicator nom | /kəˈmjuːnɪkeɪtə/ | communicateur, communicatrice |
| concise adjectif | /kənˈsaɪs/ | concis |
| fascinate verbe | /ˈfæsɪneɪt/ | fasciner |
| oftentimes adverbe | /ˈɔf.ənˌtaɪmz/ | souventesfois, souventefois |
| screenplay nom | /ˈskɹiːnˌpleɪ/ | scénario |
| ambiguous adjectif | /æmˈbɪɡ.ju.əs/ | ambigu |
| protagonist nom | /pɹəˈtæɡ.ə.nɪst/ | protagoniste, héros |
| credibility nom | /kɹɛd.əˈbɪ.ɫɪ.ti/ | crédibilité |
| admire verbe | /ədˈmaɪɹ/ | admirer |
| rhythm nom | /ˈɹɪð.əm/ | rythme |
Les verbes à particule que vous entendrez
| Mot | Prononciation | Sens |
|---|---|---|
| set aside verbe | /sɛt.əˈsaɪd/ | mettre de côté, réserver |
| go back verbe | rentrer, retourner | |
| back off verbe | reculer | |
| check out verbe | mater, regarder | |
| come back verbe | revenir | |
| come together verbe | /ˈkʌm tʊˈɡɛðɚ/ | affluer, s’assembler |
| come up with verbe | inventer, imaginer | |
| end up verbe | se terminer, se finir |
Des phrases à répéter
Des phrases courtes et complètes de la vidéo, à réutiliser dans la conversation de tous les jours :
- Shall we get started?
- When we go into that room, we're selling.
- You're in really good hands.
- You know what I mean?
- Question number two, who's a communicator you admire and why?
La grammaire de cette vidéo
Les structures que le locuteur utilise le plus, avec les mots exacts de la vidéo :
| Structure | Dans la vidéo |
|---|---|
| Present perfect have/has + participe passé — une action passée qui compte encore maintenant | have grossed · has also been · you've had |
| Voix passive be + participe passé — l’accent est mis sur ce qui arrive, pas sur qui le fait | being told · are known · being communicated |
| Propositions relatives who / which + proposition — une précision sur une personne ou une chose | telling, which is · person who needs · someone who sits |
Prononciation à surveiller
Le locuteur utilise 127 contractions et formes réduites, comme I'm, you're, we're. Prononcez-les sous leur forme courte, telles que vous les entendez.
- Les sons « th »: rhythm /ˈɹɪð.əm/, ruthless /ˈɹuːθləs/, thoroughly /ˈθʌɹ.ə.li/
- Les sons « sh » et « zh »: profession /pɹəˈfɛʃ.ən/, notion /ˈnoʊʃən/, intentional /ɪnˈtɛnʃənəl/, confrontation /ˌkɑn.fɹənˈteɪ.ʃən/, distinguish /dɪˈstɪŋ.ɡwɪʃ/
- Mots longs — placez bien l’accent: ambiguity /æm.bɪˈɡjuː.ɪ.ti/, communicator /kəˈmjuːnɪkeɪtə/, ambiguous /æmˈbɪɡ.ju.əs/, protagonist /pɹəˈtæɡ.ə.nɪst/, credibility /kɹɛd.əˈbɪ.ɫɪ.ti/
Les sons difficiles pour les francophones :
- /h/ — il se souffle, il n’est pas muet: humorous /ˈhjuːməɹəs/, humour /ˈhjuːmɚ/
- /tʃ/ et /dʒ/ — à ne pas adoucir en « ch » et « j »: subjective /səbˈd͡ʒɛktɪv/, supernatural /ˌsu.pəɹˈnæ.tʃə.ɹəl/
- /r/ anglais — langue recourbée, sans frotter la gorge: screenplay /ˈskɹiːnˌpleɪ/, protagonist /pɹəˈtæɡ.ə.nɪst/, credibility /kɹɛd.əˈbɪ.ɫɪ.ti/, admire /ədˈmaɪɹ/, rhythm /ˈɹɪð.əm/
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 honesty, campfire, slop.
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.