Pratique du Shadowing: Emma Stone, Mark Ruffalo & Director Yorgos Lanthimos Break Down 'Poor Things' Scenes | Vanity Fair - Apprendre l'anglais à l'oral avec la vidéo

Création de la leçon...
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She was the...
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Oh my God.
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Stop it.
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I'm Emma Stone.
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I'm Yorgos Lanthimos.
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And I'm still Mark Ruffalo.
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And this is Notes on a Scene.
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Bella, let us take the air. In our cabin.
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These two are fighting and ideas are banging around in Bella's head and heart.
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This scene takes place on a ship.
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Yeah.
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We're sailing from Lisbon to technically Athens, but we stop in Alexandria along the way.
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You've been kidnapped, basically.
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I've been sort of kidnapped.
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Yes.
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Bella, let us take the air.
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This is Mark Ruffalo.
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He plays Duncan Wedderburn.
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This is Drunk Ormichael.
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This is Santa Cingula.
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This is the back of my head.
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And these are just some friends we picked up along the way.
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This isn't CGI.
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This is an actual practical LED screen.
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LED screen.
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We used a lot of painted clouds and some formations from other liquids that we shot.
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We put all that together in post-production.
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On the day, it was actually playing behind the actors.
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Which gets a little nauseating, to be honest.
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The waves were actually breaking up against the ship from time to time.
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Mark, that's not true.
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Well, they were like...
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There wasn't water.
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No, but it was a representation of water that was constantly moving.
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The only VFX and Hanschen that we did here was like, if you see, there's like a little bit of spray of water here that we added later in post-production.
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And the only VFX that the LED screen, I think, came about up to here.
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And we just filled in this in post-production, just an extension of the set.
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But everything else that you see, it was actually there.
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The reason we built this set, and actually the whole film is shot on sound stages,
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we just wanted to build this world that represented the way Bella, the main character, sees and experiences the world.
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So we thought that it would be interesting if we built every set, even exteriors or, you know,
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the ship that you see here inside a studio.
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And then we would control the lighting, the backgrounds, and we would manage to acquire this non-realistic feeling for the entire film.
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Let us take the air in our cabin.
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Duncan's, I guess what you would call a rake or a cad.
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He's a bon vivant.
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He's someone who loves to live life in its fullest and to totally satiate all of his senses whenever given the opportunity,
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even to the point of stealing away a young, beautiful, naive woman.
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His relationship with Bella is really to teach her the beauties
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and the loveliness and all the sumptuous activities of the world as kind of her Pygmalion,
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as her tutor of life.
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These two are fighting and ideas are banging around in Bella's head and heart like lights in a storm.
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Oh.
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So, my approach.
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That's a very good frame.
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My approach to Bella.
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Oh, boy.
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I guess for a while I thought it was, you know, a very...
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For a while, she was a very difficult character to play.
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But then I realized in a way it was only because she was the
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But I realized that it's because Do you have a closeable part?
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OK, great.
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Just go on her for a second.
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Hi.
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You're watching Notes on a Scene.
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You're always reading now, Bella.
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You're losing some of your adorable way of speaking.
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I'm a changingable feast, as are all of we.
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Bella, at this point in her sort of development, she has been introduced to philosophy by Martha
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and she is beginning to read the books of many different philosophers
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and a lot of things are being illuminated to her about, you know, different ways of approaching life and what it all means
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and it's a very pivotal moment in her sort of growth that she's discovering her own sort of belief system.
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In terms of the physicality, her specific kind of walk and way of speaking, and a lot of that is in the script, how it's evolving.
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Apparently, according to Emerson, disagreed with by Harry.
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Come, come, just come.
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You were in my son.
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What?
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He feels like he's losing control of her in this scene.
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The books are kind of a symbol of her being educated
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and him feeling like she's leaving his control and possession so as she's given more books he throws them off the boat.
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She's a surprise to him in every way
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and it certainly peaks his arousal that he can't control her
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and I think he finds that very exciting until it becomes challenging to his ego.
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I think in this particular moment, she is starting to find him very annoying.
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She's expanding so rapidly in so many ways, and it's becoming more and more threatening to him, and he's starting to bug her.
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There was a language, a filmic language, that we developed with Robbie Ryan, the cinematographer.
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We started kind of using it during the making of the Favourite.
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And on this film, we just wanted to go even further.
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So we remember during the Favourite, we did a lot of tests with, you know, and on this one as well.
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And we remembered this fisheye lens that we used that actually created this circle.
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You know, people feel like very enclosed in a kind of claustrophobic way in the frame.
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And, you know, the four millimeter was just this option for us to, in certain moments, you know,
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create this kind of awkward feel to the scene.
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And, you know, like in this moment, he just picks up her books and throws them into the sea and just felt like the right moment to use that.
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But in general we used like very wide-angle lenses
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and fisheye lenses in order to be consistent with how we're building the world and make it feel even more vast.
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You do a career and you're in a franchise for a long time
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and people start to see you in a certain kind of role
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or you have your social media and people start to see you in a certain way.
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And in some sense, you even might start to see yourself in that way.
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it's deadly for a creative person i think ultimately
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but it's also very comfortable
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and it's hard to break free the more you break free it's harder to break free the next time
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and so playing this part came up
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and i was like oh do people want to even see
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me in this part can i play it you know i haven't never played anything i never played anything
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so gregarious so cocksure
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so narcissistic with that kind of language and that kind
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and an accent in a period piece i've just never done anything like it
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and so um it scared me honestly and i have such admiration for him
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and i didn't want to let him down
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and i didn't want to let her down and
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so yeah i was scared i now feel kind of afraid of doing something
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that i don't feel this way about more than anything.
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I kind of want to have this feeling all the time, exclusively.
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You don't always get to make choices as an actor of who you get to work with
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and what roles you get to play.
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And so learning about Bella, I was just totally in love with her.
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And so I'm trying to just follow that instinct, whether it comes to a filmmaker or a story.
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It's not, it doesn't always work necessarily, but I I kind of only want to feel that way.
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We're probably the worst people that have ever been in this thing.
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No, we haven't gotten started yet.
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I think once we get going, we're going to really be great.

About This Lesson

In this lesson, you will practice English speaking and comprehension skills through a detailed breakdown of scenes from the movie "Poor Things," featuring Emma Stone, Mark Ruffalo, and director Yorgos Lanthimos. By listening to their commentary, you will gain insights into the characters, setting, and production techniques. This exercise emphasizes natural speech patterns, pronunciation, and intonation, making it an excellent opportunity for you to improve English pronunciation while engaging with cinematic content.

Key Vocabulary & Phrases

  • Take the air: To go outside for fresh air or to enjoy the outdoors.
  • Kidnapped: To be taken away unlawfully and held against one’s will.
  • Bon vivant: A person who enjoys a sociable and luxurious lifestyle.
  • Summit: To experience something fully; to reach the peak of enjoyment.
  • Non-realistic feeling: A style or aesthetic that deliberately avoids realism.
  • LED screen: A display technology used often in filmmaking to create backgrounds or environments.
  • Pygmalion: A reference to the mythical figure who transformed a statue into a living woman; often used to describe mentorship and transformation.

Practice Tips

To make the most of this learning experience, consider using a shadowing app to practice your pronunciation. Start by listening to short segments of the video, focusing on the actors' speech. Aim to imitate their rhythm, tone, and intonation. Since the dialogue can be fast-paced, it’s beneficial to use shadow speech techniques; play a clip and pause after each sentence to repeat what you hear. This will help you achieve fluency in speaking and enhance your ability to shadow speak effectively.

Additionally, practice speaking along with the actors—this is known as shadowspeaks. Repeat after them, trying to match the speed and emotion in their voices. If you find certain phrases challenging, isolate them and repeat until you feel comfortable. By engaging in this immersive practice, you will undoubtedly improve your English pronunciation and build confidence in your speaking abilities.

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.