Pratique du Shadowing: Robert De Niro on Acting - Michael Parkinson Interview [1981] - Apprendre l'anglais à l'oral avec la vidéo
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72 phrases
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Alec Guinness once said on the show
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that I asked him what he had to do before he got into a character
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and he said he had to get the walk right.
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Right.
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But you actually, you research them, don't you?
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You go and live like them before you do the part.
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Well, what he says is very true for me too because some actors work cerebrally, some work physically.
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I like to work physically a lot of times it helps me feel like, I mean clothes, putting on certain clothes can give you a feeling of another character,
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which it does to actual people who are characters.
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It helps them identify with the role that they want to play in life, be a businessman or whatever they want to, you know.
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And one thing can give it to you.
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A walk can give it to you.
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Just that one walk, you can play that one thing through a whole play or a movie and it can do it.
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So I agree with that, you know.
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The point I was going to make, of course, was that...
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I do the other two.
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Yeah, I mean, the way when you did Taxi Driver, for instance, I mean, you went and actually worked as a cabbie, didn't you?
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Yeah.
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Did anybody ever recognize you then?
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Only once or twice.
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Once I had an actor who wanted me to take him to the airport and he recognized me.
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So the whole thing was blown because I couldn't, you know, all we could do was talk about acting.
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And I didn't want him to pay me.
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But he insisted on paying me.
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I said, okay, pay me.
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No tip, though.
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And the other time I just, some people got out of the cab and I looked at his eyes.
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You know, you have a plaque with your name on it.
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I turned that around so nobody could see the name, which a lot of cabbies do anyway.
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And I looked him in the eye and the guy recognized me right away and just said, you were in Godfather II, he recognized me from that. And that was it.
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Otherwise, people don't even look at you, they don't know.
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You know, it's like a waiter in a restaurant.
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They don't, you know, you don't exist in a way.
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That was kind of...
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And in New York, New York as well, you actually learned how to play the instrument, the sax, didn't you?
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Although, I mean, you needn't have done because you could have mimed it because the music wasn't yours, was it?
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No, it wasn't mine.
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It was done by George Yeo, except that I wanted to learn the fingering, which I did.
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And I learned how to play everything in the movie.
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It wasn't, the whole point was not to learn how to play the sax to be,
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you know, I could never play it as well as he did or the way Jake fights and so on.
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But the movies are an illusion and the whole point is to be able to recreate this without looking like a fool.
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I didn't want to look like I didn't know what I was doing because when I look at a movie, I see, you know, somebody with the fingering, for example, they're all out of, you know, they're all on step, out of sync.
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Playing a jazz musician.
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And I want to throw it away.
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The point is to learn to throw it away the way a person who actually does know it, they don't over-emphasize it.
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It's like an actor who overacts because they don't really know the situation and don't have the confidence to just be, you know, be straight.
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Robert, you're at the top of the tree now.
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You've got a very strongly tip for a second Academy Award.
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Yet I do know for a certain fact that you don't like the thing about the, the traditional trappings of being a film star, do you?
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In some ways, yeah.
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You don't like them?
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Well, only that...
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as far as the.. being recognized in certain situations, you like a certain amount of privacy.
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And, no, but I enjoy it, don't get me wrong.
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I mean, certain things are drag, but that's part of it.
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I have no complaints whatsoever.
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What about your next project?
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What are you going to do?
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That's called The King of Comedy, and I'm doing it with Jerry Lewis, and Marty Scorsese is going to direct it.
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It's about a guy who kidnaps someone like yourself.
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A chat show host.
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Yeah, to get on the show and do his act, which turns out to be very good.
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You've not been doing any research while we've been sitting here, have you?
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No. No, you haven't?
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No. All right.
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But all success with that, all success too with Raging Bull.
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As I say, I do hope it gets a wider audience because it is a magnificent movie.
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It's not what you call family entertainment of its kind.
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I think it's one of the best movies I've ever seen.
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Robert De Niro.
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Thank you.
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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 « Robert De Niro on Acting - Michael Parkinson Interview ». Les mots qui reviennent le plus souvent : movie, certain, recognized, actor, walk. Cette vidéo contient 72 phrases et 863 mots à répéter en shadowing. La partie parlée dure 4:06. Le locuteur parle vite, environ 210 mots par minute : attendez-vous à des liaisons et à des sons réduits. 86 % des mots font partie des 3 000 mots les plus courants en anglais ; le reste mérite d’être vu avant de commencer. 11 de ses 72 phrases sont des questions : un bon entraînement pour l’intonation interrogative et les réponses courtes.
Vocabulaire clé de cette vidéo
Les 13 mots les plus avancés de la vidéo, avec leur prononciation et leur sens :
| Mot | Prononciation | Sens |
|---|---|---|
| cloth nom | /klɒθ/ | tissu, étoffe |
| kidnap verbe | /ˈkɪdnæp/ | enlever, kidnapper |
| trappings nom | accoutrement | |
| recreate verbe | /ˈɹɛk.ɹi.eɪt/ | se réjouir |
| waiter nom | /ˈweɪ̯təː/ | serveur, serveuse |
| plaque nom | /plæk/ | plaque |
| emphasize verbe | /ˈɛm.fə.saɪz/ | souligner, accentuer |
| illusion nom | /ɪˈl(j)uːʒ(ə)n/ | illusion |
| businessman nom | /ˈbɪznəsmæn/ | homme d'affaires |
| whatsoever adverbe | /ˌ(h)wʌtsoʊˈɛvɚ/ | du tout, d'aucune sorte |
| musician nom | /mjuˈzɪʃən/ | musicien, musicienne |
| insist verbe | /ɪnˈsɪst/ | insister |
| magnificent adjectif | /mæɡˈnɪfəsənt/ | magnifique |
Des phrases à répéter
Des phrases courtes et complètes de la vidéo, à réutiliser dans la conversation de tous les jours :
- But you actually, you research them, don't you?
- Did anybody ever recognize you then?
- You don't like them?
- What about your next project?
- What are you going to do?
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 | was blown · was done · being recognized |
| Propositions relatives who / which + proposition — une précision sur une personne ou une chose | people who are · person who actually · guy who kidnaps |
| Present perfect have/has + participe passé — une action passée qui compte encore maintenant | have done · I've ever seen |
Prononciation à surveiller
Le locuteur utilise 30 contractions et formes réduites, comme don't, didn't, wasn't. Prononcez-les sous leur forme courte, telles que vous les entendez.
- Les sons « sh » et « zh »: illusion /ɪˈl(j)uːʒ(ə)n/, musician /mjuˈzɪʃən/
- Mots longs — placez bien l’accent: whatsoever /ˌ(h)wʌtsoʊˈɛvɚ/, magnificent /mæɡˈnɪfəsənt/
Les sons difficiles pour les francophones :
- /r/ anglais — langue recourbée, sans frotter la gorge: overact /ˌəʊvəɹˈækt/, recreate /ˈɹɛk.ɹi.eɪt/
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 cloth, kidnap, trappings.
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.