Pratique du Shadowing: Why Some Movie Endings Stay With You - Apprendre l'anglais à l'oral avec la vidéo
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123 phrases
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Watch this ending.
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Tell us how you feel.
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I feel alive!
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It feels like a victory.
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Now watch this one.
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Same technique, a freeze frame.
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But it feels like devastation.
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Same tool, opposite feeling.
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That's the secret of every ending technique.
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On its own, it's neutral.
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A freeze frame.
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A cut to black.
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A fade.
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None of them carry an inherent meaning.
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Their entire impact comes from what came before them.
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In part one, we looked at what an ending can say.
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Now, the tools filmmakers used to say it.
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We will be spoiling many movies.
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Head over to our blog post on story endings to see the full list.
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You've been warned.
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The freeze frame is behind some of the most iconic endings in cinema history.
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It stops the film's movement on a single moment and holds on that image for the audience to soak it in.
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As a technique it works in almost any form.
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It can be used to show triumph or tragedy.
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It can mark the ascension of a single character, or the transformation of a relationship.
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However it's used, the freeze frame declares that this particular moment should outlast the film.
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That it should persist in the viewer's memory exactly as it is.
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Perhaps the most classic case of this can be found with Thelma and Louise.
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As the car hangs in mid-air above the canyon, frozen at the apex of their final act of defiance, director Ridley Scott refuses to show the fall.
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But this doesn't mean he's left the story unfinished.
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It means he found a single frame that expresses exactly what the audience needs to feel.
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The straight cut to black is the most abrupt way to end a movie.
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It denies the audience a gradual transition out of the story and forces them to truly feel the ending.
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It can be paired with an ecstatic musical swell, or timed with the VO for a narrative slam dunk.
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You have no idea what I'm talking about, I'm sure. But don't worry.
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You will someday.
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The effect varies entirely with context.
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The cut to black can be used as a punchline, to leave the audience with a sense of shock after their expectations are subverted.
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But in most cases, the cut to black is often used to punctuate the final story beat.
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In Un Prophète, Jacques Odial does exactly this.
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After the entirety of the narrative has unfolded during Malik's sentence in a French prison, his release is barely shown before the movie cuts to black.
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The cut perfectly signifies the end of his prison sentence and the start of his freedom.
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We've seen the abrupt cut to black.
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Its gentler sibling is the fade to black.
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Where the cut punctuates, the fade dissolves the story away, a slow dimming, like a curtain lowering.
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It reads as sleep, as death, as quiet closure, the film letting go of you instead of dropping you.
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It's the oldest ending in cinema and still the most common one there is.
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But black isn't the only color option.
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The fade to white is a much softer gradual approach to end a movie.
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It can represent transcendence or erasure.
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The Fade to White is among the most emotionally directional of all ending techniques.
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And there's no stronger example of this than Fast and Furious 7.
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The ending of this movie delivered a powerful real-world farewell to Paul Walker, who tragically died during the making of the film.
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Ultimately, a fade to white almost always signals something beyond an ordinary resolution.
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After an entire film of carefully composed sound design and music, the absence of audio in the final moments of a film can be incredibly powerful.
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This could mean reducing the sound to a bare minimum of diegetic sound, like in Son of Saul,
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or to a very faint score, as in Pawlikowski's Ida.
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By doing this, the director places almost complete focus on the image alone.
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It can feel isolating and eerie.
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In Sound of Metal, silence is used as a way to reflect the entire message of the story, and is directly linked to the protagonist's character arc.
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As Reuben finally comes to accept his deafness, he bathes in the silence.
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Marla, look at me.
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If silence is one way to end on sound, the opposite is just as powerful.
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The music ending.
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It's gonna be fun.
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After an entire film, the right song or score over the final image does what dialogue can.
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This can.
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Consider the end of Goodfellas.
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Scorsese chose the song My Way, which lyrically sums up Henry Hill's journey, but instead of Sinatra's classic version,
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for an additional layer of systemic rebellion.
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A needle drop can lift a hard ending into catharsis.
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Forget about me Or curdle a happy image into irony.
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Hello darkness, my old friend Either way,
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the music becomes the last thing the audience feels and usually the thing they're still humming on the way out.
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Creeping Left its seeds while I was sleeping The voiceover coda closes a film on a voice rather than an image.
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Often the narrator steps back from the story to deliver a final thought.
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But it was agreed among them that Royal would have found the event to be most satisfactory.
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Or a commentary on the end of the story itself.
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We'd only been gone two days, but somehow the town seemed different, smaller.
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In other cases, it allows the story to enter a new liminal space, space, unrestricted by the boundaries of the story.
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In Legend, for example, Frances's final voiceover is delivered despite her death earlier in the film.
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Reggie, my prince, we were supposed to go to Ibiza after all.
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The voiceover coda often occurs from movies that have been adapted from books.
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Miss Honey moved back into her father's house.
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For example, in Matilda, Danny DeVito's narration bookends the movie, leaving it on an optimistic note for its protagonist.
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The happiest part of the story is that Matilda and Miss Honey each got that they had always wanted.
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A loving family.
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The fourth wall break collapses the barrier between the movie and the audience.
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This can come through voiceover as a character speaks directly to the audience.
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Who doesn't love a happy ending, huh?
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Or it could just come from a single look flashed toward the screen.
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In many cases, the intention of breaking the fourth wall is to deliver a thematic message, or to ask a question of the audience.
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What the f* have you done lately?
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Alternatively though, the intention may be more comedic and playful, such as with this famous ending to The Big Lebowski.
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Well, that about does her.
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Wraps her all up.
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The lingering shot holds on its subject long after the conventional moment to cut has passed.
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It refuses to release the audience from the moment.
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In cinematic language, the extra time spent on a shot changes the meaning of what we see.
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It brings extreme focus to the subject, which deliberately communicates something meaningful.
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A face held for a few seconds reads as an expression.
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But when held for much longer, it expresses a deeper internal experience for the character.
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It is amongst the most demanding techniques because it often requires an unwavering performance.
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For example, in Call Me By Your Name, Guantanino holds on Elio's face in front of the fireplace for about three and a half minutes.
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It's arguably one of the most technical endings for a filmmaker, as it requires both the performance and framing to be perfect.
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The montage ending delivers a final emotional punch through a series of images, rather than just a single one.
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It trusts that an interconnected sequence of shots will carry more emotional weight than any one of them alone.
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It is sometimes used to carry the audience through time after the story has finished.
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Or to express a sense of interconnectedness, a shared feeling experienced by the characters.
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Or alternatively, to deliver a feeling of hope and optimism optimism,
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like in Cinema Paradiso, as the famous montage of kisses expresses the triumph of art over censorship.
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In Mommy, Xavier Dolan uses the montage technique as a false ending,
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projecting a bright future for Steve before the crushing weight of reality sets in,
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as Diane faces the decision she's made to institutionalize her son.
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Every single frame in a film comes from a choice, but the final choice the filmmaker leaves an audience with is the first one they remember.
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A filmmaker who understands this doesn't simply end their story, they decide what feeling to leave behind.
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The best endings use the tools at hand to finalize the story's intention.
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So, as a filmmaker, you must know what you have to say at the end of your story, and learn exactly how to say it.
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Map out your perfect ending in Studio Binder, either in your script, breakdown or storyboard, so all of your collaborators understand how to stick the landing.
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And now, the big question.
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How should we end this video?
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Behold, the first ever fourth wall breaking VO driven montage followed by a freeze cut fade.
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Perfect.
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Vocabulaire et conseils d’expression pour cette leçon
Cette vidéo contient 123 phrases et 1529 mots à répéter en shadowing. La partie parlée dure 12:32. Le locuteur parle à un rythme régulier d’environ 122 mots par minute, confortable pour le shadowing. Seuls 79 % des mots font partie des 3 000 mots les plus courants en anglais, le vocabulaire est donc exigeant.
Vocabulaire clé de cette vidéo
15 mots de la vidéo à retenir, avec leur prononciation et leur sens :
| Mot | Prononciation | Sens |
|---|---|---|
| fade verbe | /feɪd/ | s'affadir, faner |
| technique nom | /tɛkˈniːk/ | technique |
| freeze verbe | /ˈfɹiːz/ | geler, glacer |
| filmmaker nom | cinéaste | |
| silence nom | /ˈsaɪ̯ləns/ | silence |
| intention nom | /ɪnˈtɛnʃn̩/ | intention |
| cinema nom | /ˈsɪn.ə.mə/ | cinéma |
| narrative nom | /ˈnæɹ.ə.tɪv/ | récit, narration |
| refuse verbe | /ɹɪˈfjuːz/ | refuser |
| triumph nom | /ˈtɹaɪ̯əmf/ | triomphe |
| gradual adjectif | /ˈɡɹæd͡ʒuəl/ | graduel |
| optimism nom | /ˈɑptɪmɪzəm/ | optimisme |
| audio adjectif | /ˈɔ.di.oʊ/ | audio |
| occur verbe | /əˈkɜː/ | se produire, avoir lieu |
| carefully adverbe | /ˈkɛɹf(ə)li/ | soigneusement |
Les verbes à particule que vous entendrez
| Mot | Sens |
|---|---|
| leave behind verbe | abandonner |
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 | You've been warned · can be found · can be paired |
| Present perfect have/has + participe passé — une action passée qui compte encore maintenant | You've been warned · has unfolded · We've seen |
Prononciation à surveiller
Le locuteur utilise 12 contractions et formes réduites, comme doesn't, I'm, don't. Prononcez-les sous leur forme courte, telles que vous les entendez.
- Les sons « th »: bathe /beɪð/, catharsis /kəˈθɑɹˌsɪs/, thematic /θɪˈmætɪk/
- Les sons « sh » et « zh »: intention /ɪnˈtɛnʃn̩/, shock /ʃɔk/, transition /tɹænˈzɪʃ.ən/, flash /flæʃ/, conventional /kənˈvɛnʃənl̩/
- Mots longs — placez bien l’accent: alternatively /ɔlˈtɝ.nə.tɪv.li/, optimism /ˈɑptɪmɪzəm/, ordinary /ˈɔɹdɪnɛɹi/, incredibly /ɪŋˈkɹɛdɪbli/, transformation /ˌtɹæns.fɔɹˈmeɪ.ʃən/
Comment s’entraîner avec cette vidéo
- Écoutez la vidéo en entier une fois sans parler et notez les mots que vous ne connaissez pas.
- Répétez phrase par phrase à vitesse normale, en reprenant chacune jusqu’à ce que votre rythme corresponde à celui du locuteur.
- Enregistrez-vous et comparez avec l’original, en faisant attention à des mots comme fade, technique, freeze.
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.