Shadowing Practice: Characters: Internal vs. external features - Learn English Speaking with Video
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Hi.
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I'm Christian Roman and I'm a story artist at Pixar.
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I'm your host for this second lesson on storytelling.
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which is on character development.
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and I have a few friends joining me.
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I'm Austin Madison.
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I am a story artist.
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My name is Afton Corbin, and I'm a storyboard artist.
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My name is Louise Smyth, and I am a storyboard artist.
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My name is Ronnie Del Carmen.
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I am a story person, director, designer, and all -around troublemaker around here at Pixar.
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The goal of this lesson is to explore our character development process.
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by which we go from simple character concepts, such as a robot or a fish or a girl, to complex characters people can actually care about.
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Take Wall -E.
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He's not just a robot.
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He's a lonely, curious robot who fears, thinks, and ultimately loves. or Nemo.
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He's not just a fish.
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He's a young fish who craves independence from his father.
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but endangers himself in trying to achieve it. or MERDA.
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She's a young princess who wishes to pursue her own hopes and dreams.
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rather than conform to her parents' expectations.
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We can call these characters fully developed.
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This means we've gotten to know them so well that we can imagine them in almost any situation.
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Creating a fully developed character isn't easy.
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You're basically creating a new life from scratch.
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but it's really special when you get there.
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So, How do we begin character development at Pixar?
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We can talk about characters in two ways.
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They have their external features, which is their design, their clothes, what they look like.
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And then much more interesting is the internal features.
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Are they insecure?
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Are they brave?
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Are they jealous?
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pretend like I'm having a conversation and getting to know a friend.
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and think, "Okay, well, what do they like to do?
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What are their beliefs?
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What do they enjoy?
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What do they not enjoy?" I think actually I work more externally first now that I think about it.
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You know what they're wearing, how they style their hair, and that kind of informs internally what's going on.
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You know one of my favorite Pixar characters is Syndrome.
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You look on the outside and he actually kind of looks like a superhero.
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He's got the superhero costume on, he's got a cape, he's got this dazzling hair, but inside he's totally a villain and he wants to actually do away with all the supers.
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So you kind of have that great little contrast there with that character that makes him feel really rich and really real.
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- Characters have to come from authentic human emotions and experiences.
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And that doesn't necessarily have to mean make every character you.
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It could also be draw from people you know, things from real life.
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Listen to that little voice saying, "Oh, that's just like what my mom used to do," or, "Oh, that's just like this friend I had in high school," or,
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"Oh, my little brother was like that when we were growing up." Because it's much easier to go from your
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family members or a friend when you're trying to search for a character.
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The specificity that
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people bring that you can't make up on your own is something that I
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look forward to and I enjoy when I'm trying to pinpoint down a character.
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I was working on Up, I was the story supervisor.
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Now, I'm a little invested in Carl's journey because back then my father was not well.
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He also had a full head of white hair.
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So when he gets to the Teppui, Carl actually has to be alone in his house.
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essentially looking back at the life that he had led. with Ellie.
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And he does this.
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silently.
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At that point, when I was storyboarding that sequence, my father was already in the hospital, and he was unable to speak.
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And when I actually talk to my father, he can only communicate to me through his eyes.
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and with smiles and facial movements.
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That actually helped me storyboard those moments when Carl silently thinks about his life with Ellie.
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And without dialogue, we understand the emotions that he's going through.
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And without my experience with my father, I wouldn't have been able to actually tackle that moment in the movie and storyboards credibly.
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And I told him that Dad, I'm drawing you. as Carl.
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Understanding a character, both inside and out, will help you figure out what the character really desires.
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which is what drives them through their journey.
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In this first exercise, you'll have a chance to think about the difference between internal and external character traits.
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Remember, The more you know about your character, the more real that character will feel.
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אוצר מילים והערות הגייה לשיעור הזה
שיעור הדיבור הזה ברמה B2 מבוסס על הסרטון “Characters: Internal vs. external features”. המילים שחוזרות הכי הרבה: character, father, Pixar, storyboard, artist. בסרטון הזה יש 70 משפטים ו-792 מילים לתרגול Shadowing. הדיבור נמשך 4:59. הדובר מדבר בקצב טבעי של כ-159 מילים בדקה, קרוב לשיחה יומיומית. רק 81% מהמילים נמצאות בין 3,000 המילים הנפוצות ביותר באנגלית, כך שאוצר המילים מאתגר.
אוצר מילים מרכזי בסרטון הזה
12 המילים המתקדמות ביותר בסרטון, עם ההגייה והמשמעות שלהן:
| מילה | הגייה | משמעות |
|---|---|---|
| superhero שם עצם | /ˈs(j)upɚhɪɹoʊ/ | גִבּוֹר עָל |
| emotion שם עצם | /ɪˈməʊ.ʃən/ | רֶגֶשׁ |
| dazzle פועל | /ˈdæzəl/ | סנוור |
| endanger פועל | /ɛnˈdeɪnd͡ʒɚ/ | סִכֵּן |
| specificity שם עצם | /spɛsɪˈfɪsɪti/ | ייחודיות \ יִחוּדִיּוּת |
| trait שם עצם | /tɹeɪt/ | מאפיין, תכונה |
| villain שם עצם | /ˈvɪl.ən/ | נָבָל |
| cloth שם עצם | /klɒθ/ | בַּד |
| authentic שם תואר | /ɔˈθɛn.tɪk/ | אוֹתֶנְטִי |
| inform פועל | /ɪnˈfɔɹm/ | הוֹדִיעַ |
| scratch פועל | /skɹæt͡ʃ/ | גֵּרֵד |
| costume שם עצם | /ˈkɑsˌt(j)um/ | לְבוּשׁ |
Phrasal verbs שתשמעו
| מילה | משמעות |
|---|---|
| figure out פועל | הֵבִין, מצא תשובה |
| grow up פועל | גָּדַל |
הגייה ששווה לשים לב אליה
הדובר משתמש ב-18 קיצורים וצורות מקוצרות, כמו I'm, you're, can't. אמרו אותם בצורה הקצרה, כפי שאתם שומעים אותם.
- הצלילים של “th”: cloth /klɒθ/, authentic /ɔˈθɛn.tɪk/
- הצלילים של “sh” ו-“zh”: emotion /ɪˈməʊ.ʃən/, expectation /ˌɛk.spɛkˈteɪ.ʃən/, facial /ˈfeɪ.ʃəl/
- מילים ארוכות — שימו לב להטעמה: superhero /ˈs(j)upɚhɪɹoʊ/, specificity /spɛsɪˈfɪsɪti/, troublemaker /ˈtɹʌbəlˌmeɪkə(ɹ)/, internally /ɪnˈtɜːnəli/, supervisor /ˈsupɚˌvaɪzɚ/
צלילים שדוברי עברית מתקשים בהם:
- /æ/ — פתוח יותר מה-“אֶ” העברית, לא כמו “a” ב-“cup”: dazzle /ˈdæzəl/, tackle /ˈtækəl/, scratch /skɹæt͡ʃ/
- /r/ — הלשון לא נוגעת בשום מקום, לא ה-“ר” הגרונית: superhero /ˈs(j)upɚhɪɹoʊ/, credibly /ˈkɹɛdɪbli/, troublemaker /ˈtɹʌbəlˌmeɪkə(ɹ)/, conform /kənˈfɔɹm/, trait /tɹeɪt/
איך לתרגל עם הסרטון הזה
- הקשיבו לכל הסרטון פעם אחת בלי לדבר, ורשמו את המילים שאתם לא מכירים.
- התחילו במהירות 0.75×, תרגלו Shadowing משפט אחר משפט, וחזרו למהירות רגילה כשזה מרגיש קל.
- הקליטו את עצמכם והשוו למקור, תוך תשומת לב למילים כמו superhero, emotion, dazzle.
מהי טכניקת השאדואינג?
שאדואינג היא טכניקת למידת שפה מבוססת מדע שפותחה במקור להכשרת מתורגמנים מקצועיים ופופולרית על ידי הפוליגלוט ד"ר אלכסנדר ארגואלס. השיטה פשוטה אך עוצמתית: אתה מקשיב לאודיו באנגלית ילידית וחוזר עליו בקול רם מיד — כמו צל העוקב אחרי הדובר עם עיכוב של 1–2 שניות בלבד. בניגוד להאזנה פסיבית או תרגילי דקדוק, שאדואינג מכריח את המוח והשרירים בפה לעבד ולשחזר דפוסי דיבור אמיתיים בו זמנית. מחקרים מראים שזה משפר משמעותית את דיוק ההגייה, האינטונציה, הקצב, הדיבור המחובר, הבנת השמיעה ושטף הדיבור — מה שהופך אותו לאחת השיטות היעילות ביותר להכנה לIELTS Speaking ולתקשורת באנגלית בעולם האמיתי.