Pratica di Shadowing: Emma Stone, Mark Ruffalo & Director Yorgos Lanthimos Break Down 'Poor Things' Scenes | Vanity Fair - Impara a parlare inglese con i video
Creazione lezione...
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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.
Contesto e Antefatti
Nel video "Emma Stone, Mark Ruffalo & Director Yorgos Lanthimos Break Down 'Poor Things' Scenes" di Vanity Fair, gli attori e il regista discutono di una scena specifica del film che si svolge a bordo di una nave. Durante il dialogo, si evidenziano dinamiche interessanti tra i personaggi, rivelando aspetti del loro comportamento e delle loro personalità. Questa analisi è essenziale non solo per comprendere il film, ma anche per quelli che desiderano praticare l'inglese attraverso il metodo del shadow speech e shadowspeak.
Le 5 Frasi Chiave per la Comunicazione Quotidiana
- "Bella, let us take the air." - Un invito a godersi un momento all'aria aperta.
- "I've been sort of kidnapped." - Un modo interessante per esprimere una situazione difficile con un tocco di ironia.
- "This is an actual practical LED screen." - Un'affermazione che spiega un aspetto tecnico della produzione.
- "They weren't water, but it was a representation of water." - Un esempio di linguaggio descrittivo e critico.
- "Duncan's, I guess what you would call a rake or a cad." - Riferimenti culturali per descrivere un personaggio complesso.
Guida Passo Passo al Shadowing
Per rendere la tua pratica di conversazione in inglese più efficace usando il shadowing in inglese, segui questi passaggi:
- Ascolta attentamente: Rivedi il video più volte per familiarizzare con il ritmo e l'intonazione degli attori.
- Imita le frasi chiave: Usa le frasi sopra per esercitarti. Cerca di replicare non solo le parole, ma anche il tono e l'emozione.
- Pratica il tuo shadowing: Ripeti le frasi e cerca di "ombrellare" (applicare il shadowspeak) le loro conversazioni, seguendo il loro ritmo.
- Registra te stesso: Fai delle registrazioni delle tue pratiche di shadowing per capire dove puoi migliorare.
- Rivedi e confronta: Ascolta nuovamente il video e il tuo audio per identificare differenze e aree di miglioramento.
Questa metodologia non solo migliorerà la tua pronuncia, ma arricchirà anche il tuo vocabolario e la tua comprensione culturale, rendendo la tua pratica di conversazione in inglese più coinvolgente e autentica.
Cos'è la tecnica dello Shadowing?
Shadowing è una tecnica di apprendimento delle lingue supportata da studi scientifici, originariamente sviluppata per la formazione dei traduttori professionisti e resa popolare dal poliglotta Dr. Alexander Arguelles. Il metodo è semplice ma potente: ascolti un audio in inglese di madrelingua e lo ripeti immediatamente ad alta voce — come un'ombra che segue il parlante con un ritardo di solo 1–2 secondi. A differenza dell'ascolto passivo o degli esercizi di grammatica, lo shadowing costringe il tuo cervello e i muscoli della bocca a elaborare e riprodurre simultaneamente i modelli di discorso reale. La ricerca dimostra che migliora significativamente la precisione della pronuncia, l'intonazione, il ritmo, il discorso connesso, la comprensione dell'ascolto e la fluidità del parlato — rendendolo uno dei metodi più efficaci per la preparazione alla prova di speaking dell'IELTS e per la comunicazione reale in inglese.