Pratica di Shadowing: When an audition changed TV forever - Impara a parlare inglese con i video
Creazione lezione...
1
Violations arise related to the disclosures under both FASB 123R and Internal Revenue Code section 409A.
2
You forgot about the Sarbanes-Oxley Act of '02.
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Statute of limitations render Sarbanes-Oxley moot post 2007.
4
Not if you can find actions to cover up the violation as established in the sixth circuit, May 2008.
5
It's impressive, but you're sitting at a computer.
6
I'm playing hearts.
7
If you want to be here, you're going to have to do it as something else.
8
I need a grown goddamn man.
9
You give me this and I will work as hard as it takes to school those Harvard douches and become the best lawyer you have ever seen.
10
I'm inclined to give you a shot, but what if I decide to go another way?
11
I'd say that's fine.
12
Sometimes I like to hang out with people who aren't that bright, too.
13
You know, just to see how the other half lives.
14
Move over I'm emailing the firm we found our next associate.
15
This is Patrick J. Adams.
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Here comes some acting.
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I'm going to act my face off.
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And before Suits, that acting didn't come easy.
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I had been a professional guest star for about 10 years.
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I had been on a bunch of pilots that had failed.
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I had actually gotten fired from a job a few months prior to the audition and I was sort of at rock bottom and it was public and it was in the trades.
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They called me and told me that they didn't want me anymore, but the director was like, "But I'm not letting you go.
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You're going to come back and we're going to shoot scenes and we're going to show them." And I was like, "Dude, please don't do this to me." Almost embarrassing.
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Yeah, don't do this to me.
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I was out of work and I thought, I think I might just give this up and move on and try something else.
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And then this script came through and the pilot episode of this show is about a young guy, you know, finding his way in a situation where he gets to look at his peers and say, "Give me this job. Give me this shot.
27
I've worked so hard for this." And so I was sort of primed for that moment to sit in front of a bunch of network executives and say, "Trust me, I've got this." Mike's a fraud, right?
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He's like making it up as he goes along.
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And I think that was part of what really drew me to it — like, "Oh, I can bring that part of myself to this guy." Like, I have no idea what I'm doing.
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This guy Patrick walks in and it's like, "Where have you been my whole life?" I mean, how can you be that talented, that good-looking, and that charming and wonderful?
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It was just the easiest audition I ever had.
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Once we started shooting the pilot, look, I have to put my own interest above yours.
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It's nothing personal.
34
You're fired.
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And I was like, "Wow, this is different." Wait.
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So you're worried that if I stay, then they might find out that you lied about me and you'll lose your license.
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But if you fire me, then I could tell them that you lied about me and you definitely lose your license.
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Are you telling me that if I throw you under the bus, you're going to drag me with you?
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You put your interests above mine and I'm just putting mine back up next to yours.
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You're rehired.
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We thought Gabriel was the perfect guy for it, honestly.
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And Gabriel was, you know, a star and didn't really want to read, and he didn't, but he had to, but he didn't.
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He gave the worst audition pretty much in history and we knew it was like — you just don't want to do it.
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You don't want to. We get it.
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But you're great and we don't get it.
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Very hard to make a living doing what we do.
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And you know there's tons of failure.
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It's failure after failure after failure.
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But he was coming with his life experience.
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He'd done a ton of work and he was a movie star in a lot of ways.
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He'd done a lot of huge films.
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My father's an actor and I saw the ups and downs in his career.
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You know, you see the failures that came along with being an actor and you see the successes, and if you feel like this is what you're here to do — to tell stories, to move people — then you stick with it.
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Gabriel and I started — we didn't chemistry read together.
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We had no chemistry read.
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We had nothing like that.
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And I had the part first because they wanted to get Mike cast.
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They really wanted Gabriel and then finally he signed on.
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And I think both of us got to that point where we're both on something but we don't know this other person.
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So I called his people and I said, "Can we make a lunch happen?
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I would love to sit down with Gabriel." We went and sat down and I think we were both really nervous because we thought, "This is the person who I'm potentially going to be working really closely with for a long time — and this is the whole show right here.
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This. Yeah, this is it." The comedic chemistry between Macht and Adams is undeniable, especially in the first couple of seasons.
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And to me, it's what made the show.
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Hey, Mike, when I'm here and you're here.
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Okay, bro. What are you, Luke Perry?
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Yo, bro. I'm here and then I'm here.
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Has anybody ever told you you have a giant forehead?
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Has anyone told you your hair looks like it's afraid of your face?
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Everywhere I go, people recognize the show.
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They recognize the character.
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This guy is a total workaholic.
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Type A, aggressive, brash lawyer.
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Life is this. I like this.
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You know, that's just — it's not me.
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But I stand up straight and I do say the lines and I convince people that I am this guy.
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But Mock wasn't the only cast member Adams had incredible chemistry with.
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I've never seen that movie.
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You... What?
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It's black and white.
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So are you.
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Okay. I just went in and auditioned for it.
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I think Patrick was the first one who was cast and so I'd gone and auditioned.
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I thought it was one of the worst auditions I had ever done and I didn't realize that behind closed doors they disagreed with me on that fact and brought me back to test for it.
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I tested with Patrick.
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I was behind that closed door when they disagreed with her.
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She came in — we had known each other from a pilot, another pilot, a failed pilot long ago that we had worked on together.
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And so when she came in, I knew she was nervous and she thought she hadn't done well.
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And as soon as the door closed, their eyes went wide and they were like, "Well, that's it. They're done." Rachel could have been cast as a blonde-haired, blue-eyed girl, and they've really embraced changing the landscape of television in that way.
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Aaron, too, would say: "that prosecutor could have been anyone".
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He's always like, "We just want the best talent." It's colorblind casting.
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It's like, I don't care if it's a man or if it's a woman or what color they are.
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I just want the best actor for the job.
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You can use it. Use it.
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We are going to pas de deux all over their asses with it.
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You know, Rick Hoffman is somebody who I admire.
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He plays Louis on the show and I think he's one of just the most naturally gifted people I've ever worked with.
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To have a character like Louis start off as just your typical, you know, one-level kind of douche who walks around every once in a while and checks up on the newbie and gives him s---- the evolution of the guy as a real human being is a combination of a couple of things.
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Rick was sort of the elder statesman of the whole group only because he had been through so much of this before.
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He'd been through so many failed shows.
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He was just such a disaster.
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His career was really right there in the gutter.
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It was always my intention to take this person that you hated and try to make you love them over time.
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He can turn a story.
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He can lead a story.
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He can be a comedic engine.
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He can be a supporting player.
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He can do everything.
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If Rick weren't as good of an actor as he is, then Louis couldn't do that.
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I'm an observer of people and I watch people do things that aren't so, you know, cool all the time.
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And I for some reason can tap into those types of behavior.
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I cannot. I'm sorry.
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I want to, but I can't.
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Gabriel gave me the script and asked me to audition for the role of Donna.
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We met back in 1993 doing theater.
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We were fast friends.
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We've always had a relationship like we're brother and sister.
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We've been roommates.
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And so I knew that there was an opportunity there for at least a really dynamic boss-secretary relationship.
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I was old enough to have done many pilots and to know that you can think you can be incredibly invested in something and it doesn't go anywhere.
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When I first read her on the page, I did see that she had a lot of heart and a great sense of humor and I sensed that she was an empath, but there was, you know, just a little bit there.
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But what I did know was that my old friend Gabriel Macht was going to be playing Harvey Specter.
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It was so easy and natural and just like butter — just hanging out, playing a scene.
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Anyone who's seen the pilot — can you imagine Suits without Donna?
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You know this scene I'm talking about.
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You are five minutes late.
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Is there a reason why I should let you in?
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She's in between the two guys.
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They're talking.
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Look, I'm just trying to ditch the cops. Okay.
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And she just is looking from one to the other and you just feel the glue.
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You feel like — I just want to hang out with these people.
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There's something I need to tell you.
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No need to apologize.
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That's not what it is.
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You're not getting a raise.
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Gina had to read in front of all the executives and she was so clearly nervous.
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We all knew she was the only person coming in.
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At the beginning, it was incredibly frustrating that I was sort of this untouchable, mystical, magical creature.
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But that kind of served me in the end, you know, because when you're an actor, you want to use all the crayons in your box.
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And I had to find a very, sort of, ninja way of using my crayons.
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And I think that kind of worked in unexpected and great ways.
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Gina is fierce.
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She is so perfectly cast as Jessica Pearson.
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There is a quality about Gina that is so regal.
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Regally hot.
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You're an idiot.
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Jessica Pearson. Good night, Harvey.
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I remember there's one scene that I have with her and she just walked toward me and she had this posturing.
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I forgot my lines in the scene because I was so unnerved by it.
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And like, there's something about when she's in character — it's just — then why are you telling me?
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Because I helped her cover for him.
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Are you saying I should fire you too?
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I am saying that we made a mistake.
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How often do you get an example of a woman that just typifies excellence, right?
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Everything about her was impeccable.
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She was the smartest person in the room.
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This isn't chess. It's dominoes.
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Now the first case might be tough, but after that, one by one, and when it's all said and done, I'll be the last one standing holding a big fat check in my hand.
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She knew how to get things done.
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She dressed for the masses.
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I mean, she was ridiculously perfect and she was fearless.
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And so people want to be that.
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I originally wrote Suits as a spec script to get a job on a show — I never thought it would sell in a million years.
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So I had no episode two in mind.
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You know, our show is originally about people in finance because our showrunner Aaron Korsh worked in finance, but you don't make shows about finance.
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You can't have things that happen on a weekly basis in that world and keep it interesting and dynamic.
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And the network said, "We like it, but they needed to do what was called a procedural, right?
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Like they needed something that had a case of the week, like a law show or a doctor show or something like that." So I thought, "All right, if it's going to be a case of the week, they have to be lawyers." Once we did that, I actually thought it made it ultimately much better because the consequences of being a fake lawyer — it's much different.
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You know, it's a bigger deal.
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The first version of the script I wrote, they were like, "You lost the magic of the Wall Street version in writing this first script." And they basically made me start from scratch.
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And no joke, I had like a three-month nervous breakdown.
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I couldn't write a thing because they gave me all these different notes and I thought, if I listen to this note, it violates this note.
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And if I want to do this, it's going to violate that.
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I couldn't do anything for like months.
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And then finally I was like, I've got to finish this thing or I'm going to go crazy.
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So I just wrote, and I said, forget these notes.
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I'm just writing another version. F--- it.
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And I basically handed a script in.
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I was like, "Here's your script. F--- you." And I thought it sucked.
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I mean, I didn't know.
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I was so in my head.
182
Anyway, I handed it in and then they said they were going to make it.
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And I was like, "Oh, s---." Obviously, the premise of the show is this guy is a fake lawyer.
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He's a fraud.
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And you can only play the danger of him getting caught so many times.
186
But the network did have a problem with the script.
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USA was pretty scared.
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Those of you familiar with the pilot, we meet Mike.
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He's a drug dealer.
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Like a nice drug dealer.
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Drug dealer that you can bring home.
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Drug dealer you like.
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You bring home to mom.
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Better be a charming drug dealer, right?
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And we said, "Yeah, let's do it." And it was a little bit outside our comfort zone, but just enough.
196
Look man, I'm serious.
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I almost got caught today.
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I've got to stop getting stoned.
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Most of the things that were in the show, I didn't think about — we need to do this.
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That's not sort of how I write.
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But one thing he did need to do was captivate the audience.
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And nothing did that more than the chemistry between Mike and Harvey.
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Louis knows.
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Louis knows what?
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My dirty little secret.
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You're Canadian.
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I think Aaron Korsh did the smart thing by using the first season as the two guys centering on their relationship and then peppering in the other four characters very slowly to sort of ease the audience in to the show.
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Aaron was so supportive from the beginning, you know, joking around, trying new things, changing the lines, whatever we could do to make the scene work.
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And you can't do that if you're not with people that you really trust.
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Thank you for getting me off.
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Just sorry.
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Is that — is that really the line?
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Getting me out.
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Getting me out.
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Getting you out.
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Out. It's out.
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When I was a writer's assistant on every show that I worked on, the actors at the end of every scene would improvise, you know, two or three lines, and I always thought they were the funniest lines.
218
Have you ever been watching The Godfather?
219
Like, you know, I've been trying to come up with some common ground to expand our friendship.
220
Sue me. And if you sue me, you're going to sleep with the fishes.
221
And if you smack the table again, you're not going to just sleep with the fishes.
222
A horse is going to sit in your bed bleeding to death, and you're going to sit there on your own ----.
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Go f--- yourself.
224
There's something about when you make something up — they would be riffing off each other.
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You can't create that.
226
You know, if you'd have written those same four lines and they were performing them, it wouldn't have been as good.
227
What did I do?
228
You put the hazards on, you dick.
229
Okay, here we go.
230
So when we did Suits, if the actors ad-libbed something funny, I did everything I could to put it in.
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Do I look clueless to you?
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Another problem was the show's New York setting.
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One office, the city.
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The city was part of its DNA, but filming there wasn't financially viable.
235
Yeah, I can't get him anything in New York.
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I'm not talking about New York.
237
In the establishing shots of the Pearson Specter building, you may have noticed this is a KPMG logo.
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And this is not New York.
239
It's Toronto, which if you've never been, is essentially the New York of Canada.
240
Stretch. Stop breathing.
241
Everybody, stop moving.
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Toronto, shut up.
243
With the exception of the pilot, all filming took place in Toronto, which wasn't without its awkward moments.
244
When we're at Bay and Adelaide and it's a nighttime scene that we're shooting outside on location there, we'll have yellow cabs in to sort of make it feel like New York, but you'll get your occasional just local folks who are out at dinner, maybe a little tipsy, trying to get into our taxis.
245
We're like, it's not real.
246
Getting to shoot the show in my hometown — like, I left Toronto thinking, you know, when you leave your hometown, you're like, I don't know if I'm ever coming back here.
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Like, I'm moving on.
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So to have left Toronto thinking I was done with it and to return to it to have this professional experience that changed the course of my life — it really reshaped that city for me and it made it such a special homecoming.
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My name is Gabriel Macht and I play Harvey Specter on the new show Suits for USA, which is premiering.
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We're really excited about the launch and we hope you are too.
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So come and join us.
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When Suits debuted, it was vying for eyeballs against legendary competition.
253
In those first few years, it was just like whatever we needed to do to make this scene funnier, better, work — not that they would give us free range, but it was like we were all coming in with that same energy we describe as young people in a theater.
254
Like, what can we do to make this scene as good as possible?
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Like, this scene's good. What more can we do?
256
I could do this. I could do that.
257
Now, granted, that ended up being 15-hour shooting days, but we were all so excited and passionate in those first few years.
258
I think it's so successful because of the characters, really.
259
I mean, I've said it before — I think the way that they're constructed, if it was a show about a hospital or about a school or anything else, it really doesn't matter and people really relate to them.
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It has everything to do with the other five actors that put their heart and souls into these characters and because of the fun we're having out there in Toronto when we're working.
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I think that somehow comes through and maybe people feel like they want to have fun too.
262
For the first 12 years, Suits had a solid but modest following.
263
I would hear from some woman telling me about her brother or her niece or nephew or parents who were starting to become addicted to it — until it caught a massive break in 2023.
264
Then Netflix picked it up and then the next thing I know, it's like everybody in the world is watching Suits.
265
I think with any job, if you're working with the same people that closely for now five years of your life, yes, of course we're a family.
266
But in television, families don't always last forever.
267
In the final season, Megan obviously wasn't able to be in as many scenes due to her personal commitments at that time.
268
We knew she was excited and there was reason to keep it, you know, close to the vest.
269
We were together for so many years on a show.
270
It's such an amazing experience to be able — we were with each other for longer than we went to college or high school with our friends.
271
So, Donna, Jessica, Mike, Rachel, and Harvey — they appreciate me.
272
They're my family.
273
I'm asking you.
274
Please don't make me leave my family.
275
But breaking up that family threw a wrench into the writers' plans for Mike and Rachel.
276
If Megan was going to leave, I made the decision — look, I think this marriage is going to work out.
277
It just seemed like it was going to work out.
278
She didn't know it. I didn't know it.
279
But I'm like, I'm going to bet on her happiness.
280
It's a lot easier to undo her leaving at the last minute than to have to come up with her leaving at the last minute.
281
Naturally, the next one to leave was Adams.
282
Patrick told me about his decision to go.
283
He gave me a lot of time, you know.
284
And I didn't want Patrick to go.
285
He just felt it was best for him at the time.
286
When did you get so soft?
287
It's been seven seasons.
288
You're so soft.
289
It's been a long, long time.
290
I love you.
291
I also just on a personal level had been away from, you know, my girlfriend — who's now my wife — for seven years.
292
We had been long distance from each other and I just really wanted to go home and start that part of my life.
293
Losing Megan and Patrick is a huge artery of our show.
294
Like most shows, the later seasons never captured the brilliance of the initial ones.
295
But every time I rewatch that pilot, it reminds me that anyone — it was my dream to be a lawyer.
296
I got knocked into a different life — no matter their failures — and I have been wishing for a way back ever since.
297
If they persist, you give me this and I will work as hard as it takes.
298
Always has a shot.
299
Move over. I'm emailing the firm I found our next associate.
300
I'm Adam. This is ScreenPuff.
301
If you enjoyed watching this as much as I enjoyed creating it, check out this next video.
302
And as always, thank you for watching.
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Vocabolario e note di pronuncia per questa lezione
Questa lezione di conversazione di livello B2 si basa sul video “When an audition changed TV forever”. Questo video contiene 302 frasi e 3933 parole da ripetere con lo shadowing. Il parlato dura 19:41. Chi parla va veloce, circa 200 parole al minuto: aspettati suoni legati e ridotti. Il 84% delle parole rientra nelle 3.000 più comuni dell’inglese; conviene studiare le altre prima di iniziare.
Vocaboli chiave di questo video
Le 15 parole più avanzate del video, con pronuncia e significato:
| Parola | Pronuncia | Significato |
|---|---|---|
| audition sostantivo | /ɑˈdɪʃən/ | audizione |
| dealer sostantivo | /ˈdiːlə(ɹ)/ | distributore, rivenditore |
| crayon sostantivo | /ˈkɹeɪ̯.ɑn/ | pastello |
| violate verbo | /ˈvaɪəˌleɪt/ | violare |
| hometown sostantivo | /ˈhoʊmˌtaʊn/ | città di origine |
| disagree verbo | /dɪsəˈɡɹi/ | non concordare, non combaciare |
| charm sostantivo | /t͡ʃɑɹm/ | amuleto, incantesimo |
| violation sostantivo | /ˌvaɪ.əˈleɪ.ʃən/ | violazione |
| captivate verbo | /ˈkæptəˌveɪt/ | accattivare, attirare l'attenzione |
| embarrass verbo | /ɪmˈbæɹəs/ | imbarazzare, mettere in imbarazzo |
| eyeball sostantivo | /ˈaɪ.bɔl/ | bulbo oculare |
| impeccable aggettivo | /ɪmˈpɛkəbəl/ | impeccabile |
| improvise verbo | /ˈɪm.pɹə.vaɪz/ | improvvisare, parlare a braccio |
| newbie sostantivo | /ˈnjuːbi/ | nabbo, niubbo |
| reshape verbo | /ɹiːˈʃeɪ̯p/ | trasformare, riformare |
I phrasal verb che sentirai
| Parola | Pronuncia | Significato |
|---|---|---|
| come back verbo | tornare | |
| come up with verbo | ideare, escogitare | |
| break up verbo | spezzettare, tagliuzzare | |
| check out verbo | investigare | |
| cover up verbo | insabbiare, occultare | |
| end up verbo | andare a finire, finire | |
| find out verbo | scoprire | |
| shut up | /ʃʌt ʌp/ | chiudi la bocca, stai zitto |
Frasi da ripetere
Frasi brevi e complete del video che puoi riutilizzare nella conversazione di tutti i giorni:
- It's impressive, but you're sitting at a computer.
- Are you saying I should fire you too?
- Do I look clueless to you?
- What more can we do?
- When did you get so soft?
La grammatica di questo video
Le strutture che chi parla usa di più, con le parole esatte del video:
| Struttura | Nel video |
|---|---|
| Present perfect continuous have/has been + -ing — un’azione iniziata prima e ancora in corso | I've been trying · have been wishing |
| Present perfect have/has + participio passato — un’azione passata che conta ancora adesso | have ever seen · I've worked · I've never seen |
| Frasi relative who / which + frase — un’informazione in più su una persona o una cosa | people who aren · person who I · one who was |
| Forma passiva be + participio passato — conta ciò che accade, non chi lo fa | was called · was done |
Pronuncia a cui fare attenzione
Chi parla usa 127 contrazioni e forme ridotte, come I'm, you're, didn't. Pronunciale nella forma breve, così come le senti.
- I suoni “sh” e “zh”: audition /ɑˈdɪʃən/, douche /duːʃ/, violation /ˌvaɪ.əˈleɪ.ʃən/, reshape /ɹiːˈʃeɪ̯p/, showrunner /ˈʃoʊˌɹʌnɚ/
- Parole lunghe — attenzione all’accento: violation /ˌvaɪ.əˈleɪ.ʃən/, impeccable /ɪmˈpɛkəbəl/, undeniable /ˌʌn.dɪˈnaɪ.(j)ə.bəɫ/, untouchable /ʌnˈtʌtʃəbəl/, ridiculously /ɹɪˈdɪk.jə.ləs.li/
I suoni difficili per chi parla italiano:
- /h/ — va soffiata, non è muta: hometown /ˈhoʊmˌtaʊn/, homecoming /ˈhoʊmˌkʌmɪŋ/, humour /ˈhjuːmɚ/, forehead /ˈfɔɹ.hɛd/, hazard /ˈhæzəd/
- Consonante finale — senza aggiungere una vocale dopo: comedic /kəˈmiː.dɪk/, douche /duːʃ/, violate /ˈvaɪəˌleɪt/, brilliance /ˈbɹɪljən(t)s/, captivate /ˈkæptəˌveɪt/
- /æ/ — più aperta della “e”: captivate /ˈkæptəˌveɪt/, embarrass /ɪmˈbæɹəs/, empath /ˈɛm.pæθ/, smack /smæk/, addict /ˈæd.ɪkt/
Come esercitarsi con questo video
- Ascolta tutto il video una volta senza parlare e annota le parole che non conosci.
- Inizia a velocità 0,75×, fai shadowing frase per frase e torna alla velocità normale quando diventa facile.
- Registrati e confronta con l’originale, facendo attenzione a parole come audition, dealer, crayon.
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.