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We were on set for Spider -Man.
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I kept forgetting that you were English because you spoke in your American accent the whole time.
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Yeah.
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And I was like, oh shit, he is.
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I'm sugar.
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Oh, snap.
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He is, he is, dang.
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Okay.
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Darn.
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Darn it.
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Oh, fudge, fudge.
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Fudgesicles.
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What was really funny, I think, about it is like, Tom was so nervous about you guys coming in.
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That's so wild. So nervous.
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He never let anything onto us.
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Yeah.
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Pull those pants down.
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Yeah.
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Get those calves under wraps.
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Yeah, under control.
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Yeah.
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That the crazy forearms.
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Inside jokes.
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What was that for?
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What was that for?
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I forget what that was for.
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It was a Toby one and he was like, it's crazy.
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Because he was trying to pull up the thing.
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It was just.
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Crazy forearms.
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So that reminded me of this.
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Acting. So acting.
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Acting.
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So really acting though, because.
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We knew this would happen.
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We were like, it's gonna go great off camera.
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As soon as the stars roll, we're gonna be like, so.
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I don't know how to speak anymore.
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Yeah.
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No, but, okay, but seriously though, because I haven't said to you yet, and I've been saving it since I've seen you this morning,
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having seen season two now of your show Euphoria with our friend
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Sam Levinson, the brilliant creator, showrunner, director, extraordinaire that he is, and your incredible cast.
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But I just do want to start making you very uncomfortable
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and say that it is kind of one of the most remarkable things
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I've seen an actor do of recent memory because of its rawness, because of its agony, because of its unflinching vulnerability
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and access to a woundedness and a kind of universal soul cry for meaning that you seem to just have an accent.
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How, but how?
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Well thank you.
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No, but like.
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No, but I mean that.
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That means the world.
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I really, really appreciate that.
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But like, it's kind of wild, man.
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And I know it's hard to receive those things and, cause you just do what you do.
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But for me to witness it, especially, I think it was episode five.
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What's the name of the episode?
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Um, I - Stand like a hummingbird?
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Yeah, stand still like a hummingbird.
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Stand still like a hummingbird.
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Where did you put it?
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Where'd you put my pills, mom?
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Where did you put it?
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What the fuck?
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I'm calling the police.
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No, you can't.
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You can't do that.
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You will not attack me in my own home.
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What the fuck I want in your own home?
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It is the most, one of the most relentless episodes of television, like emotionally relentless episodes of television I've ever seen.
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And we love you so much in the show, just as a character.
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And to see you being so, and I know you, you know,
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I'm starting to get to know you better and better but to have access to that kind of Yeah,
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I know and the damage and the pain and to make it
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so human and I'm not asking a question yet And I don't know how to ask a question about it
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And it's gonna be 30 minutes of just praising you
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and that's fun for me and for all of us not for you
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Yeah, well, yeah, but that's another thing we can get into Yeah, yeah, so actors taking compliments welcome back to back is taking compliments with No,
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but for real though So how did you sustain access to
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that agony access to that rage access to that yearning for the whole series?
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But particularly that relentless episode like how did you do that?
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This is really good
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Right to it, right?
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Sorry, it's like the thing I'm interested in.
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But I wanna say thank you because I've obviously been a fan of your work for a long time and hearing,
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I think, compliments from people that you admire and people whose work that you respect, and it means so much.
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So thank you for that.
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Well, I'm flattered that it's meaningful to you.
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Yes, no, it is.
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But it's tough and I thought what was actually quite sweet was when that episode did air,
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I did get a lot of messages from people checking in on me, which I really appreciate.
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It makes you want to cry.
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Yeah.
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It was very kind and heartwarming in that way, that people were looking out.
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I think there was a lot of actors that were like, are you good?
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And I was like, yeah, I'm good, I'm good.
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It didn't feel like there was any acting.
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It felt like you were living through something in such an authentic way.
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I don't know.
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It's hard to say that there's any specific process for that.
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I feel like when it comes to Rue, at least for me,
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my experience with her is I've been able to have had the privilege of playing her for a while.
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So I've had the luxury of living in her skin for a bit and the closeness that I share with Sam,
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who you spoke of, is a huge part of that because I think
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Rue is very much based on him as a teenager.
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And I think a lot of the pain that he went through
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and now him being able to turn it into something quite beautiful and express it through Rue.
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So Rue has become kind of like an amalgamation of my experiences,
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his experiences, and our collective pain and seeing through the eyes of an addict and trying to always kind of,
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I think the approach was to try to approach
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it as human as possible without ever shying away from the devastation and the ugliness of what that can create.
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And also, because it's not just about Rue, right? that whole kind of opening,
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it's about an entire family and friends and loved ones that are affected by that pain as well.
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And you have to show that and you have to go there.
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And I had actually been very afraid to shoot that episode because it had been an episode that we,
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that's why I was having a hard time remembering the name of the episode, because we just always called it
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The Roo Run.
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So, you know, it had been written for like a while before the pandemic.
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And so I was kind of dreading having to do it.
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I was very scared to tackle that.
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And also knowing
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that on top of just kind of this massive blowout where the pain is coming to a head
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and getting to a point where you can't hide it anymore.
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And then on top of that, she's going through withdrawal.
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So that's like a whole nother physical thing
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and aspect to kind of keep inside your brain while also trying to like understand everything else that's happening.
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What was cool basically is we, you know, Sam lit the whole house.
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So we usually with Euphoria, it's like things are very structured shots, right?
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And to try to give the show that feels very chaotic some type of structure,
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a lot of dollies, and a lot of calculated kind of camera movements.
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For that, it was all Marcel.
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Our incredible cinematographer, Marcel Rev, he had it on his shoulder the whole time and was moving with me,
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and I think it becomes like a dance, when you have that camera operator that understands.
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How long were those takes?
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Until the mag went out so you know yeah
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Which is very specific film stock that you guys use as well extra chrome yeah
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They need for us so beautiful so crazy haunts is everything
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and just kind of gives it a hue of Beauty
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and sadness and tenderness I was gonna ask you like did you say we're doing my close -up first
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No, I don't give a shit about the crap about the dolly
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There was no kind of structure
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because it couldn't be there had to be a level of of volatility
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and unpredictability to her mood and where it was gonna go.
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So we just started from the beginning and they just made, they said, listen, you can break whatever you want.
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We made it so it's safe to break one, throw whatever you want.
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We're gonna light the whole house so you can go through the whole thing.
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So weirdly caring.
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So caring, right?
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To make sure I was good.
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Because they know that you were gonna be doing something incredibly painful and hard.
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Yeah.
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And then how many takes of that sequence did you do?
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Just over and over again until we felt like we had it and then we moved on to the next part.
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But it was a long day.
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Cuz that's like, you know.
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That was one day.
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It was a one day of just fighting everyone.
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And I'm sure you can understand, but when you're playing a character that you deeply care about, but they're actively making decisions, like why?
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Please don't say that, don't do that.
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And then on top of that, you as a person with your fellow actors, you love them, you care about them.
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You don't wanna say these things to others.
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What am I crying?
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I know, no. What am I crying?
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But you don't want to hurt somebody else, you know?
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You don't want to hurt someone.
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You don't want to say something to someone that hurts them.
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That's not the kind of person I feel like I am.
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You're a shame, Mom.
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My dad's dead.
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Kind of keeps you from admitting what shit fucking mother you are.
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So evident in that sequence, like, I can see those moments which are just so subterranean, which are like, I don't want to do this.
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I have to do it.
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And so actually, weirdly, your struggle as an actor can be used as your struggle as the character, and then the lines become.
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And anything you have inside, any pain at least, I've held onto throughout my life.
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I just, I let
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Rue have it, you know?
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And I let her use whatever kind of I need to hold onto, and I let her get it out for me, you know?
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Because I get it out in a different way.
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I'm not like that.
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And often I shove, so it allows her to take
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that on and I'm just very grateful to have an environment where I felt safe.
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My gosh, amen.
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Like, do you feel, because I remember when I was a kid and I didn't know where to put, I'm not saying you're a kid,
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I'm just saying when I was a kid I didn't know where to put my...
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The feelings.
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Yeah, my experience of this insanity of being alive and obviously
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Sam Levinson, your fearless leader, is kind of dealing with with his own demons within the show,
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which is so personal obviously and so kind of healing.
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And when I found theater for the first time, I was like, oh my gosh,
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I get to be all the things I'm told not to be.
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Right.
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In an environment where I'm not gonna get judged but in fact I'm gonna get thanked.
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Right.
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And I love the dynamic between you and your sister particularly.
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And then the family, the mom saying, no, this is about Rue, and then your sponsor, She's always look, yeah.
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Coleman Domingo, it just goes, who's brilliant.
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Yeah, amazing, the whole cast is so incredible.
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I love Coleman.
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And the young actress who plays your sister is just like, oh my gosh.
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Storm is also very, I mean, I'm very lucky.
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Dang.
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I'm very, very lucky.
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It's so cool.
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Because you need that, you know?
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You need that support.
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Because your brain part of it knows that what you're doing isn't real right or that it's not supposed to be real
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Mm -hmm, but your body doesn't know the difference right?
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You're still gonna get the same bruises if you kick a door down
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I have a great acting teacher who was basically like well
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It has to be healing if it isn't healing then what are you doing it right?
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And it's about pitching it up, as you said, and pitching it out.
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Right.
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And also it does become of service.
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Like I watched that and I got a lot of healing for the experiences I've had with the addicts in my life.
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And that's the point of what we do.
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That's everything.
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You know what I'm saying?
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If you can find a way to heal through it and helpfully heal someone else through it, that is like...
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That's it.
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That's the purpose of it.
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Thank you, brother.
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Thank you for your understanding.
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Thank you for sparing me.
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There's a million different characters that you're jumping in and out of
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and how do you keep track of those people
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and how are you able to separate
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or compartmentalize to a degree to make it healthy enough to say I'm leaving them here
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and then I'm moving on to this one
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and then Andrew's gonna be here and I'm gonna leave him here you know how do you find that?
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It's a good question and I want to deflect it
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and I want to bring it back to you but I'll try
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and keep it on me for a second but like because it is important and I I don't know about you, but I find actually if,
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and it's about, I surf as well, so it's about wave selection.
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It's actually like, okay, is this wave mine, or is this wave that guy's, or that girl's, or that person's,
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like, no, I'm gonna let that one pass.
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And when I started out acting, it was like, I'll just take that amount.
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Yeah, right, right, right.
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I did like a, the first thing I did was a Doritos commercial in Spain, and I thought I was done,
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I'd made it, I made like two grand for two days of work, and I was like, that's like, Like, my life is set up,
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like showing my father the pay stub, going, I don't need to work at Starbucks for the next week.
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I love it.
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But then we get, I think both you and I have gotten to a very privileged position where we get to decide.
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And we get to have agency and choose.
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And I think it's really, I find it important for myself to go, well, what am I called to?
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What am I actually, do I need, do I have a choice in this?
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Right, right.
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If I'm like, oh my God, oh no, I have to do this.
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I have to do it.
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It's that fear, it's that, there are two types of fear.
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It's like one type of fear is that fear that says, oh don't go there, which means a bus is coming.
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And the other fear is the kind of fear that says, oh no, I have to go there. Because, yeah.
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Because you're gonna get hit by the right bus.
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Yeah, if that makes sense, right.
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It's a good bus, yeah.
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It's like a spiritual bus, but you think you're gonna get trounced by it,
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but actually it's gonna enhance your life and expand you and you're gonna.
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And that's such a scary feeling.
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Yeah, like this character I play in this guy, Jeb Pyre, he's a Mormon detective,
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father, husband, in the 80s in Utah.
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Like, I'm - There's a gap.
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There's some difference there, yeah.
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There's a distance, but that excites me as well.
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And I'm like, well, so where does that
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Mormon detective live?
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Inside of - In me, and how can I live as him authentically? and how and what parts of myself need healing.
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She's in so much pain, Bishop.
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In all the pain she's in, what do we...
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What do I...
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What do I do?
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The average person would look at me and say, well, what the hell do they have in common with this character, right?
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Sure.
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But on that, don't you think that empathic imagination is the job?
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Yes.
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And so it's funny.
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So like on paper, right, that's what someone would assume.
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But it's interesting to me because I found kind of like what you're saying, but she is so much of an extension of myself.
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Yeah.
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I don't know, you know, a few things different in our life or, you know, wired a different way, whatever it is.
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And that's me also.
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But from the grace of God go I.
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Yeah.
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That kind of like thing where it's like, oh, I, and that's the beauty of what we do as actors is
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we can look at any human being in any room and go.
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There's part of me in that.
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I could end up there, I could end up here, I could end up, and that's the kind of, the universal thing.
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Empathy.
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Yeah, exactly.
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Yeah, that idea that we're all people trying to survive life and figure it out, and we don't know what we're doing, you know?
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And I think.
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With Rue, which I appreciated so much about when I first kind of went in to meet
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Sam is he said to me that I was on This board this dream board that he had made
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Oh, wow Like no like I just didn't think that
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that was true because up until
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that point I was like I've never really done anything to show
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that I could do what you're asking me to do
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but he said I watched interviews and I just knew and And I felt like that to me,
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A, meant a lot, because it meant somebody believed in me.
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But also I think he saw the pieces of me that existed in Rue already, and thus part of himself too.
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There was a connection already creating and forming, and when I met him, he was like, oh, that's her.
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And so I thought that that was quite fascinating, and then as I've gotten to be Rue, I feel like with certain characters,
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right, you have to search for them.
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And, you know, it takes you a little bit longer for them to click in your body and you feel like,
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oh, I'm in their skin now, right?
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With her, I don't have to think about it as much, right?
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She's a little thing that just kind of takes over.
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And I know when Rue is here.
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And it's funny because we joke about it on set, but we're like, my face changes, right?
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And I can tell that I look, I'm her now.
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And that's her expressions and her way of moving.
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And it's weird, cuz it's like, it kind of creates its own thing.
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I don't know, it's weird to say like, I have this love for this character.
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But I do because I feel she represents so many people that I've met along the way, that have shared their stories with me.
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And I feel like I carry that with her.
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Do you know what I mean?
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I do, yeah.
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She's a collection of a whole lot of people.
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Sure.
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And a whole lot of experiences.
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And every time someone, I think, shares with me, that's when I gain more insight and understanding.
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And I think having to play, like you're saying, those specific things, I think it's just that open conversation and I trust
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Sam enough to go, I don't buy it.
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I don't believe what you're doing.
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And he'll tell me, he'll come up to me and be like, why are you acting there?
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I can see it happening, you know?
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And remind me that I got it.
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He's like, you got it, you got it.
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You already got it, you don't have to, you got it.
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I'm just gonna steal some shit.
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Tell me about the memes, because I noticed this.
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Every Sunday, Euphoria became the meme of the thing.
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It was Euphoria Sundays.
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It became a sporting event.
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It was interesting because I think it's hilarious.
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I think so many people, I was like, wow, you guys are so creative.
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I also was a little concerned, because I was like, are you guys watching the episode?
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because how are you typing and staying on time with the episode at the same time?
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Pay attention.
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I don't know.
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But no, it was cool in the sense that there's a collective, right?
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It's people coming together and being able to enjoy something together and talk about something together, have discourse together, which is cool.
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But also I got really nervous too because we were still in the middle of editing while things were coming out.
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So while episode five was coming out, I was literally in the studio writing rewriting a version of I'm tired with lab to put in the
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Thank you so much
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To put in the finale so we were like that's what we were doing while that was happy
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So we're still editing so we're still inside of it.
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So it wasn't like a big separation
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Yeah, it's like reading reviews when you're doing a play or something.
347
Yeah, you're still
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You don't need to influence you wanted to remain pure exactly and I song is so gorgeous
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Thank you so much.
350
It's so beautiful.
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Lab is very, very talented, very special.
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Yeah.
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And also, like, I'm very protective over Rue.
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Yeah.
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And also, like I said, because of all the people that she represents.
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Totally.
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And so I know that sometimes maybe the world won't be as kind to her as I am.
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Yep.
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And that's hard for me, you know?
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So I'm like, just love her though, but just wait, just wait.
361
Yeah.
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You know, just wait till we get to the episode we're working on right now.
363
Right, right.
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Like, just hold on to this.
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Oh, God.
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Just hold on to this.
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Mind is a little fudge.
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Yeah, yeah.
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So, again, balance.
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Yeah, balance, yeah, yeah.
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Right, with everything.
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So it was a lot of fun, but it was also very, you know, nerve wracking.
373
Okay, so I'm gonna flip it back to you.
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Okay.
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Because I am very interested in your process, right?
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Because, and I'm trying to, maybe my memory deceives me, but I wanna say we were on set for Spider -Man,
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I kept forgetting that you were English because you spoke in your American accent the whole time.
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Yeah.
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And I was like, oh shit, he is.
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Who's Suga?
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Oh, oh snap.
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He is, he is, oh dang, dang.
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Oh darn.
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Darn it.
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Oh fudge fudge.
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Fudge sickles.
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You know?
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Okay.
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Let's pick one target.
390
Right.
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And we take them off the board one at a time.
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Now you got it.
393
Okay.
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Peter one, Peter two.
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Peter two.
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Peter three.
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I don't know your connections to your characters and how much you stay in them or step out of them,
398
but I'm sure there's a process from when you see them on a paper, you know, and you visualize and you start.
399
Again, how do you feel that they come in to you?
400
Do you feel like you find them?
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Do you feel like it's a mixture of both?
402
I find this different every time.
403
I feel like it's first day of school every single time.
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And I feel like I start from scratch.
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And I feel like every single time I'm stepping, I'm jumping off the side of a cliff.
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It never feels safe.
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And if it feels safe, I'm a bit concerned.
408
And that I think is the bus analogy as well.
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A little bit of fear is good.
410
A lot of fear and doubt is kind of become a friend.
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It's had to become a friend.
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Comforty.
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Yeah, strangely.
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It's like, I hear you up.
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Come on, buddy.
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We're still gonna go back into rehearsal even though we'd rather throw ourselves in the river.
417
We're still gonna carry on.
418
But yeah, with an accent, for me, it's like I just don't wanna confuse my body, and I don't wanna confuse someone else's system.
419
Right, right, right.
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You know what I mean?
421
I just wanna, it's just simpler.
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It's easier.
423
It's easier, and the musculature stays warm in that way.
424
I find it fun because it's kind of like a more technical, I mean like the creative choices are the creative choices.
425
And I'm so indecisive as well.
426
Like I, you know, when I'm like redoing my kitchen right now and I'm like, oh my god, I love this tile,
427
but this tile is like, and it takes me like a year to figure out, like I don't, anyway.
428
So with the creative choices, they take moments for me to figure out,
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but then I love having something solid to hold on to in a process that is so intangible, like what we were talking about.
430
So actually an accent and a voice and a physicality, some like hooks and places where I can hang my hat that will ground me,
431
that can be kind of triggers to get back into the character actually.
432
When you feel like you're...
433
Yeah, or like a piece of costume or like a rhythm or if I'm doing like an animal study as a physicality.
434
I'm looking for the forgotten aspects of myself Right.
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That I can activate.
436
I need you to get more rest to bring the print kit. And, um, video camera.
437
I need you both to record every single corner in that house.
438
What drew me into it was, I think, the step -by -step,
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moment -by -moment process of a kind of psychological breakdown.
440
Right.
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That kind of a belief system crumbling.
442
I remember speaking to a guy in Utah who went through the exact same thing.
443
It was a Mormon police officer who had a really big crisis of faith because of a case he was working on.
444
And was having to reckon with potentially losing his wife, potentially losing his kids, losing his community, being thrown out of the Mormon faith.
445
And suddenly this character became flesh and bones and cells and dreams and longings and a heart and ancestry.
446
Suddenly it was like, oh my god, the universe just is tangible.
447
And again, a feeling of calling and a responsibility to represent an experience, to represent a type of person going through a type of experience.
448
That feels really important, because I think as long as we have the longing,
449
then some mystery happens where we find our way into forcing the skin of that person around us.
450
Or that skin emerges above our skin, however we want to describe it.
451
You know what, if I were you, I would rather find that kind of family dead rather than safe and sound.
452
The endurance that I think you have to have with a character
453
and emotionally when it comes to a television show as well versus a film.
454
And I wanted to kind of ask you about, A, your experiences with that, and then I want to tag on to that.
455
Again, when you're dealing with, I think, the subject matter of your show, I mean, it's so heavy, right? and painful and delicate, you know?
456
And it's not an easy thing to just say, you know, yeah, today I'm walking onto a crime scene like and I'm just gonna,
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that's my day today and I'm gonna pretend like none of it affects me
458
and then I have to do this for the next eight months because this is not a movie where I can
459
dip up out of it but I'm in this for like the long haul, right, and how do you stay in that?
460
And how do you find working on like a longer medium, I guess?
461
It's hard, I found it really hard.
462
Really hard, yeah, I could imagine.
463
It was six months in Calgary.
464
Mm, okay.
465
I mean.
466
Got it.
467
And there was beautiful mountains and lakes and really good restaurants in the city.
468
There's a place called the Repsol Center, which I went most days off, which had a cold plunge and a steam room and a great gym.
469
Shout out to the Repsol Center, love you guys, I miss you guys so much.
470
Repsol for life.
471
You guys are great.
472
Repsol for life.
473
For real, they're at Repsol for life.
474
Yeah, they helped get you through it clearly.
475
They really did.
476
Yeah, Dustin Lance Black, who created the show and adapted the John Krakow non -fiction book from, oh God, for the last 10 years.
477
It's a real passion project for him.
478
He's an ex -Mormon himself, Dustin, and he, you know, it's very, very personal for him.
479
And that helps.
480
When you have someone at the helm who, like Sam Levinson, it's so personal, it's such a passion project,
481
it kind of like, it trickles down to the rest of the ensemble and the rest of the crew.
482
So we had a great group of actors, Daisy Edgar Jones and Wyatt Russell and Sam Worthington.
483
Denise Gough, just amazing, amazing actors.
484
And I think we were all in location together.
485
And I think that's always fun.
486
When you have a bunch of actors who are kind of
487
taken out of their day to day
488
and you're figuring out a new city together
489
and riding around all those bird scooters and trying to find the best ribs in Calgary and not get COVID, it's like it becomes a game.
490
But it was, it was a, it's heavy.
491
It's like the universe and the world
492
that my character had to be dipped in and stay in and explore and not flinch away from in pursuit of truth,
493
in pursuit of doing right by this horrendous act of violence that took a mother and a young child.
494
And I think that is the thing that kept this character connected.
495
that was the North Star and the light at the end of the tunnel.
496
So for me it was like, well, I have no choice.
497
It's again, it's one of those things, I have to go there, I have to stay in it, I have to go there.
498
But he's actually struggling with the same thing of how do I keep this toxicity away from my family,
499
away from my kids, away from my own being, away from my own soul, how do I stay clean?
500
How do I not lose myself in this dark, seedy underworld, this kind of hellscape?
501
Because it's a hellscape.
502
He's dealing with evil.
503
And I think that is a remarkably powerful force when you're just faced with kind of abstract, intangible evil.
504
You're attempting to wrangle and to snuff out.
505
It's like dealing with the Nazi regime or something like that.
506
So it was painful.
507
It was really, really painful and hard and I, the Repsol Center just cured all of it.
508
Shout out again.
509
You're getting a lot of love.
510
I gotta go.
511
Recommended by.
512
Everyone in Calgary, shooting in Calgary, you gotta hit Repsol.
513
I, no, but like, it was not fun a lot of the time.
514
My guess is that
515
Sam's army, they consider themselves totally devout, willing to give up their lives for their beliefs and their own sons included in their sacrifice.
516
Sometimes I'm like, ah, like I'm an actor and I look at myself like, what a ridiculous job.
517
Like I'm like, I have the coolest job, I love my job so much.
518
But sometimes it's just like, I mean, I dress up for a living and I do,
519
and I'm like, I don't wanna take myself too seriously because I feel like there's people
520
who do far more important things than I do.
521
My brother's a lung doctor for crying out loud.
522
Yeah, exactly, right.
523
Come on, come on.
524
I can pretend to be one, but I can't actually, you know.
525
So within that is finding purpose in what you do.
526
Yeah.
527
And why do I love this so much?
528
And I think that what I found is what you're talking about in that sense of like,
529
it's this understanding of like a collective empathy and an understanding of someone else's life and experience.
530
And as corny as it is, but walking a mile in their shoes like that whole thing is so deeply important.
531
It's also important to feel seen in that way
532
because what I found through Euphoria is it gave people the tools to communicate feelings
533
that they didn't have the ability to express or say and say, hey, I don't know how to tell you, but this is how I'm feeling.
534
Or this is what I'm going through.
535
Can you watch this with me?
536
Or let's watch this together.
537
Beautiful.
538
Like we talk about Spider -Man, but the amount of joy that that brought people is so cool.
539
Like, to see you guys have that moment together was special, but then also it made people happy.
540
I think that's really cool.
541
And also, like, about brotherhood.
542
Yeah.
543
And I love the idea that maybe
544
Tom's Peter would have suffered the same fate as Andrew's Peter
545
if Andrew hadn't have somehow come into that universe
546
and learned from the mistakes of the past and made sure
547
that my younger brother and his love didn't have the same fate.
548
That's kind of cosmically...
549
It's so cool.
550
It's awesome.
551
It's so cool.
552
I mean, I remember when I wrote that, I was like...
553
Yeah, it's really...
554
It made me very happy.
555
And that was fun.
556
I loved shooting that with you so much.
557
It was.
558
Wasn't that like our first thing?
559
It was like, yeah, absolutely. And you.
560
Like, hi, I met you yesterday.
561
Thanks for catching me.
562
How are you?
563
You good?
564
OK, you have to cry?
565
Sorry.
566
It was pretty intense.
567
It went like that.
568
And then suddenly we were kind of done.
569
Yeah.
570
It was this huge moment that we just did a few takes of.
571
I guess it was good to get the more emotional stuff out of the way.
572
I think so.
573
Because the rest of the time was just us.
574
Just giddy, joyful.
575
We were just having a good old time.
576
Being so dumb.
577
Yeah.
578
I don't want to brag, but I will.
579
I was in the Avengers.
580
The Avengers?
581
Yeah.
582
That's great.
583
Thank you.
584
What is that?
585
What was really funny, I think, about it is like, Tom was so nervous about you guys coming in.
586
That's so wild.
587
He never let anything onto us.
588
Pull those pants down.
589
Yeah.
590
Get those calves under wraps.
591
Yeah, under control.
592
Yeah. That thing.
593
Crazy forearms.
594
Um, inside jokes.
595
What was that?
596
What was that?
597
I forget what that was.
598
It was a Toby one, and he was like, just crazy.
599
Because he was trying to pull up the thing.
600
It was just crazy using four arms.
601
Four arms.
602
So that reminded me of this.
603
Anyway.
604
Good joke, Bank, you got there.
605
Yeah.
606
I'm noggin at yours.
607
They stay with us.
608
We use them a lot.
609
Damn, that's really good.
610
Yeah, we use them a lot.
611
But he was so nervous and, cause like, you know, he was like,
612
I don't wanna step on anyone's toes and I don't want anybody to feel, like I just want.
613
We were like that, me and Toby were like that.
614
We were like, we don't wanna step on Tom's, like this is Tom's movie, it's your guys' movie and it was like,
615
if we can help, again, just to serve and be a bit of serve.
616
But it's so funny, because he just seemed so, but that's so sweet that you guys were there.
617
That's why we were there.
618
That's right.
619
So he was like, can you guys come with me?
620
Yeah, because you guys were like, I guess we're going to come and hang out with you guys for rehearsal.
621
I'm like, what are these guys doing here?
622
Yeah, because at rehearsal, we didn't really have very many lines.
623
We were just like, we were there for emotional support.
624
Sweet.
625
Very sweet.
626
But with that being said, I think we were like,
627
I think they don't know how much fun we like to have when we're doing this job.
628
Like, this is, like, we have fun.
629
And it was nice that you guys just, like, fell right into the crew.
630
It was such a fun experience.
631
I was, like, pissing myself laughing, but I was dying.
632
You guys had me dying, like, crying, laughing in between takes all the time.
633
That is so silly.
634
How cool is that?
635
It's the best.
636
We are very lucky, and then my brother's saving lives.
637
Right.
638
Here we are.
639
My brother's treating COVID patients as we speak.
640
I'm wearing a lovely jacket talking about Spider -Man.
641
No, but then he goes home and he watches
642
Spider -Man with his boys.
643
You know what I mean?
644
Yeah.
645
It's that.
646
It's like, it's, oh no, I'm just trying to justify my existence.
647
Right?
648
Not feeling bad about my life.
649
I'm like, we love talking and I'm like, shit, I have to ask him something that I don't really want the answer to.
650
Next week on Zendaya and Andrew at the Repsol Center, we will be.
651
We'll have visitors for from the Repsol Center?
652
Yeah, we have testimony.
653
A live testimony.
654
Repsol, that's right.
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Vocabolario e note di pronuncia per questa lezione
Questa lezione di conversazione si basa sul video “Zendaya & Andrew Garfield”. Questo video contiene 654 frasi e 6277 parole da ripetere con lo shadowing. Il parlato dura 32:44. Chi parla va veloce, circa 192 parole al minuto: aspettati suoni legati e ridotti. Il 85% delle parole rientra nelle 3.000 più comuni dell’inglese; conviene studiare le altre prima di iniziare.
Vocaboli chiave di questo video
15 parole del video che vale la pena imparare, con pronuncia e significato:
| Parola | Pronuncia | Significato |
|---|---|---|
| heal verbo | /ˈhiːl/ | guarire, sanare |
| accent sostantivo | /ækˈsɛnt/ | accento |
| painful aggettivo | /ˈpeɪn.fl̩/ | doloroso |
| darn verbo | /dɑɹn/ | rammendare |
| remind verbo | /ɹəˈmaɪnd/ | ricordare |
| collective aggettivo | /kəˈlɛktɪv/ | collettivo |
| compliment sostantivo | /ˈkɑmpləmənt/ | complimento |
| gosh | /ɡɑːʃ/ | perbacco, accidenti |
| rehearsal sostantivo | /ɹɪˈhɝsl̩/ | prova |
| relentless aggettivo | /ɹɪˈlɛntləs/ | implacabile |
| pants sostantivo | /pænts/ | calzoni, pantaloni |
| belief sostantivo | /bɪˈliːf/ | credito, credenza |
| deeply avverbio | /ˈdi(ː)pli/ | in profondità, estremamente |
| passion sostantivo | /ˈpæʃən/ | passione |
| pitch sostantivo | /pɪt͡ʃ/ | tiro, lancio |
I phrasal verb che sentirai
| Parola | Pronuncia | Significato |
|---|---|---|
| go through verbo | attraversare | |
| end up verbo | andare a finire, finire | |
| figure out verbo | scoprire, rendersi conto | |
| give up verbo | arrendersi | |
| go out verbo | uscire, andare fuori | |
| look out verbo | fare attenzione, stare attento | |
| see through verbo | intravedere, vedere attraverso | |
| set up verbo | /ˌsɛt ˈʌp/ | preparare, installare |
Frasi da ripetere
Frasi brevi e complete del video che puoi riutilizzare nella conversazione di tutti i giorni:
- Where'd you put my pills, mom?
- You know what I'm saying?
- Do you feel like it's a mixture of both?
- Wasn't that like our first thing?
- I'm like, what are these guys doing here?
La grammatica di questo video
Le strutture che chi parla usa di più, con le parole esatte del video:
| Struttura | Nel video |
|---|---|
| Present perfect have/has + participio passato — un’azione passata che conta ancora adesso | haven't said · I've seen · I've ever seen |
| Forma passiva be + participio passato — conta ciò che accade, non chi lo fa | are affected · had been written · can be used |
| Frasi relative who / which + frase — un’informazione in più su una persona o una cosa | ones that are · moments which are · teacher who was |
Pronuncia a cui fare attenzione
Chi parla usa 206 contrazioni e forme ridotte, come I'm, don't, gonna. Pronunciale nella forma breve, così come le senti.
- I suoni “th”: empathy /ˈɛmpəθi/, theater /ˈθi(ə)tɚ/, rhythm /ˈɹɪð.əm/, withdrawal /wɪðˈdɹɔ(ə)l/, authentic /ɔˈθɛn.tɪk/
- I suoni “sh” e “zh”: gosh /ɡɑːʃ/, passion /ˈpæʃən/, potentially /pəˈtɛnʃ(ə)li/, shout /ʃaʊt/, emotionally /ɪˈməʊʃənəli/
- Parole lunghe — attenzione all’accento: universal /ˌjunəˈvɜɹs(ə)l/, potentially /pəˈtɛnʃ(ə)li/, testimony /ˈtɛstɪmoʊni/, emotionally /ɪˈməʊʃənəli/, ridiculous /ɹɪˈdɪk.jə.ləs/
I suoni difficili per chi parla italiano:
- /h/ — va soffiata, non è muta: heal /ˈhiːl/, rehearsal /ɹɪˈhɝsl̩/, hook /hʊk/, hilarious /hɪˈlɛə.ɹi.əs/, enhance /ɪnˈhæns/
- Consonante finale — senza aggiungere una vocale dopo: accent /ækˈsɛnt/, remind /ɹəˈmaɪnd/, collective /kəˈlɛktɪv/, compliment /ˈkɑmpləmənt/, gosh /ɡɑːʃ/
- /æ/ — più aperta della “e”: accent /ækˈsɛnt/, pants /pænts/, passion /ˈpæʃən/, snap /snæp/, wrap /ɹæp/
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 heal, accent, painful.
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.