Pratica di Shadowing: Zootopia ALL Clips + Trailers (2016) | Fandango Family - Impara a parlare inglese con i video
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I'll keep on making those new mistakes I'll keep on making them everyday
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Those new mistakes
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I'm Gazelle.
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Welcome to Zootopia.
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Excuse me?
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Down here?
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Hi.
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O.M.
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Goodness.
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They really did hire a bunny.
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What?!
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I gotta tell you, you are even cuter than I thought you'd be!
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Ooh, uh, you probably didn't know, but a bunny can call another bunny cute, but when other animals do it, it's a little...
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I am so sorry.
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Me, Benjamin Klawhauser.
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The guy everyone thinks is just a flabby donut-loving cop stereotyping you.
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Oh.
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Oh, it's okay.
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Oh, you've actually got...
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There's a...
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In your neck, the fold... Where?
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Oh, where you went, you little dickens?
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I should get a roll call.
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So, which way do I...?
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Oh, bullpen's over there to the left.
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Great.
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Thank you.
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Aww.
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That poor little buddy's gonna get eaten alive.
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Oh!
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Sorry, coming through.
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Excuse me.
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Excuse me, pardon.
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Bon voyage, flatfoot!
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Ah!
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Ah!
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Oh!
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Hey!
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Stop right there!
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Have a donut, Coppa!
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No!
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Oh my god, did you see those leopard print jeggings?
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No!
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Oh!
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I love your hair.
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Oh, thank you!
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Hehehehe, come to Poppa.
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Ha!
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Alright, everybody sit.
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I've got three items on the docket.
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First, we need to acknowledge the elephant in the room.
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Francine.
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Happy birthday.
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Number two.
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There are some new recruits with us I should introduce, but I'm not going to because I don't care.
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Finally, we have 14 missing mammal cases.
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All predators from a giant polar bear to a teensy little otter.
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And City Hall is right up my tail to find them.
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This is priority number one.
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Listen, I don't know what you're doing skulking around during daylight hours.
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But I don't want any trouble in here.
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So hit the road.
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I'm not looking for any trouble either, sir.
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I simply want to buy a jumbo pop for my little boy.
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You want the red or the blue, pal?
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I'm such a...
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Oh, come on, kid.
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Back up.
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Listen, buddy, what?
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There aren't any Fox ice cream joints in your part of town?
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Uh, no, no, there are.
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There are.
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It's just, my boy, this goofy little stinker, he loves all things elephant, wants to be one when he grows up.
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Is that adorable?
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Who the heck am I to crush his little dreams, huh?
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Look, you probably can't read, Fox, but the sign says, we reserve the right to refuse service to anyone.
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So beat it.
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You're holding up the line.
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Hello?
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Excuse me.
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Hey, you're gonna have to wait your turn like everyone else, meter maid.
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Actually, I'm an officer.
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Just had a quick question.
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Are your customers aware they're getting snot and mucus with their cookies and cream?
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What are you talking about?
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Well, I don't want to cause you any trouble, but I believe scooping ice cream with an ungloved trunk is a Class 3 health code violation and...
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which is kind of a big deal.
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Of course, I could let you off with a warning if you were to glove those trunks and, I don't know, finish selling this nice dad and his son a...
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What was it?
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A jumbo pop.
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Please.
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A jumbo pop.
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Fifteen dollars.
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Thank you so much.
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Thank you.
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Oh, no. Are you kidding me?
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I don't have my wallet.
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I'd lose my head if it weren't attached to my neck.
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That's the truth.
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Oh boy, I'm sorry pal.
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Gotta be about the worst birthday ever.
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Please don't be mad at me.
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Thanks anyway.
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Keep the change.
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Officer, I can't thank you enough.
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So kind, really.
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Can I pay you back?
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Oh no, my treat.
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It's just, you know, it burns me up to see folks with such backward attitudes towards foxes.
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I just want to say you're a great dad and just a.. a real articulate fella.
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Ah, well that is high praise.
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It's rare that I find someone so non-patronizing.
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Officer...
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Hopps.
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Mr...
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Wilde.
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Nick Wilde. And you little guy.
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You want to be an elephant when you grow up?
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You be an elephant.
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Because this is Utopia.
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Anyone can be anything.
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Well, now, wait a minute.
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Polar bear fur, rap pack music, fancy cup.
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I know whose car this is.
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We gotta go.
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Why?
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Whose car is it?
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The most feared crime boss in Tundra Town.
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They call him Mr. Big, and he does not like me, so we gotta go.
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I'm not leaving.
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This is a crime scene.
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Well, it's gonna be an even bigger crime scene if Mr. Big finds me here, so we're leaving right now.
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Oh, God!
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Raymond!
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And is that Kevin?
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Long time no see.
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And speaking of no see, how about you forget you saw me?
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Huh?
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For old time's sake?
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That's enough.
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What did you do that made Mr. Big so mad at you?
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I, um, I may have sold him a very expensive wool rug that was made from the fur of a skunk. But.
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Oh, sweet cheese and crackers.
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Thank you.
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Never let them see that they get to you.
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So, things do get to you?
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I mean, not anymore, but I was small and emotionally unbalanced like you once.
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Har har.
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No, it's true.
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I think I was eight or maybe nine, and all I wanted to do was join the junior ranger scouts.
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So my mom scraped together enough money to buy me a brand new uniform because, by God, I was going to fit in.
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Even if I was the only predator in the troop, the only fox, I was gonna be part of a pack.
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Ready for initiation?
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Yeah.
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Pretty much born ready.
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I was so proud.
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Okay, now raise your right paw and deliver the oath.
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I, Nicholas Wilde, promise to be brave, loyal, helpful, and trustworthy.
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Even though you're a fox, What?
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No!
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No!
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What did I do wrong, you guys?
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No!
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Please, Tony, what did I do wrong!
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What did I do?
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If you thought we would ever trust a fox without a muzzle,
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you're even dumber than you look. Are you gonna cry?
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I learned two things that day.
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One, I was never going to let anyone see that they got to me. And two?
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If the world's only going to see a fox as shifty and untrustworthy, there's no point in trying to be anything else.
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Nick, you are so much more than that.
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The End
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Oh, thank you both so much.
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One second.
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You're fired.
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What?
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Why?
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Insubordination!
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Now, I'm going to open this door and you're going to tell
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that Otter you're a former meter maid with delusions of grandeur who will not be taking the case.
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I just heard Officer Hopps is taking the case.
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Assistant Mayor Bellwether.
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The mammal inclusion initiative is really starting to pay off.
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Mayor Lionheart is just going to be so just.
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No, no, let's not tell the mayor just yet.
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And I sent it and it is done, so I did do that.
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Hey everyone, it's Shakira, and I'm so happy to announce that I'm gonna be a part of the new Disney movie, Zootopia, where I'm gonna be playing Gazelle.
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I'm letting you guys into my studio today because it is a special occasion, and I'm gonna play a small snippet of my new song that's gonna be in the movie.
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Try everything.
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Good evening, Zootopia!
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Put your paws up.
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I messed up tonight, I lost another fight Lost to myself but I'll just start again I keep falling down,
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I keep on hitting the ground But I always get up now to see what's next Birds don't just fly,
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they fall down and get up Nobody will learn without getting it wrong
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I won't give up, no I won't give in Till I reach the end and then I'll start again
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No I won't leave, I wanna try everything I wanna try even though I could fail I won't give up,
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no I won't give in Until I reach the end and then I'll start again No,
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I won't leave I wanna try everything I wanna try even though I could fail Try everything
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Try everything I'm Gazelle.
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Welcome to Zootopia. are fiercely optimistic.
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Hey, you ready to make the world a better place?
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Jason Bateman plays Nick Wilde.
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Sly Fox, dumb bunny.
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This fox that I'm playing is conniving and a bit dry with his wit.
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It's called a hustle, sweetheart.
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So I guess that's why they called.
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It's so distinctively Jason, but in a whole new way.
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That's the perfect role for him.
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Well, that is high praise.
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We have Idris Elba playing Chief Bogo.
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You strike out, you resign.
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This is an opportunity to do something that's funny and to really give him some depth.
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Well, this should be good.
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We are working with Shakira on this film, and she has done a song for this movie called Try Everything that is amazing.
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Try everything.
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The Zootopia team is just fantastic.
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J.K.
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Simmons plays Mayor Leodore Lionheart.
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OK, Officer Hops, let's see those teeth.
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There's sort of a range of your voice that you use.
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It's great to see that coming out of this fantastical character.
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I heard you, Bellwether.
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Take care of it.
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Jenny Slate as Bellwether, a really distinctive voice.
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It's a real proud day for us little guys.
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To be a character in a Disney movie, that's top of the list.
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Woo!
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Woo!
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My name is Corey Loftus, and I'm the art director of characters on Zootopia, and today we're gonna be drawing Officer Benjamin Klawhauser.
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With Klawhauser, he's this really soft,
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lovable, big-hearted guy, and almost every one of these characters starts with a circle.
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So start with a circle on his head, but he has these huge,
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fluffy cheeks, so we like to kind of describe his shape It's like a basketball sitting in a big bean bag.
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So the bean bag is his cheeks, his head is the basketball.
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You kind of see just with those two things it already starts feeling like a claw hauser.
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A claw hauser has got a really tight collared shirt
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so his neck kind of rolls up right where that shirt gets tight.
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Collared shirt.
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Now if we draw this line down the center of the basketball,
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draw one across, and draw this little V right here,
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this is where Klawhauser's eyes are going to sit, and this is where his nose sits.
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His nose kind of has this butterfly shape to it.
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Ballhauser is often surprised or often happy.
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So usually draw him with his eyebrows up like this.
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And then if you were to draw a little road right from the tips of his eyebrows down to his nose,
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this is where a lot of his spots live, right in between the eyes like this.
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His eyes, he's got a little bit of an eyelash come down to a point right where we drew those lines.
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Klauhauser is always happy so we're going to draw a big smile on him.
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Draw a line coming off his nose.
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This is the corner of his mouth.
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Usually see his bottom teeth peeking out just a little bit.
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And then he has this dark lip on the bottom.
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Just coloring the inside of his mouth dark so you know that that's the inside of his mouth. And then his ears.
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This line that we drew, his ears are going to sit pretty much from a line from his nose all the way through his eye
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and out to the side of his head.
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Drawing these fluffy ears.
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There's nothing that really says cat quite like big whiskers.
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So right here, three little spots for whiskers, three on this side.
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long whiskers.
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He's also got a few whiskers up on the top of his head.
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But he still doesn't feel quite like Klawhauser yet and that's because he doesn't have his spots.
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So if we draw a line from the corner of his mouth down to his shirt on either side,
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this whole area around the bottom of his mouth where his beard might be.
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That is the no spot zone.
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Everywhere else, it's open game for spots.
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Around his eyes is also a no spot zone.
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A little road we drew around his eyes, no spots go in there.
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And then the most noticeable spot on Clawhouser is right here on his cheek.
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That spot you may all recognize.
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And that goes right there.
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Drawing his nostrils.
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And that is how I draw Clawhauser.
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My name is Cory Loftus and I'm the art director of characters on Zootopia, and today we're going to be drawing Flash.
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So with most of our characters in Zootopia, we're going to start with a circle for Flash's head.
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Now Flash is a sloth who works at the DMV
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and he's one of the first people that Nick and Judy meet once they start working together.
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So Flash is not a whole lot more than a circle.
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If you imagine this tube coming out of the back.
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Now Flash is very, very slow.
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Extremely slow.
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So in his design, I tried to make everything about him seem slow, so his eyes are literally sliding off his face.
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So I've drawn them like eggs sliding off a plate.
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And Flash's mouth is kind of like drawing a little beak.
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It's much more like a little parrot beak than it is our mouth's.
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It comes down to a little point.
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I'll draw the corner of his mouth.
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Now sloths have like this cool bandit mask
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that goes right over their eyes and fall right off the sides of their face.
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Kind of like a raccoon.
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And that's a lot darker than the rest of their face.
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I'm going to color this in a little bit darker here around his eyes.
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his eyes, or his pupils, sit right under his lid like this.
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I like to draw him with his mouth open just a little bit, like he's about to start saying something,
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and you've caught him just as he starts talking.
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Now Flash has got hair on top of his head,
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and when I was trying to figure out what sort of hairstyle Flash would have, and Byron was talking to me about the character,
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I kept noticing our director's haircut and Flash and Byron ended up getting the same haircut.
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So it's parted in the middle, comes down on each side.
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Now sloths have really thick, coarse hair.
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It's not soft like a rabbit or even a cat
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or a bear it's really really coarse so you notice a lot of Flash's hairs more than you do on other animals.
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Drawing Flash's hair can be really fun.
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So I'm just going to go ahead and draw in all his hair.
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Something about it makes it seem more like him.
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And then the first time I drew Flash,
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I had fun imagining that he was just about to say something but people kept interrupting him.
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So he's politely held up his hand for a chance to speak.
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Sloths have these really long claws so that they can hang on to branches, don't have to worry about falling,
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so we didn't lose Flash's claws.
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Flash was a lot of fun design.
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With a lot of characters on Zootopia, you never really knew what they were going to have to do for the story.
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You didn't know if they were going to have to climb over a wall or, you know, jump from a great height
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or try to reach something on a high wall or you never knew what they were going to do.
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They might skate, they might open a door, but with Flash, I knew he wasn't going to do much, if anything.
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So I knew exactly what he needed to do
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and it made his design a lot more fun
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because I already had a plan of what he was going to have to do in the film. And there he is.
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Hi everybody, I'm Byron Howard, I'm one of the directors on Zootopia, and today we're going to learn how to draw Judy Hopps.
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When I think about Judy, I think she's very optimistic, very bright, very intelligent, very strong-willed, and so you know she has a very bright feature.
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So the first thing I do is I kind of create this kind of gumdrop shape because I love candy.
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I love food that is sugary.
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And so I create this little gumdrop shape.
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See it looks a little bit like a gumdrop.
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Here's a gumdrop for example.
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Kind of like that.
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So Judy has kind of a tall forehead like this, kind of wide cheeks like many, many rabbits.
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We looked at many real rabbits to design Judy
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and we discovered they all have adorable cheeks so we knew that had to be part of her.
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And then once you get this kind of gumdrop shape in place, I usually put the nose in there
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because the nose is a nice anchor point that tells me which way she's going to look.
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So Judy's looking down to the right and then once I have the nose, then I can use that to kind of focus these lines that kind of determine where her eyes go.
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And her eyes, if you think about them as being a little almond shaped.
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It makes them feel like they kind of sit into her skull a little bit more, which is nice.
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These nice kind of lashes.
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And so again, you see, again, very simple gumdrop shape, little tiny nose, nice big eyes.
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And then she has this cute little teeny tiny mouth that makes her just adorable.
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And Glen Keane, the great Glen Keane who did Ariel and the Beast and is a good friend of mine, taught me that to make a drawing of a mouth look really good,
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you put these little dark corners that kind of makes it feel like it's tucking back and shadowing it.
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And he was right.
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Glenn was right.
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He's always right.
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Anyway.
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And from that point, well, rabbits don't look like rabbits unless they have ears.
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And so usually what I do with the ears is I find this flow from the back of her head.
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It feels good to, especially with Disney characters, to have that flow coming off of the cranium, which goes like this, see, this nice big, big line,
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big relaxed swoop, just coming right back off the jaw.
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And then if you just imagine that other ear being attached back there on the other side of her head, you can kind of knock that in back there.
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You can do it nice and rough like that, there's no pressure, drawing is fun, it's relaxing.
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It's like meditation, you just relax.
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And then usually I do the same thing, I kind of flow off the front of her face, down into her neck, and into her collar.
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And again, if you can kind of just find these flowing lines, finding these sort of flowing calligraphic lines, gives your drawing a nice grace and ties it all together really nicely.
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And you are welcome to shade Judy.
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She's a gray rabbit, so if you'd like to shade her, shading is also nice.
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And then she has these sort of beautiful dark ear tips right up there.
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So if you can do this at parties, you will be so popular and people will buy you things and be your friend.
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And then, usually when you do a drawing, you have to let people know who did it.
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So I'm Byron, so I'll sign this.
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Byron did this.
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There we go.
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Anyway, so this is Judy Hopps.
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Just because we have it up here, you can do.
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What you're seeing here is I've got a 2D animation desk setup.
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And this is what, this is how I learned to animate.
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This is what, the same setup here
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was the same that they used back in the 30s
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and the 40s when they were making the 2D films with Walt across the street.
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And it's all the same technology, it's just these little peg holes in the bottom of this paper and it's,
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it's always great just to sit down and start moving the character's face around.
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It's like once you have a solid drawing of Hopps, then you can start to play around with her expressions, and you can kind of start to squash and stretch things.
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And our CG animators do exactly the same thing.
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They start with a solid pose of hops in the computer, and then they start building up their keys.
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And you can figure out how to make her kind of squinch and kind of get different expressions.
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She can look angry, happy, sad.
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But that's the great thing is that all of what we do at Disney, whether it's CG or drawn,
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has this great tradition of art that's been around at our studio for almost like 100 years.
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And so we love that.
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I love that tradition.
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I love the fact that every time I do another one of these films, the women and men in our animation department teach me something new.
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And they keep getting better and better.
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Hi everybody, I'm Byron Howard, one of the directors on Zootopia, and today I'm going to teach you how to draw Nick Wilde.
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Nicholas P.
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Wilde.
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Get ready, here we go.
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So here we go.
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Okay, so Judy has, I told you, like that kind of gumdrop head, right?
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Like that.
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Well, Nick, he's a fox and foxes are carnivores and they have to be a little more sleek.
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So foxes heads are shaped a little bit more, kind of like a flattened football.
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So where Judy is this, Nick is more like this, you know, here's Judy.
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There we go.
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And Nick is more like this.
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There we go.
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Like this kind of thing.
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Ah, see?
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Like sneakier already.
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It's more streamlined, it's got a lower forehead, that sort of thing.
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So, if we do a big Nick, here we go.
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So we're going to do the same thing.
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So do this nice, big, simple shape.
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It's kind of this sort of flattened football.
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A little more on the bottom than the top.
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There we go.
403
And once you have that, then I usually go with Nick to the eyes the eyes
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and we got a lot of this from Jason Bateman
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because Jason does these little looks where he looks so sneaky but he's so nice.
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He's a very nice nice man but he can be very sneaky.
407
And so we try to get this sort of half-lidded look on Nick a lot
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and that gave us a lot for his expression so
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that really was great because people say wow I look at
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that fox and that looks just like Jason Bateman And it's true
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because the animators will watch Jason record and they'll try to get his personality into the drawings and the animation performance.
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And so I've got the football shape, I put my eyes in place, got this little slanty sort of almond eyes.
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You can make them a little sneaky, a little half lidded.
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Usually if you keep those eyelids really high, keep those eyebrows really high.
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Because he's not mean, he's just sneaky.
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There's a difference.
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And then if I usually put the nose out here somewhere.
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He's got a long snout, so that snout's gonna stick way out far.
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It's coming at you in three quarters.
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It's like 3D.
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Here it comes, like, toward you.
422
And then I usually kinda just put in that mouth.
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There it is.
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And a lot of what I do on this mouth is from Chuck Jones.
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Do y'all know who Chuck Jones is?
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Chuck Jones, one of my heroes.
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Did these amazing cartoons growing up with Wile E.
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Coyote and the Roadrunner.
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So we looked at lots of different foxes
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and lots of different designs for these foxes and Robin Hood and many many cartoon designs from all around the world.
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And as we go, you know, you can sort of build Nick's expression and you can put his ears coming off the back of his head.
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You know, he's kind of sleek, so think of Nick like a sports car.
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He's like a sleek, sleek sports car.
434
And every time you find a line, you can kind of bring it off of another line that you've already drawn and that'll make it feel kind of graceful.
435
And you can kind of make that flow down into his body.
436
He kind of has that kind of puffed out chest sometimes.
437
And then you can kind of drop his shoulders off the top like that.
438
Maybe cross his arms like that.
439
And again, the looser you are, the better you'll feel.
440
Because it shouldn't be pressure.
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You should have fun.
442
You should just learn to flow with the drawings.
443
Just let it happen.
444
And not think about it too much.
445
And he also has a tie.
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Down there.
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I'm not great at drawing ties.
448
Let's just draw that real quick and say it's art.
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See it's rough.
450
It's art That's fine anyway, and Nick also has this beautiful kind of orange red color
451
And you can shade him in a little bit if you just have a black pencil like I do
452
A little bit of that makes it look a little more finished That kind of thing Looks very sneaky,
453
but charming just like the real Jason Bateman and And then when you get, okay that's about as much as I want to do with Nick, then you sign it.
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Sign your name and go show someone because they'll be very proud of you.
455
And that's how to draw Nick along.
456
In the world of Zootopia, humans never happened.
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which makes Zootopia a modern, civilized world that is entirely animal. That is an animal.
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Animals in Zootopia are anthropomorphic.
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That is just a big fancy word that means they walk around on two feet.
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They do not go to work nude.
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Thank you.
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Almost.
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That's got it.
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And they use technology.
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Okay, there are mammals from all over the globe in Zootopia.
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Large and small, fast and slow.
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But the truth is, Zootopia isn't perfect.
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And just like our world, not everyone gets along.
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Especially natural enemies.
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Which can create some issues.
471
But nature always gives animals special skills to survive, and while one may have amazing night vision, another may have incredible hearing.
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And an air-powered elephant tranquilizer. So now you know.
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Zootopia.
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Like nothing you've seen before.
475
city where animals of all breeds predator and prey alike live together in peace and harmony.
476
Hi, I'm Judy, your new neighbor.
477
Yeah?
478
Well, we're loud.
479
Don't expect you to apologize for it.
480
ZPD's first rabbit officer, Judy Hopps.
481
You ready to make the world a better place?
482
Bad news in this city gripped by fear.
483
What can you tell us about the animals that went savage?
484
Are we safe?
485
This is priority one.
486
Ops.
487
Parking duty.
488
He-he-he-he!
489
Whoops!
490
Sir, I'm not just some token bunny.
491
You strike out, you resign.
492
Deal.
493
Hello?
494
I'm here to ask you some questions about a case.
495
Then they should have gotten a real cop to solve it.
496
You are under arrest. For what?
497
Hurting your feelings?
498
You are a key witness.
499
No, he is.
500
Hey!
501
I need you to run a plate.
502
All right, I know a guy.
503
You need something done, he's on it.
504
They're all.. slots?
505
We are in a really big hurry.
506
I am... on...
507
It?
508
Break.
509
I have 36 hours left.
510
We can only solve it together.
511
It's not about how badly you want something, it's about what you are capable of!
512
I am a real cop.
513
Never let them see that they get here, you bunnies. So emotional.
514
No, no, no, no!
515
Do not let go!
516
I'm gonna let go!
517
What?
518
We may be evolved, but deep down, we are still animals.
519
Quit it!
520
You're gonna start a howl!
521
No!
522
You are naked!
523
For sure, we're a naturalist club.
524
All the way down.
525
Oh.
526
Life's a little bit messy.
527
We all make mistakes.
528
No matter what type of animal you are, change starts with you.
529
We gotta go.
530
Whose car is it?
531
The most feared crime boss, Mr. Big.
532
Is that Mr. Big?
533
Stop talking.
534
Stop talking.
535
Huh.
536
I'm some bull.
537
Daddy!
538
What did we say?
539
No, I think anyone at my wedding.
540
I have to.
541
My wedding!
542
I have to, baby.
543
Daddy has to.
Scarica l'app
Tutto ciò che serve per parlare fluentemente
Pronuncia con IAVoto per ogni frase
Pratica IPAPadroneggia ogni suono
VocabolarioCostruisci il tuo lessico
Gioco di vocabolarioImpara giocando
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Vocabolario e note di pronuncia per questa lezione
Questa lezione di conversazione di livello A2 si basa sul video “Zootopia ALL Clips + Trailers”. Questo video contiene 543 frasi e 4796 parole da ripetere con lo shadowing. Il parlato dura 36:13. Chi parla mantiene un ritmo costante di circa 132 parole al minuto, comodo per lo shadowing. Il 82% 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 |
|---|---|---|
| rabbit sostantivo | /ˈɹæbɪt/ | coniglio |
| ear sostantivo | /ˈɪə̯/ | orecchio, orecchia |
| bunny sostantivo | /ˈbʌni/ | coniglietta |
| elephant sostantivo | /ˈɛlɪfənt/ | elefante |
| cheek sostantivo | /t͡ʃiːk/ | faccia tosta, sfrontatezza |
| sneaky aggettivo | /ˈsniːki/ | furtivo, sfuggevole |
| claw sostantivo | /klɔ/ | artiglio |
| animation sostantivo | /ˌæn.ɪˈmeɪ.ʃən/ | ravvivamento, animazione |
| shade sostantivo | /ʃeɪd/ | ombra |
| adorable aggettivo | /əˈdoɹ.əˌbəl/ | adorabile |
| collar sostantivo | /ˈkɑlɚ/ | bavero, bavera |
| predator sostantivo | /ˈpɹɛd.ə.tɚ/ | predatore |
| solve verbo | /sɒlv/ | risolvere |
| priority sostantivo | /pɹaɪˈɒɹɪti/ | priorità |
| hop sostantivo | /hɒp/ | luppolo |
I phrasal verb che sentirai
| Parola | Pronuncia | Significato |
|---|---|---|
| fall down verbo | /fɔl ˈdaʊn/ | cadere |
| figure out verbo | scoprire, rendersi conto | |
| get up verbo | alzarsi | |
| give up verbo | arrendersi | |
| grow up verbo | crescere | |
| hold up verbo | ritardare, rallentare | |
| build up verbo | accumulare | |
| end up verbo | andare a finire, finire |
Frasi da ripetere
Frasi brevi e complete del video che puoi riutilizzare nella conversazione di tutti i giorni:
- You want the red or the blue, pal?
- What are you talking about?
- Can I pay you back?
- Big so mad at you?
- What did I do wrong, you guys?
La grammatica di questo video
Le strutture che chi parla usa di più, con le parole esatte del video:
| Struttura | Nel video |
|---|---|
| Frasi condizionali if + frase, will/would + verbo — una condizione e il suo risultato | If you thought we would ever |
| Present perfect have/has + participio passato — un’azione passata che conta ancora adesso | has done · I've drawn · you've caught |
| Forma passiva be + participio passato — conta ciò che accade, non chi lo fa | weren't attached · was made · being attached |
| Verbo + -ing enjoy, keep, stop… + -ing — i verbi seguiti dalla forma in -ing | finish selling · keep falling · start working |
Pronuncia a cui fare attenzione
Chi parla usa 126 contrazioni e forme ridotte, come I'm, gonna, don't. Pronunciale nella forma breve, così come le senti.
- I suoni “th”: thick /θɪk/, oath /ˈoʊθ/, trustworthy /ˈtɹʌst.wɜː.ði/, sloth /slɔθ/, anthropomorphic /ˌænθɹəpəˈmɔɹfɪk/
- I suoni “sh” e “zh”: animation /ˌæn.ɪˈmeɪ.ʃən/, shade /ʃeɪd/, occasion /əˈkeɪ̯ʒən/, initiative /ɪˈnɪʃ.ə.tɪv/, crush /kɹʌʃ/
- Parole lunghe — attenzione all’accento: animation /ˌæn.ɪˈmeɪ.ʃən/, adorable /əˈdoɹ.əˌbəl/, priority /pɹaɪˈɒɹɪti/, optimistic /ˌɒptɪˈmɪstɪk/, initiative /ɪˈnɪʃ.ə.tɪv/
I suoni difficili per chi parla italiano:
- /h/ — va soffiata, non è muta: hop /hɒp/, forehead /ˈfɔɹ.hɛd/, haircut /ˈhɛə(ɹ)kʌt/, helpful /ˈhɛlp.fl̩/, hire /ˈhaɪɹ/
- Consonante finale — senza aggiungere una vocale dopo: rabbit /ˈɹæbɪt/, elephant /ˈɛlɪfənt/, cheek /t͡ʃiːk/, relax /ɹɪˈlæks/, shade /ʃeɪd/
- /æ/ — più aperta della “e”: rabbit /ˈɹæbɪt/, relax /ɹɪˈlæks/, animation /ˌæn.ɪˈmeɪ.ʃən/, daddy /ˈdædi/, fancy /ˈfæn.si/
Come esercitarsi con questo video
- Ascolta tutto il video una volta senza parlare e annota le parole che non conosci.
- Fai shadowing frase per frase a velocità normale, ripetendo ognuna finché il tuo ritmo coincide con quello di chi parla.
- Registrati e confronta con l’originale, facendo attenzione a parole come rabbit, ear, bunny.
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.