シャドーイング練習: Cillian Murphy & Margot Robbie | Actors on Actors - 動画で英語スピーキングを学ぶ

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Greta really made a meal out of the, hi, Bobby, hi, Bobby, hi, Ken, hi, Ken, you know, that whole bit, and then, hi, Alan.

And, yeah, now people on the street say, hi, Bobby, a lot.

I like it.

I'd rather people be shouting that at me than other things.

This is true.

I'll take it.

For the rest of your life.

For the rest of my life.

first of all well congratulations on your uh reasonably successful film congratulations to you thank you

so you're a producer on the movie as well how did

you know a barbie movie would connect with audiences in the manner

that it did or did you know yeah it's like 90 of me was certain

that this would be a big deal and a massive hit

and then like 10 % of me thought oh this could go

so badly wrong but I went after Greta Gerwig from the beginning to direct

and hopefully write as well

and then she invited Noah to write with her without really even consulting him

but it meant we got two brilliant brains on the project and it really came down to her saying yes to this.

I had no doubt that this was going to work as soon as she said yes.

And she was always your first choice first choice

I just wasn't gonna let us say no I had met her before

because I wanted to work with her for a

while you know it was a pretty long process is about six years ago

we've got the property first we had to you know

it was set up at Sony we got out of Sony set

it up at Warner Brothers got Mattel's blessing to let us produce then went after Greta okay

and then it's like the writing process

and yeah I did obviously I didn't know it was gonna have the kind of yeah be the cultural phenomenon

that it ended up being when did you realize that

that was what it was going to be i knew there'd be big reactions to i i could say

it was all the way along i could i was like okay i think people are picking up

that we're trying to do something interesting here you know the fact

that it's greta girl with people like greta girl we're gonna barbie movie what

and so that was the right reaction that's what i was hoping for

and then you know the pictures of Brian and I, rollerblading on Venice Beach came out and went even wider than I was expecting that.

I was like, oh, people are gonna notice, of course, but it went kind of crazy.

And it was starting to occur that, oh, this might even be bigger than I'm even thinking.

And I believe in this more than anyone, so I've been thinking big for it, and it still turned out bigger than I expected.

Hey, Barbie.

Yeah?

Can I come to your house tonight?

Sure.

I don't have anything big planned, just a giant blowout party with all the Barbies and planned choreography

and a bespoke song you should stop by in terms of this the version of the film

and the adaptation or the the idea of it you know were mattel cool with

that from the beginning did you have any kind of pushback with how uh kind of radical

you were trying to make or yeah i mean mattel were amazing

to let us do this and i mean they're a character in the film yes

which i don't think they were expecting at all

but they had no idea until the script was done so greta and noah's process is to

go away

and not let anyone see the script even

you until they're totally finished no even me um we would kind of like

because it was covered so they were writing it during covert we would do

you know talk over zoom and check in

and be like hey you guys going and it was

so fun because you could watch greta

and noah like you know they're like oh we're working on this idea

so they tell us you know like working on this idea

and then they kind of like you know

when you talk to a comedian

you can tell sometimes they're like testing bits on you they kind of like test bits with each other

and we just sit and tom and i would just sit

and like watch them and be like yeah yeah

because ken's probably you know ken would probably be like

and you know say something and then she'd jump in

and be like yeah it's kind of like

and then before you know it they're kind of writing a scene

but verbally and in front of you and it's a fascinating process

and they write chronologically so they don't map something out and then write it, which a lot of writers obviously do,

but they write themselves into corners and write themselves out of corners.

Yeah, like we used to do as kids, just like write a story.

Yeah, and let it unfold.

And I think because of that, the story has a quality of you not getting too far ahead of it

because they didn't know where it was going to end up really.

So it was fascinating to kind of watch their process

and I think the movie is so amazing and original because of that process.

but then yeah came the day where the script was in our inbox

and Tom and I sat down on the couch to read it

and like even on page one I was just like oh wow okay this is it's gonna be hard to

convince them to let us to do this

but I'm loving it I mean it started with a Kubrick reference like completely redoing 2001 A Space Odyssey

and I was like oh I don't know

if this is what Mattel had in mind

and then by the end of the script you know

i was just like wow they're just they're never gonna let us make this it's such a shame

that this brilliant piece of writing will never see the light of day

because they're never gonna let us make this um

and they did thank god and a massive credit to them

but it was a lot of conversations about getting them comfortable with being very very very uncomfortable

so they had a sense of humor they did

and you know mattel they're a toy company

and they haven't made a movie before

so there's also like a educational process of like oh okay

this is what you're reading on the page it took a second for me to realize

that some of their concerns could be assuaged just by explaining the process of the film

you know for some things they're like but barbie's saying this

and i'd be like okay but this is how i'm gonna do it yeah

and then i'd say it and they're like oh

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and i'm like see how my my face is telling you

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that i don't think that but the words are saying

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that yeah yeah but that's subtext and there's subtext all through

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that you know and they'll be like oh okay so they

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and then still there's some jokes where they're just like

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so we have to use the word fascist do we need

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that bit where tell where he gets shot they have to be shot you know we're like yeah

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so there were there were certain jokes

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and uh i was so prepared to like fight for certain jokes

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and then like you know to explain like no we have to have

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that joke because of this and this and this and uh and some of them they're just like

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were fine with and then other jokes i didn't think they'd have a problem with you know but

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it was never a case of oh they didn't like that

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so let's cut it it was no no no we we need to explain why we think

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that should be in yeah and get everyone like i said comfortable with being

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uncomfortable did you think

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so many people were gonna watch a movie about the making

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of the atomic bomb no Christopher Nolan was always determined

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that it would be released in the summer as a big tenfold movie

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that was always his plan and he has this kind of superstition around

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that date the 21st movies come out on that day in

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and around the 21st of july or it could be always the 21st

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so they're always they always come out then i mean

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it's a good day it's a good day it is now yeah

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i know i remember one of the producers chuck roven called me

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because we worked together on some other projects okay he was like i think you guys should move your date

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and i was like we're not moving our date

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if you're scared to be up against us

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then you move your date he's like we're not moving out dead

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i just think be better for you to move

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and i was like we're not moving i think

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this is a really great pairing actually i think it's like well it's a perfect double billing oppenheimer

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and barbie that was a good instinct clearly the world agreed yeah they did

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but i think that both of these films show

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the appetite

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that the audience has for cinema

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i'm always like you know everyone talks about the algorithm i'm like how on earth is an algorithm tracking me

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because i have such an eclectic taste

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if you look you'd be like wow she's going from you know

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that black and white film from the 20s to love island

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so like what box do i put her in yeah same thing

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but the fact that people were going

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and being like i'll watch oppenheimer first then barbie

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i was like see you don't people like everything people are people are weird people have specific

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and wide -ranging tastes

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and they don't like being told what to do yeah audiences don't like being told you should see this

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or you should see that they will decide

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and they will generate the interest themselves

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and i think i think what happened with both of our movies was a case of point of

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that that the audience decided

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you know that this was correct

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and this was right i think they were also really excited by the filmmakers

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i think you're right yeah i think people were like itching for the next chris nolan film

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and itching for the next gretta gary yes to get them

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at the same time was you know exciting quantum mechanics says it's both how can it be both it can't

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but it is it's paradoxical

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and yet it works

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because i'm a fan of yours i have watched a lot of your things on the internet on youtube

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and there's kind of like it's out there on the internet

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that you're not that aware of memes and things like

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that first of all is that true and second of all

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if that is true were you even aware of the barbenheimer like phenomenon

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or were you just blissfully unaware because you use a dial -up phone

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or something no i have i have teenage boys i have two teenage boys

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so they keep doing this so

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and i do know what a meme is now i know

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that there are memes about me not knowing what a meme it's a great meme

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but it's like inception of memes a meme within a meme It is.

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I genuinely, at the time, did not know.

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But people forget that was a while ago.

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It was a long time ago.

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Yeah, a long time ago.

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Yeah.

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You know, I might not have known back then what a meme is.

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No. And I mean, I'm not that tech savvy.

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Exactly.

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And I think children started that stuff, right?

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Yeah.

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But now that it's become this sort of meme that's eating itself,

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I am aware, but it's mostly because of people either sending it to me or showing it, saying, look, you've got to look at this.

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But I do think that...

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Did you see any of the Bob and Heimer man -off?

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I mean, it was impossible to...

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Wasn't there some great ones?

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...invoid any of that stuff.

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People are so clever with the things that come up with.

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It was incredible, and it was self -generated, do you know what I mean? i know people kept asking me they're like

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so uh so the studio is talking the studio each department marketing department is talking to each other

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and i was like no this is the world doing

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this the world this is not a part of the marketing campaign this is just happening

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and i think it's it happened

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because like both movies were good yeah yeah that's the thing

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and there was a sort of a diversity offered by both yeah movies in fact

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that's summer there was a huge diversity of stuff in the cinema

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and like I think it just connected in a way

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that you or I or the studios

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or anybody could never have predicted we could never you can't force

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that predict no orchestrate that no

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and it may never happen again I know I mean it was wild seeing

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that many people going into movies yeah wild did you go to the movie did you go to see Oppenheimer

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or did you go to see

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Barbie do you sneak out and

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and see like what the vibe is I mean we were going around in cinemas checking like levels

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and things like that yeah well that's i guess you're a producer you you gotta do

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that i i try i try to avoid looking at myself

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i struggle with it um isn't the mask the best thing the what

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oh yes wear a mask everywhere yes that is everywhere again it's

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so good but i wouldn't volunteer to go and to see myself

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but i do know that chris and emma chris nolan

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and emma thomas his wife producer i think they were going they were sneaking into checking house yeah

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but then like the fact that people were going dressed up as Barbie

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or dressed up as Oppenheimer to go

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and see the movies multiple times it's just so it's kind of

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so flattering and you know kind of overwhelming and

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so great for cinema totally yeah like being the producer

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and being the star of the movie how did you manage to kind of um I guess split those responsibilities

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or uh was

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that difficult uh were you always going to play barbie

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i wasn't always going to not necessarily i i you know even

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when we got the property

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and sat with mattel i said you know

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they were like will you play barbie yeah i said no that's up to the filmmaker

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so it's you know i want to go after greta goig

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and she should cast whoever she wants and yeah

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if that's not me like that's okay and i said

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that to greta as well it's like you write the script

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that you want to write you and noah write it and

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if you think i'm the right actor for it great and

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if you don't like let's go get the best actor for it.

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I really didn't mind.

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I really wanted to produce this.

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I really wanted to make this.

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It wasn't until I read the script that I was like, oh, I have to play.

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And she'd written it like Barbie Margo.

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So she made it pretty clear, like, no, I want you to play this role.

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But you've done five movies with Christopher Nolan now.

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This is six, actually.

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Six, really?

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Yeah.

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So you like good guy big fan it seems to work

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you know i mean

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this is the first time playing a proper lead role for him they'd always been supporting parts over the years

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it's 20 years we're working together has your relationship changed

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or evolved in that time i mean i think

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that uh it's probably gotten you know uh richer i think

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you know i was certainly just kind of starting off back then

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or starting to work and properly in film

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and he had just made the leap in you know from making independent films into making big studio movies

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and and he was taking over this franchise for the first time with batman begins

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and obviously just nailed it but i think he's refining

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and refining his kind of vision

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and how the types of stories he wants to tell

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and how he wants to present them you know like moving into imax

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and he was the first director

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when did he start shooting always in the large format

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i think it was a dark night where the i think

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that opening sequence at the beginning i think that's in imax you remember

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when he breaks into the bank and all

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that i think that's in imax

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and that's the i could be wrong i think that's one of the first times

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that he started using it

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but like an oppenheimer we were using it almost all of the time yeah

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and they come at you it's like it's like a film i mean those cameras must be

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so heavy yeah yeah so loud

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So loud, so heavy.

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Have you worked with him with IMAX?

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No. But I know he shoots on IMAX and always on film.

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So I can imagine, like, to get more than a four -minute take, those mags must be massive.

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They're huge.

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And our amazing DP, Hoise, was like...

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carries him everywhere like i remember in dunkirk we'd be like on a boat in the middle of the ocean

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and a hollywood of the thing on his shoulder

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and it's like these beautifully composed shots

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but to answer your question i don't know

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i suppose as you you get older

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you just get a bit more confident in the sort of stories you want to tell

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and i suppose i you know i've learned a huge amount from working with chris in terms of focus

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and rigor and dedication um i think we have similar tastes

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and i think he may have you know helped form my kind of my taste

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but before i even worked with him the movies

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that he had made prior to batman begins i was a fan of

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and i really just wanted to you know meet him and

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that happens a lot isn't it like you're fans of directors

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and then you get to meet them and next thing you're working with them

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and it it's kind of nuts because you were at home watching their movies

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when you're a kid i don't know if that happens a lot but

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when it does happen it's like magic this is true

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i'm sure that's happened to you it has i've like reached out to people

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i really want to work yeah i've done that written letters

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and yeah the letter thing does work i have to say does i mean sometimes it doesn't

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but sometimes it does people appreciate a handwritten letter

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that you sit down to write i believe in

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that yeah i feel like i don't like playing lead roles

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because i feel like you have more responsibility

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and like yeah as a supporting role you can kind of be a little more like wild

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and yeah i don't know like I avoid playing lead roles.

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Really?

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I haven't done it that much.

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Not where, like, my character's the name of the movie.

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Yeah.

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Only I, Tonya, have I done that, really.

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Did you feel that sense of,

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like, oh, I have to carry the weight of this story because I am playing Oppenheimer and the movie is Oppenheimer?

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Or did you approach it, did it feel just the same as when you've worked with him in other instances?

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No, it did feel different.

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Like, he called me up out of the blue because he's never, like, I didn't even know he's writing it

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so he called me up out of the blue

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or emma thomas his wife the producer she called me

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because chris doesn't have a phone so she put me on to chris

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and he said in his you know very understated british way

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you know i'm just making this movie i'm off the time where i'd like to play the part and

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so it was like wham out of nowhere luckily

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i was unemployed at the time i just finished something i wasn't doing anything

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but i did realize then

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that it was different to the other jobs I'd done with him

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because it was the story of Oppenheimer's life and then

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when he eventually gave me the script it was written in the first person which I'd never read before and

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so I kind of the script was written in the first

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person yes like the big print would be like I'm looking

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I'm going to put the cup down exactly towards the door exactly

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which I'd never read before and so it was very clear

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that he wanted it to be truly subjective storytelling you know

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and that did add to the response the feeling of like oh this is a big big biggie

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but then i knew as well

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that he was going to people it with all these extraordinary actors

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and the thing about all those roles is they are all characters of significant consequence

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you know they're very consequential characters in in history

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and in the movie you know we put all these extraordinary actors in the yeah

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it was bonkers every time he would tell me oh you know gary oldman's gonna pop in

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and you know we got down he'd play straws and

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but i suppose what i'm trying to say is

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that he felt very very supported and secure in that you know

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because you knew share the burden a little bit completely yeah it felt lovely and i

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and i think i've developed a short time with chris over the years like we do understand each other

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i think we share a similar kind of taste

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or approach to storytelling he's a master he's a master filmmaker why do you love working with him

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and why do you think he loves working with you i know you're going to be really humble

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and be like i don't know why does he like me

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i can't understand i don't know i mean take a guess with with with chris

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you see it's just the work like um he's not interested in anything else other than the work

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and the filmmaking and he is incredibly focused

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and it's incredibly rigorous is it true

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he wears a suit every day to set he does wear a very similar attire every day

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but you know the reason i think

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that is i think it makes sense to me is

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that it's one just you know as a director he had

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so many decisions greta wore a boiler suit every day

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she had five one a different one for every day of the week

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she was like it's one piece of clothing it's got pockets

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so i can put my notebook and pen

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and she was like it's just i it's a decision i don't have to make

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and i have to make a thousand today you take

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that off the board yeah and then i was

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while we were shooting i went to the churchill war museum

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and saw that he winston churchill did the same thing he had like this boiler suit

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and i was like it makes a lot of sense i mean it makes total sense

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and i imagine

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if she wore something different on set it would freak

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you out i mean totally chris came in in a i don't know hawaiian shirt

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it would freak me out i wouldn't be able to concentrate

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and i don't think the crew would yeah so i think it's a sensible choice actually and prepping for the role.

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What's your prep process like?

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I mean, I don't know about you, but I'll take as much as I can get.

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With this one, it was six months from when he called me to when we started shooting.

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And I would have taken another six months if I could have got it.

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When he called you and said, movie about Oppenheimer, were you like, gotcha?

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Or were you like, I should go to New York, I know nothing about it i knew kind of very basic uh

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you know wikipedia level now i knew about the trinity tests

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and i knew about you know the manhattan project

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and then obviously what happened in second in 45

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but like i didn't know what happened afterwards or anything anything like

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that yeah yeah um

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so you read a lot to prep what else do you

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do like walk around walk around my basement talking to myself really do you record yourself

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i do sometimes do you um no only

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if i'm doing dialect stuff yeah

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but i prep like a psychopath as well

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it's it's the only way isn't

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it i'll prep as like as long as i possibly can i remember i started prepping one role

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and then covid happened and

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so i ended up prepping the one role for like a year

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and it was i was like losing my mind by the

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end of it my husband walked in i was like making like weird masks

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and stuff and i was like covered in paint he's like what are you doing

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and i was like i think i've gone too far with this character

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we need this to end i need to get on set

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it's the only way though i think this is the only

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because then i can walk on set and just be like totally free

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but if i hadn't prepped like i i'd be so terrified like

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when i hear some other actors i like look at their script

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and there's nothing written on it i'm like i'd be

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so terrified if i didn't have like a bazillion notes

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and thoughts because then I'd be having all those thoughts on set as opposed to just like.

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Exactly.

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And I think, you know, when you get on set, time is your most important commodity,

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as you know, and the last thing you want to be doing is figuring it out, every second counts.

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So you want to do all the figuring out before and then park it, you know?

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And Chris is the king of prep.

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And, you know, I don't know if Greta is the same, but he has like, you know,

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crew that he works with forever and HODs that he's worked with forever

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so they they know how he works

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and he preps with those guys for a long long time

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and so when we come on set it's like it's it's fast go time yeah yeah

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and it's really really fast and he just kind of expects excellence from everyone yeah

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which I think all the all the best ones do

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and I think everyone gets that it's an unspoken thing right i thought

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if i could find a way to combine physics

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and new mexico my life would be perfect

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and tell me about casting your movie then what was your kind of goal

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or plan to when you were

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when you were casting

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it then what was your i mean most people's names were written into the script like i was barbie margot

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and it said ken ryan gosling like everyone

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you know Greta kind of manifested the cast she got also everyone was

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so keen to do it yeah

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and a lot of people signed on to do like a

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long movie where they've got a pretty small role yeah agents

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were like why would we let our client be busy for this long

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and for this much screen time

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but you know their clients would be like no

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I want to do it I want to work with these people

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and I want to work with Greta

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and we just said from the start like let's make a massive dance party invite everyone

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and it was like that on set like it was

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so fun every day was so fun and we'd be playing music

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and we would dance in the morning like we'd crew cast

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everyone would like dance in the morning just to like get everyone it was

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so funny because we're shooting at least in

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other films like the fast movie like fast 10

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or whatever they'd like come over

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and they're like swat gear kind of be like what's going on in here

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and we're like it's barbie land come in

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and wow you know people were just like gravitating towards the set

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because they and and you know our actors everyone would come in on days

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that they weren't even working because just to hang out just to hang

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because it was so fun like you just wanted to be there with everyone

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and it was such a good group i think you can kind of feel

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that in the mood yeah i do think that that stuff um

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transfers definitely

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and i think it all trickles down from the top like whatever yeah mood the director sets

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it's like it seeps into everything

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and Greta just sets like the most like joyful space

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I mean I can't speak to her other sets I wasn't on them

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but I mean she's so joyful and supportive and exciting

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and just she's just brilliant and and you can feel that

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and I don't know I always think of it like um it's like

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when little kids can sense that their parents are like angry

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or frustrated even if like a parent's like i'm fine

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but they're slamming the dishes you know it's going to be like a little bit like on edge even

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if they don't understand they're like

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you know yeah that happens on a film set like I've seen that happen where you just feel everyone

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tensing because you know your director

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or someone else in a position of you know importance is is giving

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that vibe and everyone's suddenly like a little apprehensive and that's yeah

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and we just did not need

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that yeah vibe it has to come from the top doesn't it maybe

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that would work for some movies but

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that wasn't gonna work yeah I don't enjoy

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that this is not funny it's it's it can't go to work like I don't know

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if you're if you're gonna be vulnerable I feel like you need a place it's trusting

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and caring yeah going back to the prep question yes do you work with an acting coach

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or a dialect coach or like movement coach or do any of

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that kind of stuff uh did you train to be an

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actor no no didn't didn't train to be an actor um no kind of started doing theater when i was 20

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and then did an awful lot of theater for for like four years kind of exclusively

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and then started getting little parts in movies

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but i did use a dialect coach on this one because the voice was so

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specific yeah now we weren't trying to do an impression i'm not i can't really it's not in my

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wheelhouse to do impressions i don't have that skill and you know with accents for me it takes

469

it's like going to the gym for your mouth you know what i mean it takes a long time

470

australian mouths are like the laziest literally like a gym workout

471

but you guys do americans so brilliantly always that's

472

because we have to like build the muscles well

473

you have to like yeah build the muscles in your mouth to do an american accent really

474

i just thought it might be closer in in tona

475

or kind of timbre or tonata or i think we also

476

because we grow up watching so many american things australians like between our soft palate

477

and hard palate we've got one centimeter of space americans have three

478

so just an american mouth just has more space and then

479

because of that like we use our lips more

480

and our tongues are lazy and so when you're doing an accent you're building

481

that muscle and creating

482

that space that's why i think it would be harder to be american doing an australian accent

483

because i don't know how you have all that space

484

and have all that muscularity in your mouth

485

and suddenly like make it weak and i i don't know

486

that would be so hard aussies always do brilliant american i think that's good i love it

487

when i hear

488

that we've got a good rep

489

they will you certainly do with me irish have a great rep yeah we're not bad at it

490

but what i was trying to do with up

491

and i was the very like no one talks like it anymore you know kind of you know

492

that only like um like orson welles or like uh mr rogers

493

or like uh who else talked like

494

that yeah anyway you don't hear it i mean it wasn't even

495

that many decades ago no really did speak like that

496

and every time i'm researching an accent i'm like surely it wasn't

497

that you know exaggerated yeah you're recording you're like no it was wow we really have gotten

498

and so lazy we really have and i think it's become

499

so kind of homogenized

500

because of this connectivity in the world people sound quite similar yeah in different parts of the world don't

501

they did you have access to a lot of you know archival footage in order to replicate the mannerisms

502

or physicality of oppenheimer yes

503

there's a lot of stuff online online like just just on youtube god

504

i love youtube love a bit of youtube like my biggest tool

505

you just disappear down there can't you the problem with footage of him was mostly him giving lectures

506

and so it's quite performative you know it wasn't the real him yeah

507

so i used that a little bit

508

but it had to we had to kind of imagine how he would be you know with his wife

509

or with his colleagues and stuff like that that

510

that way it's kind of make up did you have like a thing

511

that would get you into him you know what i mean like yeah

512

i do physically i there was loads of pictures of him

513

and he always stood with his hand on his hip

514

and you see all these pictures because he was such a slight man

515

but he always stood with this very kind of jaunty angle with his hand on his hip

516

so i nicked that pretty quick early as a sort of a physical thing

517

and then the chris nolan kept sending me um pictures of david bowie

518

you know like in this sort of thin white juke era with the big voluminous trousers yeah wow

519

so we kind of stole that a little bit chances are near zero near zero what do you want from theory alone

520

zero how about you what was your process then

521

because it's such a difficult character to it's this kind of

522

20th century iconic not a real person yeah how did you figure it out

523

so weird prepping barbie as a character um

524

because i it was it was like all my usual tools didn't apply for this character

525

so i usually like i have the things that i do

526

and i i work with an acting coach

527

and i work with a dialect coach and i work with a movement coach

528

and i read everything and watch all the things and

529

when it's a real life person or whatever it's the things

530

that you were talking about if it's a made -up person whatever i rely on animal work a lot and um

531

And I was, you know, maybe like 45 minutes into pretending to be a flamingo or whatever, and I was suddenly like, it's not working.

532

The animal isn't helping me with Barbie.

533

I was like, oh, God, I don't know how to find her.

534

And I, yeah, it was like normally I do a couple, like I have a couple of things I normally do.

535

Okay.

536

So I make up childhood memories.

537

So I think of like, you know, say half a dozen core childhood memories,

538

and that helps me explain why they do the things they do in this group

539

so like you know this is the first time they were extremely humiliated in the public setting

540

or this is the first time they

541

felt betrayed or like whatever and but i couldn't do

542

that for her because she just was invented out of the vacuum

543

and lived in a you know like

544

so all the things

545

i normally did didn't work the animal work didn't work childhood

546

memories didn't work um even the accent wasn't something to cling on to normally i'm like what accent we're doing

547

so they grew up there and what time and and even

548

that it was like no i should be from nowhere

549

but kind of general but you know you know

550

so i i was really struggling it was it was like she was

551

so smooth and shiny i had like nothing to grab on to

552

and i was like i don't know where you are even though she was written beautifully in the script anyways

553

i went to greta

554

and i was like i like help me i don't know where to start with this character

555

and i was like it's just okay what are you scared of

556

and i was like i i don't want her to seem dumb

557

and ditzy but she's also not meant to know anything she's meant to be completely naive and ignorant

558

and greta found this uh episode on this american life a podcast where it was a woman who doesn't

559

or can't introspect like doesn't have the voice in her head oh wow

560

that's like constantly narrating like the way we all do and

561

so that was like an instance where i was like wow oh

562

so she doesn't have that voice and this woman's like you know got a phd

563

and is extremely smart but just doesn't have

564

that internal monologue is she happy yeah totally

565

and she happier do you think god i wondered about

566

that you know when the interview was asking her like so

567

if you're like looking out a window she's like i'm just

568

looking out a window she's like it didn't even occur to me

569

that it didn't introspect until one day it suddenly I suddenly realized as a growing woman

570

that my parents were one day going to die

571

and she was like inconsolable think you know thinking that

572

and her boyfriend was like what's wrong she's like my parents are going to die one day

573

and he was like had you not thought about

574

that before she was like no

575

she kind of thinks exactly what's in front of her like

576

a spotlight to what exactly is in front of her at the time yeah it was really interesting

577

so things like that i was like wow

578

and then greta's like you know references for okay

579

i want the cadence of your speech to be like we did this thing called movie church

580

so every sunday morning we would invite all the cast

581

and crew whoever wanted to come to the notting hill electric

582

which is such a good cinema and watch a movie

583

that was somehow related to barbie like what for example

584

so like for example we'd watch his girl friday

585

because greta would be like i want all the Barbies at the dance party to have

586

that rhythm like

587

when they speak like it should be like it's funny Greta

588

sometimes she I think she uses this to find the comedy in scenes too

589

she uh doesn't look at the monitor like she closes her eyes

590

and she just listens to a scene yeah she's really tuned into like the rhythm

591

which is really interesting but then there might be a reference like we'd watch the red shoes

592

because we're coming up with a lot for the camera like the color chart

593

you know the ib tech we called it techno barbie

594

because we wanted to look like

595

that kind of like really poppy saturated 50s soundstage musical

596

or we'd watch 2001 space odyssey because it's a reference gosh we watched

597

so many movies what a nice thing to do

598

so it was the best it was

599

so fun coming up with the character was weirdly difficult

600

and you wouldn't i wouldn't think playing a barbie would be difficult

601

but then i realized i had nothing to grab onto

602

and it did take me a second but i did know

603

and it was evident in the script

604

that i wanted there to be an evolution between how she is at the beginning

605

and who she is yeah at the end

606

and at the beginning she is a doll and she doesn't introspect

607

and she's never experienced something like shame and she's never experienced you know there's

608

so many things she hasn't ever experienced and

609

so she's certain she says everything with absolute certainty

610

and she moves with absolute certainty she's wide and open to the world

611

because why wouldn't you be there's nothing bad there's no pain there's

612

nothing

613

that you know she can say happily to ken like you can go

614

now i don't want you here like i want to see my friends

615

it's my house not yours all right like and it can be like

616

that and then towards the middle it starts getting shaky and wobbly and yeah fragile and vulnerable and By the end, she is human.

617

She's become human before she's even.

618

realized to ask for that and

619

so we did a couple things

620

you know wigs got smaller less hair more realistic um costumes got less structured geometric patterns

621

or dots or whatever turned into like florals

622

or pastels less certain colors less just less certainty really to mirror like what

623

that evolution of life would be very subtly subliminally yeah by the end

624

i wanted people to kind of weirdly be thinking like oh

625

I feel like I'm just watching Margot weirdly as opposed to like a character

626

I thought I saw at the beginning yeah so I don't know

627

if it had that effect but that's what we were trying to accomplish

628

and um and then weirdly I was kind of playing my mom a little bit really yeah

629

because my mom is so pure like she's

630

so I don't know maybe you'll meet her one day it'll makes sense

631

but it was funny one day on i did was i was like a little bit conscious

632

that i was doing that but one day on set my mom was visiting

633

and greta like turned to me she's like oh my god you're playing your mom aren't you

634

and i was like yeah a little bit yeah

635

and what does she think of the movie she loved

636

it yeah she do you know what the afterwards i was like um did you like

637

that did you like that line where ruth says us mothers stand still

638

so that our daughters can see how far they've gone i was like did

639

that make you cry and she was like no

640

and i was like oh really she was like i thought

641

it was a very well written line though i was like oh i'm

642

so so angry

643

that didn't me what did your parents think of openheimer oh do they like praise you

644

or try to keep you down to earth and like do

645

that thing that your family does where they're like keeping your feet on the

646

they they are very proud yeah uh by it all um i really wanted them to see it you know

647

and like with an audience in the in the cinema i think they saw it in paris

648

and uh yeah they're a little it's a little uh the movie's a little overwhelming

649

you know uh i saw it no i was in a cinema

650

and it was really hot day in london

651

and the ac stopped working oh no sorry oh no

652

it was actually it was almost like we're having a 4d experience it was like chris designed

653

because it was like literally like getting hotter and hotter

654

and they're building the bomb

655

and by the time the bomb was going off

656

i was like literally dripping with sweat with everyone else in here it was

657

so hot and excellent i'm so proud so proud of what you have accomplished

658

we should talk about the uh costumes so you're clearly still not sick pink

659

no i'm not i'm not done with pink yet yeah the costumes were incredible

660

i mean pink it's you just can't have a barbie movie without the color pink

661

and everyone really got on board with

662

that like i'd make a um on wednesdays we went pink day do you know that reference from mean girls

663

I had forgotten that reference.

664

On Wednesdays, they were pink.

665

And so if you didn't wear pink on set, you got a fine, and then I'd donate it to charity.

666

And honestly, people leaned in.

667

I was like, you can wear pink socks, that's enough.

668

And people were like, no, I'm happy to like, you know.

669

It's always like the guys I feel like that are like, oh, finally I have permission to wear pink and get dressed up.

670

Every Wednesday?

671

Every Wednesday.

672

How long did you shoot for?

673

Quite a long time.

674

Okay.

675

How many days was it in the end?

676

it's a lot of it's at least five months it's a lot of pink additions to i have

677

so much pink in my wardrobe now i wasn't really a pink girl before

678

but you know leaning into it but the costumes are amazing

679

and there were so many like jacqueline duran who gret had worked with before is extraordinary

680

and her references it was meant to be a bit of

681

an evolution through the decades as well like starting in the 50s

682

when barbie was created and then it kind of morphed into 60s

683

and 70s 80s by the time we're on the boardwalk we're wearing like neon kind of like 80s 90s

684

and then gets a bit early noughties and and then modern day

685

so yeah it was really it was clever and it was fun

686

and everyone would just squeal every day we'd get to set

687

and see what each other are wearing and be like you look amazing

688

and like i said the guys i think the guys like our kens loved

689

it more than anything they really seemed to uh to get it it would get crazier

690

and crazier until like until ryan would be like i think i need a mink

691

and i need it you know it just got insane

692

but you actually built the sets yeah for real yeah yeah it was incredible we built

693

that whole cul -de -sac the dream houses are like several

694

stories high everything's like hand painted all the backdrops hand painted

695

made all of barbie land in miniature filmed the miniatures um yeah everything was very tactile

696

and the transportation sequence it's all that it's like

697

practical and like a diorama

698

and there's like you know literally people like holding a rod with a butterfly dangling off it

699

and you know everything was just the handmade quality of it was

700

so intrinsic to the movie anyway

701

because it's meant to be a toyetic world yeah toys

702

and you should feel like you could reach in

703

and grab it all but it does make a difference i think i mean i don't know

704

if the audience knows on a kind of a um conscious level yeah

705

but i i really believe that they experience on a subliminal level

706

that this is happening in camera i agree

707

and i know chris nolan is definitely lives by the same rules of like everything in camera everything's practical

708

and i think what cgi can do what vfx can do is like incredible

709

and as a tool yeah to complement yes work it's amazing

710

but when it's relied on too heavily there's something about that like

711

infinite yeah quality like looking at something

712

that's just like could go on forever where you i don't know

713

i find i i get detached i'm kind of like something in me can sense

714

that it's not real and so i don't really care i don't really care

715

if that thing explodes or that building falls down

716

because it's not real like you just know when it's not real yeah i think we do now i think

717

definitely were kind of inured to it at this stage on Oppenheimer

718

there was no set fills

719

it was all real locations every single location was the actual place a lot of it was like Oppenheimer's house

720

we were shot in New Mexico was actually where he really lived yeah with Kitty

721

so myself and Emily were filming in there you know how good's Emily she is astonishing i love her

722

so much i think there's just like she can do anything emily

723

i would watch her in anything

724

i don't need to hear i don't need a log line i don't need a title

725

if i see she's in it i'm like i'm in i'm gonna love it she's

726

so charming mind -blowing but yeah so you shot in new mexico yeah

727

and i think you can feel the kind of this sounds kind of like cliche

728

or hokey or something

729

but i i feel like you can feel the vibrations in the room

730

i feel like they transfer to the character feel like they're we then have an extra level of connection

731

or respect for the environment or for the characters particularly

732

if they're real -life characters that actually live there yeah

733

so yeah and we shot in Oppenheimer's office in Princeton

734

which was right next to Einstein's office in the real location

735

and there was many of those instances where you feel

736

you kind of you know it's goose it's goosebumps you know like I'm not a superstitious person

737

or anything but I know you feel you feel it yeah Chris wanted that

738

and for example the last sequence in the movie you know the well well the flashback isn't forwards to it

739

but you know the whole big hearing at the end

740

that was in this horrible shitty little bureaucratic tiny room somewhere outside of LA

741

and we were all

742

and it was really hot we were all of us stuffed at this room

743

this huge IMAX you know we could have easily built

744

that in a big stage and pulled away the walls Chris wanted it to feel a claustrophobic,

745

you know, sort of awful feeling that you would have had in one of those rooms.

746

And they deliberately wanted to put him in a room like

747

that to make him feel like he was worthless and that it was kind of meaningless to demean him.

748

And it worked.

749

Can I ask something off topic?

750

Sure.

751

In my opinion, there are two kinds of people in this world.

752

there are the people who are obsessed with Peaky Blinders

753

and then there's the people who haven't seen Peaky Blinders I obviously sit in the first category

754

so can we please talk about Tommy fucking Shelby just for like one minute sure

755

if you like yeah what was it like

756

oh I mean that was years and years of your life yeah it's like 10

757

that was also a 10 year adventure

758

that we should start shooting at the end of 2012 it's

759

so crazy yeah i love the song

760

that plays at the very end of the last season oh yeah all the tired horses yeah lisa o 'neill

761

i love that song

762

so much it's on my cry playlist like cry on set there's a dylan song

763

and she took it and just like it's

764

so good yeah she's special is there gonna be a spin -off movie

765

i mean i i i'm open to the idea really I've always thought that

766

if this there's more story to tell well we'll see I mean who knows

767

I guess do it please well that's very kind of you to say

768

I mean I'm totally open to the idea

769

but you know I also do think it was a kind of perfect six seasons no

770

and we managed I don't want to wreck it well

771

it's kind of sometimes hard to kind of move into the film format

772

and I can I do like the ambiguity of the ending

773

but I'm always open to like a great script

774

you know who wouldn't be good people just come up to you all the time a lot yeah a lot

775

and say told me for good job they do yeah yeah

776

and have you lost a lung smoking all those cigarettes it wasn't great

777

but then of course I did Oppenheimer it's like a pipe

778

and I literally thought

779

that I was watching it I was like we need to get into a doctor yeah he's smoked

780

so many cigarettes the thing about those herbals

781

now they have a warning on the herbals as well do they yes

782

so you can't win you know so

783

if people shout at me uh tommy shelby do is it inevitable

784

that people i would imagine they shout at you

785

but they might go hey barbie or whatever is

786

that what happens a lot of high barbies yeah a lot of yeah it's it's funny

787

because the waving thing wasn't that big of a thing

788

and then on set it just got bigger

789

and more okay to the point where it was like the waving was like

790

so something about barbie like she needs to be so earnest

791

that she's almost a dork but she's like

792

that you're kind of like no but i still like you

793

and somehow waving really like really just really just summed

794

that up and so we just kept doing it and doing it

795

and then greta really made a meal out of the hi bobby hi bobby hi ken hi ken you know

796

that whole bit and then hi alan

797

and yeah now people on the street say hi bobby a lot probably

798

i like it i'd rather people be shouting

799

that at me than other things this is true i'll take

800

it for the rest of life the rest of my life

801

and tell me speaking of

802

that do you do you feel like there's a sequel in the works

803

if you're asking me about a peaky movie you're allowed to ask

804

that because i did ask you the thing i i same thing like you i'm like we put everything into

805

that movie and it's so good yeah that i'm like oh no

806

and i was so also so proud of the fact

807

that it wasn't like an original sorry

808

that it wasn't original it wasn't a sequel or a prequel remake

809

which is getting rarer and rarer these days

810

and your movie too is original and that's amazing

811

that we both got these big theatrical opportunities for original ideas yeah

812

that part of me almost i'm like oh no

813

if we do a barbie too then we just i don't know

814

but at the same time i would do anything to be back on the set

815

and i'd do anything to be on set with gretta again

816

and ryan again and playing barbie again like playing barbie is the best it's just

817

so joyful so again so it's not not no yeah not no yeah

818

but also it would take a lot for it to be a

819

yeah to live up to what you guys do yeah yeah

820

hi barbie hi barbie hi barbie hi barbie hi barbie hi barbie obviously i've now revealed

821

that i am a big fan of yours um not just peaky blinders

822

i also love your sleep story on the calm app oh and um just everything you've done really well likewise

823

i mean it is crazy

824

that after all this this is literally the first time

825

i'm ever meeting you yeah likewise it's been nice very formal setting

826

i know i know well nice to chat to you margot

827

Hopefully not for the last time.

828

Exactly.

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このスピーキングレッスンは、動画「Cillian Murphy & Margot Robbie」を教材にしています。この動画には、シャドーイング用の文が828文、単語が9588語あります。音声の長さは48:01です。話す速さは速く、1分あたり約200語です。音のつながりや弱く発音される音が多くなります。単語の84%は英語の頻出3,000語に含まれます。残りは練習の前に確認しておきましょう。

この動画の重要語彙

動画に出てくる覚えておきたい単語15語を、発音と意味つきで紹介します。

単語	発音	意味
script 名詞	/skɹɪpt/	文書, 文章
meme 名詞	/miːm/	ミーム
producer 名詞	/pɹəˈdjuːsə/	生産者, 製作者
cinema 名詞	/ˈsɪn.ə.mə/	映画館
accent 名詞	/ækˈsɛnt/	強音, 強調
costume 名詞	/ˈkɑsˌt(j)um/	衣装, 衣裳
shout 動詞	/ʃaʊt/	叫ぶ
muscle 名詞	/ˈmʌs.əl/	筋肉, 筋
extraordinary 形容詞	/ɪksˈtɹɔːrdɪn(ə)ɹi/	並外れた, 非凡な
sequence 名詞	/ˈsiː.kwəns/	順序
vibe 名詞	/vaɪb/	氛囲気
certainty 名詞	/ˈsɝtn̩ti/	確信
meal 名詞	/ˈmiːl/	食事, めし
practical 形容詞	/ˈpɹæk.tɪ.kəl/	実践的な
format 名詞	/ˈfɔːɹ.mæt/	書式, フォーマット

動画に出てくる句動詞

単語	発音	意味
dress up 動詞		着飾る
come out 動詞	/ˌkʌm ˈaʊt/	出る
grow up 動詞		成長する, 大人に成る
come over 動詞		遣って来る
fall down 動詞	/fɔl ˈdaʊn/	落ちる
go away 動詞		去る, 出る
pick up 動詞		拾う, 拾い上げる

繰り返し練習したい文

動画に出てくる短く完結した文です。日常会話でそのまま使えます。

Can I come to your house tonight?
Wasn't there some great ones?
What's your prep process like?
How long did you shoot for?
Can I ask something off topic?

この動画の文法

話し手がよく使っている文型を、動画の実際の表現とともに紹介します。

文型	動画での表現
条件文 if + 節, will/would + 動詞 — 条件とその結果	if you look you'd be
現在完了形 have/has + 過去分詞 — 過去の出来事が今も関係している	haven't made · have watched · you've done
受動態 be + 過去分詞 — 誰がするかより、何が起きるかに焦点を当てる	was set · was covered · could be assuaged
関係詞節 who / which + 節 — 人や物について情報を加える	woman who doesn · people who are · people who haven

注意したい発音

話し手はdon't, I'm, they'reなど、短縮形や弱形を294回使っています。聞こえたとおりの短い形で発音しましょう。

「th」の音: theater /ˈθi(ə)tɚ/, rhythm /ˈɹɪð.əm/, algorithm /ˈælɡəɹɪðm̩/, clothing /ˈkloʊðɪŋ/, thin /ˈθɪn/
「sh」と「zh」の音: shout /ʃaʊt/, evolution /ˌiːvəˈluːʃ(ə)n/, congratulations /kənˌɡɹæt͡ʃəˈleɪʃ(ə)nz/, conscious /ˈkɑn.ʃəs/, impression /ɪmˈpɹɛʃn̩/
長い単語（アクセントの位置に注意）: evolution /ˌiːvəˈluːʃ(ə)n/, extraordinary /ɪksˈtɹɔːrdɪn(ə)ɹi/, congratulations /kənˌɡɹæt͡ʃəˈleɪʃ(ə)nz/, incredibly /ɪŋˈkɹɛdɪbli/, diversity /daɪˈvɜː(ɹ)sɪti/

日本語話者が苦手な音：

/r/ と /l/ の区別 — /l/ は舌先を歯茎につけ、/r/ はどこにもつけない: practical /ˈpɹæk.tɪ.kəl/, congratulations /kənˌɡɹæt͡ʃəˈleɪʃ(ə)nz/, incredibly /ɪŋˈkɹɛdɪbli/, vulnerable /ˈvʌln(ə)ɹəbl̩/, algorithm /ˈælɡəɹɪðm̩/
/v/ — /b/ にならないように、上の歯を下唇に当てる: evolution /ˌiːvəˈluːʃ(ə)n/, vibe /vaɪb/, whoever /huˈɛvɚ/, diversity /daɪˈvɜː(ɹ)sɪti/, invite /ɪnˈvaɪt/
/f/ — 「フ」ではなく、上の歯と下唇で出す: format /ˈfɔːɹ.mæt/, awful /ˈɔːfʊl/, afterwards /ˈæf.tɚ.wɚdz/, footage /ˈfʊtɪd͡ʒ/, uncomfortable /ʌnˈkʌm.fɚ.tə.bl̩/

この動画での練習方法

まず声を出さずに動画を最後まで聞き、知らない単語をメモします。
まず0.75倍速で一文ずつシャドーイングし、慣れてきたら通常の速度に戻します。
自分の声を録音して元の音声と比べます。script, meme, producerなどの単語に特に注意しましょう。

シャドーイングとは？英語上達に効果的な理由

シャドーイング（Shadowing）は、もともとプロの通訳者養成プログラムで開発された言語学習法で、多言語習得者として知られるDr. Alexander Arguelles によって広く普及されました。方法はシンプルですが非常に効果的：ネイティブスピーカーの英語を聞きながら、1〜2秒の遅延で声に出してすぐに繰り返す——まるで「影（shadow）」のように話者を追いかけます。文法ドリルや受動的なリスニングと異なり、シャドーイングは脳と口の筋肉が同時にリアルタイムで英語を処理・再現することを強制します。研究により、発音精度、抑揚、リズム、連音、リスニング力、そして会話の流暢さが大幅に向上することが確認されています。IELTSスピーキング対策や自然な英語コミュニケーションを目指す方に特におすすめです。

シャドーイングのやり方: ステップ別の完全ガイドを読む →

シャドーイング練習: Cillian Murphy & Margot Robbie | Actors on Actors - 動画で英語スピーキングを学ぶ

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注意したい発音

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シャドーイングとは？英語上達に効果的な理由