シャドーイング練習: Leonardo DiCaprio & Jennifer Lawrence | Actors on Actors - 動画で英語スピーキングを学ぶ

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Your guys' chemistry was amazing.

Have you ever kissed?

I got a Matchbox car commercial where I played a gangster.

Why did somebody dose everyone and why would they waste drugs?

You're starting?

Yeah, I'd like to start.

Because One Battle After Another is my favorite movie I've ever seen in my life.

Oh, thank you.

Oh, stop.

No, really.

You're a really, really, really great actor.

And this was like the greatest performance I've ever seen.

Stop.

And what struck me just as somebody, because I know you, and I thought this character was so, it's like the rawest I've ever seen you, but you were also really warm.

and Bob reminded me not in like personality

but I guess in like values of your dad

and I know your parents were like very counterculture yeah

so is there something that was like built from you about Bob

or like do you think PTA just kind of handed you a really warm

and amazing guy I think it was very personal for Paul.

He'd been writing it for 15, 20 years, and it was very pertinent to today, very topical.

But yeah, it was, you know, it was based on violin, but he made his own rendition of all of it.

And I think the idea of this guy who was a revolutionary,

then trying to assimilate himself in the modern world with a daughter that he didn't connect to,

was something that had been permeating in his mind for a long time

but as far as like the counterculture stuff yeah my

my parents are different though you know my dad hung around with abby hoffman a bit

back in the day they were definitely hippies but these were much more hardcore revolutionaries

much crazier stuff but yeah your dad was also a bomb maker my father was a bomb maker

but i don't know i just love the idea of picking

up on this guy who's just kind of essentially an extra

in the beginning of the movie to tayana's sort of revolutionary fire

and then you find him stuck there trying to live off

the grid with no internet no phone thinking his daughter is going to be as paranoid as he is

and then this idea of them trying to reconnect in a modern context

and he doesn't even know how to relate to his daughter

or the world that he lives in but all that was in in the script and something that Paul, you know, put a lot of thought into.

What time is it?

You know, I don't I don't I don't remember that part.

All right.

Let's just not nitpick over the password.

So it was the funniest I've ever seen you.

And was that because you were were you like aware of the comedy?

Because I think the funniest people are like an Alec Baldwin who like does it like as serious as a heart attack.

And I can't do that like when I was doing No Hard Feelings, I was too like aware that it was a joke and I was like, yay, a joke's coming up and I don't think I could do that.

But did you, were you like aware that you were being funny or were you just really...

It was the circumstances.

I mean the fact that Paul wrote this idea

that you think I'm going to be able to utilize all the skills from my past as a revolutionary, but that he's too stoned to get off the couch

and he can't remember the password and then

that kind of dominates the entire story right

and then each time we got to these moments where maybe

my character was going to do something heroic we throw it

out the window all the way to the end yeah

when you fell off the roof all the way to the

final moment in the movie where we still thought maybe i

was going to do something heroic we're like nah no he

doesn't do it yeah Benicio also never really got his moment of like all this kind of work

and then there wasn't like a moment where he rides off

into the sunset right it was just kind of he was

fantastic he was your guys chemistry was amazing have you ever kissed he was actually doing Phoenician scheme

and we said we have to wait for him

so we shut down production for three months

and then he was like I'm not I'm not prepared for this

but he came in and knew exactly who his character was and we changed the whole movie when he arrived Yeah, all that stuff we did on the road Is because Benicio's like no,

I'm not doing this.

I am doing this.

This is who sensei knows This is what he's we just kind of made up the improvised

Most of that stuff that we did Wow This is the end of the line Not for you Ocean waves, ocean waves.

Well, last question.

I have more, but before we move on to me, do you watch playback?

Depends on the movie.

Did you watch playback on this?

No. Oh, yeah, you couldn't because of the film.

It was all VistaVision.

Right.

Almost endangered or extinct cameras.

Giovanni Ribisi.

Yes.

Yeah.

I actually told Paul about Giovanni Ribisi, who makes a lot of these cameras.

Yeah.

A lot of them are from Hitchcock's era.

The last film was One-Eyed Jacks.

And then the Brutalist shot something in VistaVision.

But the thing about VistaVision cameras, not only are they incredibly rare, and that's when Giovanni stepped in and said, hey, I have two of these cameras that I put together.

The projectors, there's only like four in the world.

Wow.

The film goes this way, and it's very, you know, I think Cinemascope took it over.

But yeah, there was no playback.

Yeah.

A lot of rollouts a lot of roll outs

and we actually i think only destroyed one camera destroyed it how yeah

driving the driving oh man i saw the movie in imax and those driving scenes were amazing

like stomach dropping so good so do you think you'll have another one yeah pregnant now

cooking up twins what happened to your hands oh you should see the wall

so tell me about die my love i thought it was i just finished it this morning

because this all got decided yesterday

but it kind of reminded me of like french new wave

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or cassavetes filmmaking and i thought immediately of woman under the influence

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which is one of my favorite performances and one of my favorite movies yeah

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so why did you want to do this part what got you into it you were fantastic in it.

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Tell me more.

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Thanks.

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Martin Scorsese had read the book in his book club and he was like, you should be in this movie or you should make this into a movie and star in it.

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And then when I was reading it, I really couldn't understand how it would be a movie because it's like all her inner dialogue.

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I got the emotion of it.

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Like I felt like the author, Ariana Horwitz, was able to like describe the indescribable like grave depression

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and like an identity crisis but like really poetically like being lost in a forest

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and just like these visuals and these metaphors

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that i i just never thought of like the human condition in

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that way but i couldn't like crack how to make it a movie

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and i didn't want to like go back to marty and be like i don't gotta try someone else.

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The ending is really powerful.

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Well it's interesting because it okay so once I realized

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that it's poetry you know it's not like a literal story then it clicked that it's Lynn Ramsey because she's a poet.

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And what stuff was in the book was there stuff in the book

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that wasn't in in the movie or is it pretty much?

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No she changed a lot.

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She changed a lot.

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She made the couple be new to town, which in the book they're not.

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And I think that adds a huge element to my character's depression.

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And I think also the kind of pacing like a tiger in a cage, you know, just like this.

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I think it added a lot more of like the isolation that I think a lot of new parents have.

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Cause like, what is my life now without a community?

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You know, just being really lost.

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At the beginning, both of our characters kind of stick out like sore thumbs.

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Cause we're like from a big city and we're in this small town.

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And then as the movie progresses, I start to blend in,

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and then that was my way of finding where I was in the day, where she was mentally.

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I'd be like, oh, the pink cardigan.

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Okay, she's...

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A lot of the tension for me was that baby.

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Yeah.

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You know?

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I know.

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You think of the tension in a film like this, you're like, okay, what's going to happen to this child?

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I know.

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Because she's unraveled.

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Yeah.

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Uncapable of anything.

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Yeah.

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That's what got me on edge.

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I know.

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I really loved seeing you be a dad one battle after another.

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I'm so sad that you don't have a teenage daughter.

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You look great with one.

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We changed a lot in the book.

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You know, the child is not well taken care of.

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Rob and I are both parents.

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Rob had a newborn and we just were not capable of, I think, even playing

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characters like that and it changed and I think

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that ended up being for the better

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because postpartum I think we've only been talking about it really recently right and so

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when we do talk about it the only understanding of it

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like is like a very simplistic like you don't connect with your child

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and you don't like your child right

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when really that's like one version of it you know another version of it is your marriage starts to erode

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because your dynamic is completely different and we dealt with a lot of

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that with Teyana's character too in the movie yeah

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which was kind of something i didn't wasn't really i guess it was kind of hinted at in the script

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but this idea of me loving the baby more than her her being jealous of the baby

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and then all these secret conversations

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but it was just a little blip in the movie yeah

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whereas you explored it well i can't i imagine how much

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that would happen for her specifically because she was doing something

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so important and then

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when you have a baby it's hard to not just feel like an animal right

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and you're just like i'm a useless cow

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but just you know i used to have a life i used to do important things right

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and i mean for her right she was doing like

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and then she almost blames me for being the paternal one in a weird yeah

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and you'll never understand what i get it i'm Montana side

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I'm curious about something I was gonna ask our work aside okay no

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but I mean we're both you know we both started out very young how old were you

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when you started out auditioning 14 in Kentucky no New York

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in New York yeah 14 14 I was 12 Wow yeah

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and you did a lot of commercials TV yeah before Winter's Bone.

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And we were both on sitcoms.

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Yes.

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What was your sitcom again?

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Well, yours was Growing Pains, which I watched every day after school.

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And mine was the Billing Ball show, which I don't think anybody has ever seen except me and my parents.

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How long were you on it?

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Two years.

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Two years.

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And then as soon as I wrapped Winter's Bone, and then the show got canceled.

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It worked perfectly.

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I did one year of Growing Pains, then I got This Boy's Life, which was like my first starring role and they were

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so incredibly awesome to me because i think

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that we were going to do another year

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and the late great alan thick and all of them got together

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and like let the kid go do this let him go

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it was really an amazing moment yeah they're not normally nice like

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that and what was your first commercial um i did an mtv promo for my super sweet 16 the show

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so i was like on chaise lounge like

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and then they like dropped me but were you in the show super sweet 60s no

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what is a promo what does

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that mean a promo is like it's like a it's like

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a commercial for the show still don't get it okay i

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was playing a rich girl i see having a over the

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top birthday i was acting like i had money gotcha mine was a didn't grow up rich no

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but you got a sitcom at 12 i mean that's yeah

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i mean i think a lot of my propulsion to want

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to act was to get out of my neighborhood like

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that you could do

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that for work right my stepbrother did a lot of commercials like wait a minute you get paid to do

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that yeah i'm gonna get out i gotta get out of this place yes

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so i was the stage mom right i was pushing my

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parents to take me on auditions i'm like you know my school is this far away

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when you pick me up we can stop at a couple auditions on the way home get me out there so i

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and then i like like i said my step brother he

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was he was an actor did an episode of battle star galactica

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and some television and i was like

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if anything this is going to be my college fund to

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get me money to try to have some sort of career in something

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and then i didn't book anything for I got a matchbox car commercial where I played a gangster with slick back hair.

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Wow.

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Like I had a briefcase and I opened it up.

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Did you go to the audition looking like a gangster?

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Yes.

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I slicked back my hair.

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I put like a little leather jacket on it.

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I love that.

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And then I got a lot of Mickey's Safety Club.

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They were called after school special kind of things where you teach kids not to do drugs and all that.

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And the dangers of drugs.

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Dare?

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It was kind of like that from that era and then like I think my first television show was in The Outsiders.

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There's my whole filmography.

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Wow.

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That's my whole.

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Which brings me to one of my questions.

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PTA was your white whale for a while after Boogie Nights.

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Now you've just worked with him.

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Who's your white whale now?

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I don't know really.

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I mean there's a lot of great directors out there damon

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chazelle's very talented michael mann's amazing i've always wanted to work with him

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there's so many i don't really have one specifically

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if i'm being honest paul for me was always somebody who i kind of felt generationally was somebody

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that i really looked up to he almost did boogie nights together

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and then i got to watch his entire career progress over the last 25 years

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and see this incredible visionary and just always wanted to do something with him did Did you pass on Boogie Nights?

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It was a hybrid of that.

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Like there was Titanic and then there was Boogie Nights and they kind of overlapped.

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Maybe it could have worked out.

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Have you re-watched Titanic?

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No. Oh, you should.

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I haven't seen it.

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I bet you could like watch it as a movie now.

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And it's so good.

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I don't really watch.

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Maybe I do.

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Some movies I've watched.

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You watch your old movies?

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No, I've never made something like Titanic.

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But if I did, I would watch it.

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But I mean, when was the last time you did that?

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When I was really drunk.

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I put on American Hustle.

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And then my assistant went to download something.

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But did you do it alone?

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Were you showing some...

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Showing people?

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Oh, being like, yo, this is what this movie was like.

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No, I was drunk, and I was like, I wonder if I'm good at acting.

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And I put on American Hustle.

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And I don't remember what the answer was.

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That is funny.

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I'm gonna have them cut that out.

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That is very funny.

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I wanted to ask about David O.

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Russell.

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Oh, okay.

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And what the first film was like, American Hustle was like, Silver Linings,

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and what you feel like he brought out in you in a lot of these roles.

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I mean, I think you've talked about it.

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Like, this sort of push and

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and i mean i want to help you as an actor

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in a lot of ways yeah yeah he taught me how

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to act really i i want to be sensitive that's hard to believe other actors who've worked with him

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because i know he's tough you know he can be really

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really hard on people for me i i don't know if it was because i like I grew up doing sports,

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and so I just felt like he was just like a stern coach.

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It's like, do it louder, do it more quiet.

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That was bullshit, do it again.

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That was bad, do it better.

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Like it was just very straightforward to me.

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And I think I was young enough that I didn't have anything to, it was normal to me.

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As I was like 21, when I did Silver Linings Playbook, it just felt really alive.

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I never felt like he was like yelling at me.

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But anyway, I feel like when I say he taught me how to act, I feel like because I never did like lessons or anything like that,

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I think I would have really easily fallen into, I don't know, something.

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And he, I mean, you know how I'm like never like prepared.

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And I would always feel bad.

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That's not true at all. About that.

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But he was kind of like, he taught me that like that was like staying loose, you know, and that that's okay.

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And I think if I wasn't like aware that sometimes there's, sometimes there's a need to like prepare.

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And then sometimes there is the need to like, to not and to stay loose.

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And I'm happy he taught me that.

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You kind of like the process of somebody calling out direction like that?

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Yeah.

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We do. Do you?

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You know.

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I think it does help sometimes.

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Yeah.

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Actually.

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but you show up like you're already like you you you're like making a movie

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but the idea of somebody i mean yeah i'm trying to think

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if i ever had that yeah most

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because most of the times it's the director coming up to you in an intimate conversation like

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that yeah and i really don't like being tiptoed around like i'm an emotional landmine i hate

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that i'm just gonna leave it It's your girlfriend, you clean it up.

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Nice.

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Pissed on the floor too.

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For this movie, did you have that dynamic too?

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For this movie, she was really hands off by the time we started shooting.

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She kind of like builds the world and then steps back and like watches and is very observational.

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But I think like our conversations were, it was like more of a universal conversation than like a

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coming up in between a lot of it was improvised obviously right i don't think was

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that was that written in the script

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all the stuff that you did in

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that film no i mean for the like pacing around the house

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and stuff she would just kind of set up a camera

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and tell me to exist yeah i think she improv a lot like us crawling in the grass

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that was written as like us like flipping burgers when he proposes to me

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didn't you say that was the first day of filming or something no the first day was the naked

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fighting like tigers yeah and rob and i didn't even know each other

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that well we like met a couple times wow i think it was better

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that way like threw you into the gauntlet you kind of like

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that yeah yeah i think

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so yeah have you ever done nudity full yes maybe i have i did a film which

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you never would have seen called totally clips about arthur rumbeau french poet

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when i was 17 or 18 i was nude in that

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and i think i was partially nude in aviator you should re-watch it

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i was trying to get the rendezvous point for my daughter right willa

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if you can't answer what time is it i cannot give

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you the rendezvous point i do just want to hear more about like how bob Okay, did it start did it like it I guess chicken or the egg,

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but like he's fried his brains on drugs He can't remember the password

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So it's kind of like this

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Fran you're kind of playing Bob in a moment where he's never that he's never existed him before Mm-hmm,

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you know, he like started the movement because he was like horny for her

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and then it felt like he believed in a cause too I feel like that grew.

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No, I'm not the character.

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Well, maybe, yeah, actually, maybe that's what it seems like when you watch it.

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Like he's running up with the wheelbarrow and he's just starting.

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I think it started about her.

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That's interesting.

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And then it.

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No, that's not the way we started out.

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he was kind of the based on the weather underground

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and a lot of this this book that i read days of of rage

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and there was a specific bomb maker in there

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and they're kind of in the background as you know the more sort of pertinent

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or like forceful revolutionaries are in the foreground

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and it had a lot to do with what his life was like but yeah i felt like he was definitely

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a revolutionary from the start and trying to fit in yeah yeah I think

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that the creative part of my brain

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and my the political part of my brain are intrinsically linked

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like I keep finding like every time I come up with like a movie

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or like I'm at it's it's more often than not political I think it's

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because that's how I'm like digesting the world hmm are you like that no okay

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no no but this this this was an interesting one

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because he wrote this 15 years ago

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and it kind of feels yeah very topical totally

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and you know as we know it don't look up together

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it's very difficult to say something about the world we live in

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and it has to have an element of irony

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or comedy to it otherwise people they're not allowed in you

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know I mean it feels like oh I'm watching these people's vocation

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and they you know do I relate to them and And the messiness of the comedy, I think, is kind of, you know, there's all those political films of the 70s,

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Parallax View, Three Days of the Condor, All the President's Men, and they were taken very seriously.

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But nowadays, it feels like there's such polarity and such extremism that if you pick a side, you're alienating.

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Half.

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You know, yeah, it's true, right?

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Yeah.

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So this, I think Paul, delicate balance, and I think he did an amazing job with this movie and saying something.

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I agree.

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I agree.

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It reminded me of not the movie, but the actual revolutionary Napoleon.

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Well, the French 75.

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Right, French 75.

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What are your good and bad habits as an actor?

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And can I answer for you?

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No, I'm just kidding.

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Yes.

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By the way, that'd be much better.

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Bad habits.

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I think I shoot out a lot of...

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You shoot out? ideas sometimes unnecessarily.

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Well it's kind of like a shotgun spray of anything that comes to mind

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and a lot of that may waste time for the focus of what we already know.

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Do you know what I'm saying?

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Yeah but that sounds helpful because if it's not useful then you just move on

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but if it is useful that's like really important.

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Well sometimes maybe it it steers away from what is obvious do you know what i mean but yeah

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that still sounds like a good thing to me does it

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steering away from what is obvious well well you know but

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but sometimes it's unnecessary like you know we know what the scene's about let's

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and i just keep coming up with this stuff that

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may seem unnecessary that's all well a broken clock is right twice a day

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so i think there are inevitably going to be moments where it's not necessary

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but i don't think that that means the whole process is bad

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so maybe it's a i think it's a good maybe it's a good and One bad thing, I answered both in one.

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Great.

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Now I'm gonna throw that back on you.

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My bad habit is that I am so good at

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Letting go at the end of the day

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That I don't think about the next day right

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and then it's like a mad scramble and the hair and makeup trailer to like

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If it's like a bigger scene than I was expecting it

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because normally it's like you get sides

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And it's like you have two lines in the day

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and then it's like a mad scramble to try to memorize

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and then I'm not doing my best

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because I'm trying to remember what the lines are instead of just knowing the lines and then going elsewhere.

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So your ability to shut off in between.

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Is great because for my life.

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I imagine on this movie it was very emotional what you were doing

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so that when you went home you were able to shut.

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How long was the shoot?

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Two and a half months I think.

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Wow.

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Maybe it wasn't.

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Maybe it was one month.

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Six weeks?

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I don't know.

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Yeah, that is a good quality.

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Yeah, it's good until...

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Makes you not go crazy.

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It makes me not go crazy, but the next morning is hell.

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I mean, with Silver Linings, I had a scene where I'm just like yelling nothing but sports stats to Bob De Niro.

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And that's obviously really hard to memorize because it's not like there's a train of thought to follow.

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It's just numbers and sports, which I don't care about.

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and you know I didn't know that I had to do

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that until the day of and it's Robert De Niro

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and I'm like I'm not gonna fucking waste Robert De Niro's time

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and so that's an example of it was a really really bad thing to do

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but it turned out great well I ended up I I nailed it on the first take

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and then fucked up every single other take until we finally moved on that's a tough one isn't

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when you cannot i've had those moments too i remember on

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the aviator i had to say stuff about the spruce goose

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and i could not i could literally couldn't say the words yeah

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and it's humiliating and it's like going to school with your underwear on a horrible feeling well you

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and i are both obsessive about sleep like

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when we're working like counting the hours yeah and

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when i was doing red sparrow i took an adderall instead of a sleeping pill

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and then i didn't sleep all night

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and i was like taking hot showers like panicking because like i can't i can't i'm not like somebody who can

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function without sleep and then i had to say senate armed services committee in a russian accent That sucked.

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That's like 11 benevolent elephants.

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Senate arms.

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Senate arms.

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Now that you're saying it, now I can't.

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Senate arms.

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Oh my God.

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I've remembered it for 10 years.

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Senate arms service.

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What did you just say?

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I have no idea.

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Now it's gone.

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And it's gone.

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Now I have more long-term memory, I guess, to make room for.

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I also once took an Ambien in the morning thinking it was something else.

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Those are key screw-ups.

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Yeah.

468

Wow.

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And it was a dance scene with Philip Seymour Hoffman on the second Hunger Games movie.

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And I was hallucinating.

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It almost shuts off a certain part of your brain, Ambien.

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Well, certainly the memorizational part of your brain.

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And you had to say lines with that.

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I did.

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Yeah, I did.

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And Elizabeth Banks got really annoyed with me because maybe she didn't know that I was on an Ambien.

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but I kept asking the director, wait, and what does this mean?

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Wait, and what does this mean?

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And what does that mean?

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And she just like threw her sides.

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I was just like, fine, let's just keep talking about it.

482

Have you ever, well, on Titanic, everybody got dosed with peyote.

483

I mean, you weren't, or PCP.

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You weren't there.

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Yeah, I wasn't there.

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I just heard the story third hand.

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I wasn't there.

488

Yeah, that was the modern day stuff where I think people started, there was like a conga line that formed and people were dancing.

489

Well, and a lot of people went to the hospital.

490

Yeah.

491

Well, they thought that it was a neurotoxin from the clam chowder.

492

Why did somebody dose everyone and why would they waste drugs?

493

It's a two-parter.

494

I wasn't there.

495

I have a question.

496

Yes.

497

Was there one note that PTA gave you that became like Bob to you?

498

And does that happen to you on every movie?

499

is that like some because that for me happens i hear like one note

500

and then i'm like that that it's almost like getting in an accent

501

and saying the same line well i think

502

that back to what you said earlier like the sort of bohemian counterculture stuff

503

that i grew up with with my father my father's you know anti-vietnam all

504

that the kind of cast of characters

505

that i grew up with was very connected to

506

that those ideals of bob

507

and i think there was a moment with him we were about to start filming

508

and i was still trying to create somebody else

509

and he was he was he was very much like you know make this much more personal to the guys

510

that you knew growing up and the people that you saw

511

and and don't try to do something

512

that is out of the box with this one you know

513

don't make him from somewhere else this is a california kind of guy yeah you know

514

and then of course the big lebowski came into my mindset with the dude

515

and what a modern day dude would look like who maybe maybe planted bombs as well

516

and then as soon as we got to northern california really

517

and i and i understood what this idea of hipnecks were

518

which were these kind of hippies

519

that were you know also don't tread on me get off

520

my property anti-government you know might have a shotgun in their

521

backyard ready to get people you know out of their face

522

that that northern california thing

523

and paul is amazing with like location scouting he did it

524

for i think a year we did northern california borrego springs with all the amazing road sequences

525

that chase sequence el paso and everywhere we went all sort of the local community

526

that we worked with really helped with shaping the whole movie

527

and the narrative a lot of the people we worked with in the movie are non-actors

528

so he just bring people in

529

that really had those vocations well we're about to work with each other yeah is there anything

530

that i need to like i should absolutely know about martin scorsese before we start it's a great thing

531

and he's going to give you a lot of film references oh do i have to watch

532

which is amazing because because they usually come in the form of a DVD, and if you don't have a DVD player, get a DVD player.

533

Oh my God, I'm gonna kill myself.

534

So, but he'll have screenings sometimes for just one sequence in the movie.

535

Like if he can't, he doesn't have a hard time articulating anything, but if there's something that he wants you to capture from an old film,

536

or the pacing of something, you might have a screening of a whole film just for a specific scene that he wants to try to capture.

537

You know, we might see some Japanese ghost films for reference, just to get the tone of it.

538

You're gonna have an amazing time.

539

Wow.

540

Yeah.

541

Are you really excited to work with me again?

542

Yes, I am.

543

I am too.

544

Are you really excited to work with Marty for the first time? Who isn't, right?

545

I can't believe that.

546

Okay, Leo, well, goodbye.

547

Thank you.

548

Thank you.

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このレッスンの語彙とスピーキングのポイント

この動画には、シャドーイング用の文が548文、単語が5624語あります。音声の長さは32:40です。話す速さは1分あたり約172語で、日常会話に近い自然なペースです。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
revolutionary 名詞	/ˌɹɛvəˈluʃənɛɹi/	革命家
audition 名詞	/ɑˈdɪʃən/	オーディション, 試聴
pace 名詞	/peɪs/	歩幅
remind 動詞	/ɹəˈmaɪnd/	思い出させる
script 名詞	/skɹɪpt/	文書, 文章
sequence 名詞	/ˈsiː.kwəns/	順序
habit 名詞	/ˈhæb.ɪt/	習慣
maker 名詞	/ˈmeɪk.ɚ/	作者, 作り手
password 名詞	/ˈpæs.wɜɹd/	パスワード, 合言葉
promo 名詞	/ˈpɹəʊməʊ/	プロモ
gangster 名詞	/ˈɡæŋ.stəː/	ギャングスター, 匪徒
element 名詞	/ˈɛləmənt/	要素, エレメント
capture 動詞	/ˈkæp.(t)ʃɚ/	捕獲する
connect 動詞	/kəˈnɛkt/	繋げる
chemistry 名詞	/ˈkɛm.ɪ.stɹi/	化学

動画に出てくる句動詞

単語	発音	意味
grow up 動詞		成長する, 大人に成る
get off 動詞		降りる
come up 動詞		上がる, 登る
get out 動詞		出て行く
hands off		触るな！
look up 動詞	/ˌlʊk ˈʌp/	見上げる
look up to 動詞		見上げる, 仰ぐ
show up 動詞		現れる

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
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	Have you ever kissed · I've ever seen · has ever seen
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 based · being lost · being really lost
関係詞節 who / which + 節 — 人や物について情報を加える	guy who was · Life, which was · somebody who i

注意したい発音

話し手はI'm, don't, didn'tなど、短縮形や弱形を152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: thick /θɪk/, leather /ˈlɛðɚ/, thumb /ˈθʌm/
「sh」と「zh」の音: revolutionary /ˌɹɛvəˈluʃənɛɹi/, audition /ɑˈdɪʃən/, capture /ˈkæp.(t)ʃɚ/, tension /ˈtɛnʃən/, shotgun /ˈʃɑtɡʌn/
長い単語（アクセントの位置に注意）: revolutionary /ˌɹɛvəˈluʃənɛɹi/, incredibly /ɪŋˈkɹɛdɪbli/, unnecessary /ʌnˈnɛs.əˌsɛɹ.i/, universal /ˌjunəˈvɜɹs(ə)l/, essentially /ɪˈsɛnʃəli/

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。revolutionary, audition, pace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: Leonardo DiCaprio & Jennifer Lawrence | Actors on Actors - 動画で英語スピーキングを学ぶ

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このレッスンの語彙とスピーキングのポイント

この動画の重要語彙

動画に出てくる句動詞

この動画の文法

注意したい発音

この動画での練習方法

シャドーイングとは？英語上達に効果的な理由