シャドーイング練習: Quentin Tarantino talks Piracy & the Hateful Eight - 動画で英語スピーキングを学ぶ

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153 文

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They call him the hangman.

When the handbill says dead or alive, the rest of us just shoot you in the back, come up on top of a perch somewhere,

and bring you in dead over a saddle.

But when John Ruth the hangman catches you, you hang.

I love the fact that you stayed in the audience at the premiere last night and watched it with the audience.

Is that just because you're a puppet master and you like to see the characters move in front of you?

Yeah, actually, I mean, that's one of the reasons, but the other reason, but there's a few other reasons,

I mean, I make my movies to watch them with an audience, you know, and frankly, to tell you the truth,

it's the, I mean, one of the things I like about cinema is it's forever, or how long forever is.

From now on, the celluloid burns up.

Yeah, yeah, exactly.

Forever seems to be getting shorter and shorter as time goes on.

But the thing about it though is,

but as far as actually watching it with an audience that's just truly investing in it in a thing that night.

I mean, even if you watch it in a revival house 20 years later, it can be fantastic.

But it also is sort of already an artifact by that time.

Now, nothing wrong with that either.

But there is this, you know, everyone who saw it that night was seeing it for the first time.

Yes, and it has a certain energy to it it has a certain energy to it

and i almost feel

that it's like um it's the missing sound element all right

you know you make the movie then you you do the sound mix

and you add the sound uh the sounds and the crushes

and the booms and the this and the that

and then you you add this uh the music and it's

that but it's missing that

that sound of the audience reacting to the movie whether it

be the laughs with whether it be um the gaps whether

that be the legitimate appreciative of laughs whether it be the horrified laughs

I mean there was like a just as a moment

there was just there was this lovely lovely moment where um

when the character the Jennifer Jason Lee plays Domergue there's a letter in the movie written by Abraham Lincoln

and she spits on the letter

and there was a literal gasp it was yeah I think the Australians give a damn about the Lincoln letter

so when you when you're editing the film

when you're editing the film do you leave spaces kind of knowing

that people are gonna have those reactions no I don't leave spaces for it

but I'm always hearing yeah I'm always hearing you know

I'm hearing the laughs as I write the movie I I'm hearing the last

when I watch the scenes I'm hearing the last as I'm editing the scenes

and so there is this aspect that this is

when I finally get what's always been in my head

and I see how right or how wrong I am of it

but the other reason that I watched it is about the fact

that every country is going to have a slightly different audience

who's going to react to the movie in a slightly different way.

And look, I'm not going to be here for three weeks so I can just watch it randomly in about,

you know, four different cinemas and just make up my own mind about how the Aussies have taken the film.

All right.

Instead, I have that screening, you know, to watch and take away.

Which audiences around the world, and you can be totally honest year which audiences in

which country are the absolute best the most responsive well

you know you know it would have to depend on the movie yeah

it would actually depend you would have you'd have to yeah about

which of all of your films

which has got the absolute best reaction

it's a two -part question yeah go two -part answer was watching Inglourious Basterds in in the the Berlin premiere

and watching Inglourious Basterds in the Tel Aviv premiere yeah

Those were absolutely positively the strongest reactions I've ever had to watching one of my movies with an audience.

Makes total sense.

Of all of your different films, which film for you personally has been the steepest learning curve?

The movie you've learned the most lessons from?

Very good question.

I would say it would have to be the Kill Bill movies.

I had never made a movie with that kind of a, on that big of a canvas before.

I had never made a movie in another country before, i .e.

China.

Which I imagine is an incredibly easy and simple thing to do.

Yeah, well, it wasn't that hard, actually, but it did require a different,

a slightly different mindset, but that actually became quite wonderful when you did it.

You just had to get there.

Yeah.

But also, you know, I'd never, I'd done little tiny action scenes, but I'd never done gigantic set piece action scenes that were meant,

you know, the House of Blue Leaves fight was meant to be like the helicopter raid in Apocalypse Now.

It was meant to be an end -all action sequence, and it took us about eight weeks to do it.

One of the best times I've ever had in my life doing something like that.

You know, but working in that kind of, that type of level of creativity and that type of level,

I mean, if you don't like the movie, maybe it wasn't that creative, but that type of level and more

or less being able to do what I want and to get it exactly the way I wanted was a real,

real lovely thing.

And there was a learning curve from that point on.

I think up until that point in time, I held on to my amateurness a little bit more.

Almost like a badge of honor, frankly.

Like the indie film.

Yeah, indie film.

I was like, no, I don't want to join the Directors Guild because those are professionals.

I'm holding on to my amateur quality.

Holding on to my vaguely new wave cred.

After I did

Kill Bill, I said, I make blockbusters now.

I'm a professional filmmaker.

You've put so much effort into the look and the feel of the film, and watching it in 70mm last night was amazing.

The colours are so rich, the blacks are so black, and yet the film was leaked online.

And I wonder for you, personally, if you could say anything to the person, imagine they're sitting in front of you right now,

the person who uploaded that film, what would you say to them?

I appreciate you trying to give me that opportunity, but I kind of almost don't want to deal with it.

I mean, you know, it's like, I've tried to put it out of my mind.

Yeah, I appreciate that. That happened.

Oddly enough, if it had happened to any one of my other movies, I would have been more devastated.

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Why is that?

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This movie was about the movie.

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It's not really about it even being a success, and that's not me being an irresponsible jerk.

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I want the film to do as well as I possibly can, but at the end of the day,

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I think it will, the course of its lifetime do very well, all right?

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But this was about kind of the movie.

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You know, like in the case of Inglourious Basterds, it was very, very important that we had a really great opening weekend.

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In the case of Django, it was really important that we had a really great opening weekend.

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This wasn't so important.

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This was about the movie.

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You have certain actors that you return to over time.

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Obviously Samuel L.

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Jackson is one of those.

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How quickly can you tell that they're about to join the Tarantino posse?

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Do you know it from the moment you meet them, or do you have to see them on screen first?

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It's not so much singing them on the screen it's more about

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and it's really and it's really not even about even auditions

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or anything like that somebody can do a really good audition in the room

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and whatever and yeah and they could be really interesting

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and fun to work with ie going through rehearsal but

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when you're actually doing the movie with them you know how secure are they with my dialogue?

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Do they turn it into the poetry slash music slash stand -up comedy slash rap that it's supposed to be?

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Are they able to do that?

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Are they unable to do that?

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Do the words stick in their throat?

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Do they have a hard time?

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Are they lazy about learning their lines?

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Do they get the sense of humor going on do they

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get the do they get the jokes even though they're not quoted as jokes do they get all the

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and that's only a thing

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that you can really learn by by doing it with the people yeah

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when you hear it right does it is there a little tingle

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that goes up the back of your neck oh it's it's the greatest feeling in the world frankly to me

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and luckily I have you know I cast

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I cast the right people usually it's like I have those feelings many times a day all right

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and that's one of the things that makes it so joyous.

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Just lastly before I leave you, when can you tell that a movie is done and you are happy with it?

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Oh that's really interesting.

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I don't know about other directors.

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I actually think this is probably a problem that other directors have.

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I know it's a problem I have.

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In editing you usually think the movie's done

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before it's done yeah right you kind of you kind of want it to be over I mean just

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so far as like okay I did what I wanted to do boom

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and now you're moving on to the next process

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which is sound mixing by that point in time

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but usually you're pushing it a little bit you know you're not quite done yet there is there is one

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or two more passes literally to be done here you just want to be done

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But it's not done.

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Quentin Tarantino, The Hateful Eight is done and it's very good.

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Thank you so much for your time.

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What a lovely interview.

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Thank you so much.

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The pleasure was entirely wonderful.

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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

このスピーキングレッスンは、動画「Quentin Tarantino talks Piracy & the Hateful Eight」を教材にしています。繰り返し出てくる語は次のとおりです：movie, film, audience。この動画には、シャドーイング用の文が153文、単語が1809語あります。音声の長さは9:39です。話す速さは速く、1分あたり約187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85%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
edit 動詞	/ˈɛdɪt/	編集する
premiere 名詞	/pɹəˈmɪɚ/	初演, 封切り
frankly 副詞	/fɹæŋkli/	正直に
litter 名詞	/ˈlɪt.ɚ/	ごみ
depend 動詞	/dɪˈpɛnd/	依存する
cinema 名詞	/ˈsɪn.ə.mə/	映画館
curve 名詞	/kɚv/	曲線
audition 名詞	/ɑˈdɪʃən/	オーディション, 試聴
gap 名詞	/ɡæp/	間隙, ずれ
lesson 名詞	/ˈlɛs.ən/	授業, 学科
element 名詞	/ˈɛləmənt/	要素, エレメント
aspect 名詞	/ˈæspɛkt/	様相
poetry 名詞	/ˈpoʊ.ə.tɹi/	詩, 詩歌
lifetime 名詞	/ˈlaɪf.taɪm/	生涯, 一生
sequence 名詞	/ˈsiː.kwəns/	順序

動画に出てくる句動詞

単語	意味
go up 動詞	上がる, 登る
stand up 動詞	立ち上がる

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。

The movie you've learned the most lessons from?
I'm holding on to my amateur quality.
I don't know about other directors.
I know it's a problem I have.

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	what's always been · have taken · I've ever had
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	were meant · was meant · was leaked
関係詞節 who / which + 節 — 人や物について情報を加える	everyone who saw · person who uploaded

注意したい発音

話し手はI'm, you're, don'tなど、短縮形や弱形を37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。

「sh」と「zh」の音: audition /ɑˈdɪʃən/, crush /kɹʌʃ/, appreciative /əˈpɹi.ʃətɪv/
長い単語（アクセントの位置に注意）: incredibly /ɪŋˈkɹɛdɪbli/, legitimate /lɪˈd͡ʒɪt.ɪ.mət/, helicopter /ˈheliːˌkɔptə(ɹ)/, creativity /kri.eɪˈtɪv.ᵻ.ti/, positively /ˈpɑ.zɪ.tɪv.li/

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: frankly /fɹæŋkli/, incredibly /ɪŋˈkɹɛdɪbli/, helicopter /ˈheliːˌkɔptə(ɹ)/, randomly /ˈɹændm̩li/, revival /ɹɪˈvaɪ̯vəl/
/v/ — /b/ にならないように、上の歯を下唇に当てる: curve /kɚv/, invest /ɪnˈvɛst/, creativity /kri.eɪˈtɪv.ᵻ.ti/, canvas /ˈkæn.vəs/, revival /ɹɪˈvaɪ̯vəl/
/f/ — 「フ」ではなく、上の歯と下唇で出す: frankly /fɹæŋkli/, lifetime /ˈlaɪf.taɪm/, artifact /ˈɑɹtɪfækt/, horrify /ˈhɒɹɪfaɪ/

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。edit, premiere, frankly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: Quentin Tarantino talks Piracy & the Hateful Eight - 動画で英語スピーキングを学ぶ

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