シャドーイング練習: Why your best work happens when you stop taking it too seriously - 動画で英語スピーキングを学ぶ
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Lately, I've been watching an embarrassing amount of...pizza videos.
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Sourdough pizza, New Haven style pizza, people talking about ovens, chefs explaining dough.
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I just kept watching it.
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And if you asked me why, I'd probably answer like Forrest Gump.
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I kept on going until the algorithm gave me this: The doctor tells him, "If you don't wanna die,
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you gotta stop making pizza." I saw this trailer for Chef's Table and I was like, come on, so much drama, you're just making pizza.
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But for some reason I watched the episode and by the end I wasn't laughing anymore.
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Because it didn't feel like a story about pizza.
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It weirdly felt like it was describing something that had been happening to my own work.
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But to understand why, we need to back up.
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Something strange had been happening with my own work.
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I started this channel as a passion project, something I did for fun after my regular job.
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But the more the channel grew, the heavier it became.
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I think every creative person experiences this at some point.
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You begin by doing something you genuinely love, but as time goes on, it starts to carry expectations,
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pressure, and a certain seriousness.
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What once felt effortless and fun gradually begins to feel like work.
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I couldn't understand why the thing I loved doing was becoming heavier right when it started working.
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So I did what I usually do when my own creative process stops making sense.
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I went back to a movie about someone whose creative process makes even less sense.
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Adaptation, a film written by Charlie Kaufman about, well, about himself.
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Charlie is supposed to adapt a best -selling book, The Orchid Thief, into a screenplay, but he's facing an extreme writer's block overthinking everything, unable to write.
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So throughout the movie, we watch his inner insecurities play out, as he struggles with his creative process.
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But watching the movie this time around, I paid attention to something else.
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There was an interesting contradiction.
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In the movie, Charlie is already a successful screenwriter.
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He's already written a great screenplay, being John Malkovich.
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People know his name.
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Producers want to work with him.
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So you would think he has achieved what you can call success.
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But why then this is happening to him?
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I'm sweating.
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I've got to stop sweating.
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Can't you see it tripping down my forehead?
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Oh, she looked at my hairline.
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"She thinks I'm bald." "We think you're great." "Oh, wow.
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Thanks.
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That's nice to hear." "We all just love the Malkovich script." "Thanks." "Such a unique voice." In this early scene,
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the producer is basically telling him everything a writer wants to hear.
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But inside, he's still hearing...
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Do I have an original thought in my head?
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My bald head?
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Maybe if I were happier my hair wouldn't be falling out.
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I should start jogging again.
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Five miles a day.
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Really do it this time.
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I need to turn my life around.
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What do I need to do?
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I need to read more and prove myself.
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Watching Charlie, I realized his problem isn't just that he can't write.
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It's that he's waiting for the writing to give him something.
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the obvious Hollywood version, maybe he'll feel pure.
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Thank you.
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But once the work has to do that much, even starting becomes painful.
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And strangely, Charlie's problems started looking a lot similar to the drama of this guy that I thought was ridiculous.
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Sorry, got carried away.
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Back to the story.
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At first, I thought I knew what kind of story it was: a man destroying himself for perfection.
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And I still think the episode is a little overdramatic.
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It does that chef's table thing, where making food becomes this religious sacrifice.
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But there was one thing in it I couldn't ignore.
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Chris Bianco had built a restaurant where he had to stay in the middle of everything.
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The more success I had, the more that I feared disappointing people.
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Anything that was good said about me, it just made me keep my head down lower.
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Work harder And never leave the kitchen Long story short, he was trying to control every aspect of his restaurant,
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and we all know where that leads.
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But that's not the important point here.
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What is more important is that how seriously he's taking his job.
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For me, when I look at so much drama over making pizza, it looks ridiculous.
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But for him, Everything is on the line.
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That made me realize something.
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What if stressing over my work looks just as ridiculous for someone else from the outside?
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Say, if a doctor who works 12 -hour shifts in the emergency room looked at me from the outside, Wouldn't she say, "Oh my god,
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so much fuss over making silly YouTube videos." And...
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Maybe that's it.
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Maybe the problem Is that we take ourselves and our work too seriously?
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After realizing this, I started seeing Charlie's problem a little differently too.
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Charlie wasn't just writing anymore.
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He was trying to control the work tightly.
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trying to keep it from becoming the wrong kind of screenplay.
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You know, I just don't want to ruin it by making a Hollywood thing, you know, like, like, like an Orchid Heist movie or, or something, you know, or, Why can't there be a movie simply about flowers?
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And I get that.
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Charlie has taste, he has standards.
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But at some point, he isn't writing the movie.
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He's managing everything the movie is not allowed to become.
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Every direction feels wrong before he even tries it.
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But then there was another character.
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Donald, Charlie's twin brother, who suddenly decides he's going to write a screenplay.
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At first, Donald looks like the joke.
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Charles, I pitched my screenplay to mom.
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Don't say pitch.
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He says things that make Charlie cringe.
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Charlie looks at him like he represents everything embarrassing about writing.
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Here's the twist: we find out that the killer really suffers from multiple personality disorder.
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Right?
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See?
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He's actually really the cop and the girl.
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But this time, Donald started looking different to me.
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Donald wants things too.
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He wants to write.
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He wants his script to work.
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He wants people to like it. And...
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he starts.
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That's the whole thing.
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"Hey, my script's going amazing." he makes the obvious version.
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But he writes, he pitches.
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"Don't say pitch." He tries, he keeps moving.
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And in the movie, that starts to matter.
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"What do you want?" I've finished my script.
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I'm done.
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Because Charlie is trying to make the right version before he has a version, Donald is willing to make a version.
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The three?
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It's just amazing.
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I don't know what that is.
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Donald, script!
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Smart, edgy thriller.
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It's the best script I've read all year.
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Oh.
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Thank you.
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Good.
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Yeah, I'm gonna sell it for a shitload.
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Two fucking talented guys in one family.
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That doesn't mean Donald is the better artist, but Donald has something Charlie doesn't have in that moment.
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He can begin before the work becomes perfect in his head.
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"Is the work good?" "It's a disaster.
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I don't know what I'm doing." And that reminded me of this interview clip of the Daniels.
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It's an interview about the process and struggles of making their earlier film, Swiss Army Man, which they made before Everything Everywhere All at Once.
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"After Swiss Army Man we had this big debate about how
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much suffering is it worth it to go through to make good art.
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But I was like, I don't want to make more movies if it's that hard, if it's that unpleasant.
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I don't want to do it.
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This time we tried to enjoy the process more and be nicer and not torture ourselves or the crew.
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And it paid off.
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It made the movie better.
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So many people when they talk about the process of filmmaking, they use military and war metaphors.
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It's like, "Oh, we're in the trenches.
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Oh, there's a hierarchy and you have to do whatever everyone else tells you to do.
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Otherwise, the whole thing falls apart." If you think about it,
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the movie that they treated with so much seriousness and control turned out kind of okay -ish.
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But the movie that they treated like summer camp won the Oscar for the best picture? And maybe that's it.
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Maybe the key to making great work is to stop treating it like this heavy, stressful, controlled thing.
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and try to have a little more fun with it.
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Speaking of fun, in between pizza review videos and binge watching movies about writers, I also recently watched Reprise on MUBI.
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I'd wanted to see it for a while, ever since I saw Robert McKee call it one of the best films about writing.
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It's Joelking Trier's debut film, about two friends in Oslo who both want to become writers.
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Trier has since gone on to make major international hits like The Worst Person in the World and Sentimental Value.
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Reprise is very different from adaptation, but it circles a similar feeling: the pressure, ambition, and confusion that come with wanting to make good art.
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Reprise is currently available to stream on MUBI, my sponsor for this video.
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MUBI is a global streaming service dedicated to elevating great cinema, where every film is handpicked by a curator rather than an algorithm.
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It's a place to find films that are harder to find elsewhere, and a great way to expand your taste in cinema.
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You can try MUBI free for 30 days at MUBI .com /loficinema.
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That's MUBI .com /loficinema for a whole month of great cinema for free.
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ビデオの背景とメッセージ
このビデオでは、クリエイティブな仕事をする際の「真剣さ」について語られています。YouTubeチャンネルを運営する話者が、当初は楽しんでいた仕事が成長するにつれて圧力になり、苦しく感じるようになった経験から、「あまり真剣に捉えすぎないことで最高の成果が得られる」という考えを共有しています。映画『アダプテーション』やシェフの物語を引用しながら、「完璧を求めるあまり始められない」というクリエイターの課題を解決するヒントを探ります。
日常会話に使える5つのフレーズ
- "For no particular reason" - 特に理由もなく。「なんでそんなにピザの動画を見てるの？」と聞かれたら、「For no particular reason, just felt like it」（特に理由ないんだ、ただ気分で）と使えます。
- "I get that" - それは理解できる。相手の意見に賛同しつつも別の視点を述べる時に、「I get that you want to be perfect, but maybe start first」（完璧にしたい気持ちは理解できるけど、まず始めてみたら？）と使います。
- "It paid off" - 報われた。努力が実を結んだ時に、「We tried to enjoy the process, and it paid off」（過程を楽しもうとしたら、それが報われた）と表現します。
- "Long story short" - 要するに。長い話を簡潔にまとめる時に、「Long story short, he burned out from overworking」（要するに、過労で体を壊した）と使います。
- "Back to the story" - 話を戻すと。話が逸れた時に、「Back to the story, what happened next?」（話を戻すと、次に何が起きたの？）と言って話を進めます。
ビデオを使ったシャドーイングのステップ
このビデオは話者の内省的な語り口が特徴で、自然なリズムとイントネーションが鍵です。shadowing siteやshadow speechの練習に最適です。以下のステップで取り組んでみましょう。
- 1回目：聞き取りを優先 - ビデオを流しながら、全体的な内容を理解し、話者の感情（苦しみ、悟りなど）を捉えます。
- 2回目：フレーズをマーク - 先ほど紹介したフレーズや、自分が使いたい表現をメモします。「It paid off」のような短いフレーズは繰り返し聞きます。
- 3回目：シャドーイング実践 - 10秒ほどのセリフを再生し、すぐにその後に続けて話します。shadow speakのコツは、イントネーションやポーズを真似ることです。話者が「I couldn't understand why...」とゆっくり話す部分は、同じテンポで再現しましょう。
- 4回目：録音して比較 - 自分の声を録音し、ビデオの音声と比較します。リズムや発音の違いを見つけ、修正します。
YouTubeで英語学習をする際は、このように実践的なシャドーイングを続けることで、自然な会話力が身につきます。あまり完璧を求めず、楽しみながら練習することが大切ですね。
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 asked me why, I'd probably · if I were happier my hair wouldn't 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 | has achieved · I've finished · I've read |
| 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 | is brought · is not allowed · is handpicked |
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。