쉐도잉 연습: Martin Scorsese Breaks Down His Most Iconic Films | GQ - 영상으로 영어 말하기 배우기

연습 모드 선택

각 모드는 전체 화면 연습실로 열립니다.

382 문장

문장이 너무 짧거나 길면 Edit를 눌러 조정하세요.

Taxi Driver, who the hell else are you talking to me?

It really goes back to Brian De Palma.

Independent cinema in Hollywood started saying, hey, maybe these indie films could, these kids could work in the industry.

And so we were all out in L .A.

And he introduced me to Paul Schrader.

Schrader wrote Taxi Driver.

Travis comes from his vision, but more psyche.

I connected with it through Dostoevsky's Notes from Underground it was like enlightening you know

and so for me

when i read the script brian gave it to me he

said you know i can't i don't want to do it i can't do it

but maybe you should do it

but i didn't have enough cachet as they say at

that time to make the picture

but then they saw the rough cut of main streets

and they changed their mind especially when they saw de niro in it and

so they said for the two of you we could probably

get this film made why won't you talk to me why Why don't you answer my calls when I call you?

You think I don't know you're here?

We kept thinking in terms of the character and his loneliness and his acting out.

Not condoning the acting out, but he does act out.

And yet, an empathy with him, which is really tricky.

We wanted to make it so badly nobody would make it

that we were thinking of going to different cities to make it San Francisco, Los Angeles.

The taxi driving wasn't the same.

And we said, no, it has to be Manhattan.

Ultimately, what stayed with us was the psychological and emotional state of that character.

As we know now, tragically, it's a norm.

Every other person is like Travis Bickle now.

For me, the visualization of the movie was to always try to keep you off balance, keep the audience off balance.

I felt that when he made that phone call, it was so painful, we shouldn't witness it.

So the camera should track away, but not pan away.

It should move completely to a hallway.

And in the hallway, you think somebody's coming, but nobody's gonna come.

Nothing's gonna happen.

we're all alone but we don't want to experience the depth of his pain at that point

and at the same time there's a sense of anxiety on

the viewer what's gonna happen in the hallway well apparently nothing

that was the first shot I came up I said that's

the style there's another thing too with a taxi pulls up

at the beginning of the film into the taxi garage taxi

is coming in with panning with it as it comes in

and normally it goes this way in the camera with pan with it

and it stops well as it came in i went the other way

and as we rested the car came in

and stopped wait i'm supposed to be looking at the car no we're gonna go another way

and so every shot as much as possible was uh designed to be slightly disconcerting

but ultimately ultimately satisfying that was the philosophy of the shooting

Gangs of New York Us natives born rightwise to this fine land For the foreign hordes,

they're filing it

Well, Gangs of New York comes out of those cobblestone streets Around the church on Mott Street

and Mulberry Street And also coming off the other element

that I grew up with Really was the Bowery At

that time the Bowery was what you call now homeless At

that time really basically alcoholics Guys dying in the streets basically very very difficult place to grow up around

and in and so but there was something about that bowery

and something about the neighborhood and the way the buildings were

created in the cellars the cellars there's so many cellars and my father would talk about growing up

there and going into one building going down the cellar

and coming out two blocks away running away from the cops

some of the guys you know it had its own life

and it was like an organism

and it had a history with Leo DiCaprio was interesting

because De Niro we were acquainted with each other

when we're 16 years old so because of my relationship with him going back to

when we were 16 he experienced what I experienced growing up

so he's the only one I know who around who's around

that and who was working in that capacity

that knows who I am where I came from

and the world we were in he then called me

and said at one point he just made a film called this boy's life

and he was working with this kid

that he he cast named leo dicaprio he's very good you got to do work with him someday

and bob never really used to tell me

that work with somebody you know just we'd go from picture to picture

if we work together dicaprio uh liked our pictures came together

and they said why don't we you've always wanted to do gangs in new york a bit

we started it many times it got cancelled here's a chance

this kid leo dicaprio really likes your films at least meet with him

and he was willing to go whatever i could do to make

that film so that's how it all started with him coming off of titanic

and a couple of other films then we convinced daniel day to get into it as bill the butcher

and daniel day is very intense and very specific actor.

What I love about

working with him is that Daniel has a thing where

if he starts he stays in that character people think it's kind of a mystique

but it really makes sense and also because

if I'm talking to Bill the Butcher

and in between takes it's Daniel I'm still talking to Bill he stays in

that character and he'll be one of the other actors Irish

and he's not supposed to like the Irish and you know he treats

that person that way I don't give a tough any fuck about your moral conundrum you meat -headed shitsack.

They said, why is he asking that?

That's what that is, just, we're not playing.

I mean, we're playing, but we're living it.

And so he's very good that way.

DiCaprio's another way entirely, and he comes at a character from every possible angle, and we find that with Leo,

most of the work is done before we shoot.

Goodfellas.

100

As far back as I can remember, I always wanted to be a gangster.

101

Goodfellas was made 18 years after Mean Streets.

102

I didn't really want to go to do another genre, gangster genre, right?

103

I mean, there is no main character.

104

I mean, Ray Liotta is a wonderful actor, but he's like Virgil taking Dante through the underworld.

105

The real character in the movie is the underworld.

106

After doing the film Last Temptation of Christ, when I got back, I owed Warner Brothers Goodfellas, or became Goodfellas.

107

It was called Wise Guys at the time.

108

I didn't really almost didn't want to make it.

109

It was Michael Powell, the director of the Red Shoes, co -director, I should say, and other masterpieces who read the script and insisted I make it.

110

Every shot may feel like a documentary, but the camera moves, everything you see,

111

it's all clearly, it's all there in the script we had to stage bits of action Joe Reedy did

112

and Michael Ballhaus my cameraman they worked out all the background

113

action for the long Copacabana shot all I said was we

114

start out in the front he gives the guy the money

115

next thing you know we go through the thing we go

116

through here we go through here we go through here we

117

go you know we wind up on it the famous comic

118

Henny Youngman everything has to flow with no obstruction he's got

119

to impress her they send him bottles of champagne everybody knows

120

that's his height so

121

that shot had to be now I wanted Joe Pesci to be in the film

122

and I think he resisted it I know he resisted it he said I don't know gangster stuff and yeah

123

but Joey said this character is really interesting based on a real real guy he said well I

124

if you do it I gotta tell you something

125

and I said well what is it because not here

126

and he acted out this scene

127

that happened to him i knew exactly where to put it went through the scene over

128

and over again recorded it all each take

129

and then i created from the actor's improvisations and try to make sure

130

that it accelerated the right way

131

because the slightest change you know of like why am i

132

funny what do you mean i'm funny i'm not funny otherwise

133

it'd be just repetitious funny like i'm a clown i amuse

134

you i make you laugh i'm here to fucking amuse you what do you mean funny funny how how am i funny.

135

And I decided we'd just do it with two cameras.

136

We squeeze it in on a day that wasn't scheduled.

137

The two cameras would be medium -wide shots because it was important to see, not just, there are no close -ups,

138

it was important to see Joe's character and Ray's character in relation to the people around them.

139

And while the intensity builds, you see the body language of everybody around them change.

140

And it just happens.

141

And I said, well, that's even better.

142

So close -ups, No, let's get out of here.

143

You know, we shot it like in an hour and a half.

144

Improvised, too, with the bottle breaking on Tony Darrow's head and that sort of thing.

145

He had the nerve to ask to pay the bill.

146

The Departed.

147

Those guys you tuned up, they're connected down Providence.

148

What they're going to do is come back with some guys and kill you.

149

I always wanted to work with Jack Nicholson and be in a film and offered him the part and then he said, you know, give me something to play.

150

And he was right.

151

Because the way the script was, Bill Monahan's script, which is a very good script, but the character of Costello was still presented as your generic big shot gangster.

152

He hears this young kid in town who just beat up somebody in a bar, he calls him in, checks him out, and then he says, come and talk to me.

153

Because he looks at him and says, maybe I can use this kid.

154

We've seen that scene many times in Westerns and gangster films because it's very truthful.

155

That's what happens You could do it in business to suddenly make a big hit with something

156

and everybody calls you

157

And they want to see what you could do for them in this case It's the underworld

158

and there was a scene where he's eating a lobster lunch.

159

It said in his apartment And he has this kid coming the basic line was what can you do for me?

160

Well, you want to work with me or tough guy?

161

What can you do for me?

162

I'd seen that scene many times and Nicholson said what if call me he said what if while we're at lunch,

163

on the table in a little plastic bag is a severed human hand.

164

I said, now that's a job interview.

165

And you never mention it.

166

Don't even discuss it.

167

We went off on a whirlwind of the fact that Costello would be losing control, and in a sense, losing his mind, really.

168

That's something that was very controversial at the time.

169

Some people went with it, some didn't.

170

But the thing was that I was around a situation like that when I was growing up, where somebody very powerful who was eventually killed in 1968 was,

171

in effect, losing his mind and killing people.

172

An atmosphere of fear that I saw around that area that was what I wanted to capture and departed.

173

Worse than that, these guys were all informers on each other.

174

And it's true in a world where everyone is informing on each other now.

175

Complain about the guy, oh, he's out of his mind, he's overdoing.

176

No, imagine that's, in effect, what it would be like you're completely under his control and he's out of his mind.

177

And that's what I feel the world is like right now.

178

Raging Bull.

179

Jimmy, with everything you got, I want you to fucking lay me out.

180

Go ahead.

181

You sure?

182

Yeah.

183

All right.

184

Honor.

185

The 70s studio system changed a great deal and the week

186

that film was released was the same week from the same studio that Michael Cimino's Heaven's Gate opened.

187

That, A Raging Bull, Apocalypse Now, all from the same studio, United Artists, that ended what the 70s, they call this, you know, golden age, that sort of,

188

but really it ended the power of the director, in a way, in American filmmaking.

189

And that had to come back through independent cinema, another way, through the 80s.

190

The 70s was very much that way because things were wide open.

191

And we went in and we took it, like the barbarians at the gate, and we transformed whatever we could, but they caught us.

192

Raging Bull was a, we threw everything we knew into it, not knowing how it was going to be received.

193

We understood that people didn't like him and even the crew, it turned out.

194

I didn't know until later.

195

Why are we making a film about this guy?

196

He's a horror.

197

But we stayed with it.

198

This man may be this way, but still, he's a human being, he's got a heart, he's got a soul.

199

By the end of it, he finds some kind of peace with himself and maybe the others around him.

200

I think I was going there to try to find peace in myself

201

that year there were I think four more films coming out

202

about boxing the main event with Barbra Streisand prizefighter with Tim Conway

203

Matilda the boxing kangaroo and Rocky 2 also

204

and they were all in color that's when I realized

205

that we should go black and white and also the black

206

and white would work at distinctively different from the other boxing films

207

that were being made comedies and Rocky 2

208

and also Erwin Winkle pointed out to the studio that the films

209

that were made in black and white up to that point in the 70s were Paper Moon and Lenny, and they were hits.

210

I also thought, too, that the boxing scenes had to be very powerful.

211

The rest of the film, anything else, was concentrated in an almost meditative state in terms of framing, holding those people in that frame.

212

But the boxing scenes would be like you're on another planet.

213

Primarily, it was based on, I came up with the idea when I I was doing last waltz, being on the stage with the band, and watching how the band worked.

214

The ballet sequences from Red Shoes, where you don't really necessarily go head to toe, where you see the dancer.

215

Instead, you see what's inside the mind of the dancer.

216

What's in the mind, and what's the perception of the fighter in the ring?

217

They don't even know where they are sometimes.

218

The Wolf of Wall Street.

219

They're gonna need to send in the National Guard of fucking Swart Team, because I ain't going no way!

220

Again, like Raging Bull, I didn't want to make it, but I had to find my own way in it.

221

And a lot of it had to do with style.

222

The style, I felt, originally was more like Goodfellas.

223

I had done it.

224

And I did it again in Casino.

225

What more could I bring to it?

226

And we found a way, and that was ultimately through his character.

227

And the whole idea of untethered capitalism.

228

This is the spirit of it.

229

Anything goes because you're making money.

230

It doesn't matter.

231

That's a little bit that way too in casino, but casino has organized crime.

232

It's a different thing This is organized another way and

233

so with that understanding then I was able to play with the structure of it and make it

234

Right away first three or four minutes of the film you could see right away.

235

This is going to be something unexpected

236

Like every other shot something the shocking going on in a way

237

or supposedly shocking in order to do that You have to have somebody who's playing that part

238

Be prepared to do anything

239

and he did I would provoke him he provoked me would go further But if you read the book, we could have gone even further.

240

Mean Streets.

241

Hey, hey, hey, what's the matter with this kid, huh?

242

Hey, there ain't nothing wrong with me, my friend.

243

I'm feeling fine.

244

Keep your mouth shut.

245

Hey, you taught me that in front of this asshole.

246

I was living in the late 50s into the early 60s

247

down in my old neighborhood of what they used to call Little Italy.

248

At that time, it really was Little Italy.

249

Families were loving, but you know, it was the tenements and it was not a really good place.

250

And they were good people, but at the same time, it was steeped in a kind of organized crime.

251

Mean Streets comes out of that violence, which I missed by chance, really.

252

Now's the time.

253

I was with these people in this car.

254

I told my friend who was with me in the backseat.

255

I said, oh, it's two o 'clock in the morning.

256

This is nonsense.

257

Let's go home.

258

He says, yeah, yeah, okay, let's go home.

259

The car drove off and they got shot.

260

It had to do with a lot of street power, so to speak, a sense of certain rules that the underworld works with.

261

And a lot of it had to do with, am I my brother's keeper?

262

It also reflects my father and his youngest brother.

263

My father was one of eight children.

264

His youngest brother was always in jail, always in trouble.

265

And my father was always trying to broker situations where he wouldn't get killed.

266

He has about $30.

267

He's always got honor, Michael.

268

where's the rest yeah where's the rest the extent to

269

which one is your real brother or one is such a close friend

270

that you put yourself on the line is something that's really

271

important to me in terms of how you live a life

272

and try to live a good moral life but you're in a world

273

that is completely corrupt you don't make up for your sins in the church

274

you do it in the streets you do it at home

275

and that's that's the essence of mean streets that's what I talk about in the beginning.

276

You know, you can go to church all you want, but the real acting out of your morality is outside the church.

277

It's outside the building of the church.

278

It's in the home.

279

It's with your friends and that.

280

All the rest is an illusion.

281

I was five years old in New York.

282

It was late 40s.

283

We had a television 16 inch.

284

On Friday nights, there was an Italian film shown for the Italian American community.

285

And my grandparents would come over and they didn't speak English only Sicilian

286

and my mother and father my uncles

287

and we get around this little TV set

288

and we see the bicycle thief it had these words in the bottom the people

289

that were speaking in the film they were speaking the same

290

way as my family those Italian films were more than cinema they were a form of truth

291

that I related to

292

because it it somehow had something to do with who I who I am and

293

so no matter what I shoot it isn't directly saying oh

294

look we're gonna do a shot now from the bicycle thief no it's the emotional

295

and and psychological impact of experiencing that film when I was five

296

or six in the room with these people who lived it

297

the Irishman I don't know it sounds funny that stops and starts it loses Over the years,

298

seeing the difference in the technology, one of the key things to give us the energy to

299

make our first film's features was John Cassavetes doing Shadows in 16mm, which came from France with the Eclair camera.

300

So all of that happening at that time made it that we could make a film ourselves.

301

We didn't have to have the studio behind us with giant lights and giant Mitchell BNCs.

302

I've kind of stayed pretty much traditional we edit now with the computer

303

but I don't really know how to do that Thelma does it

304

if I can utilize the new technology for the kind of story I want to make why not go there

305

and so in the case of Irishman De Niro

306

and I had this idea for a long time

307

and again I didn't want to do another gangster genre part of the problem was flashbacks

308

and by the time we got to do it he was too old to play his younger self

309

and they said well a different actor and I said what's then it's not like us making a film together.

310

What's the point?

311

And so we were talking about this idea of youthification

312

and Pablo Herrmann of ILM was with us doing CGI or background material for us in Taiwan where we're doing silence.

313

And he came up and he said, I think I can do it.

314

What I have seen is that people have to wear golf balls on their faces.

315

You can't have a scene with Joe Pesci and Bob De Niro and Al Pacino or whatever.

316

They all have golf balls on their faces and they're the kinds of actors that, that kind of thing for this kind of movie.

317

It doesn't work.

318

And eventually, by the end of the shoot of Silence, he had it.

319

And we did a test with Bob and De Niro, and we tried it, and we all felt strongly about it.

320

The drawback was the, financially, because it was extremely expensive, and also length of time.

321

It was an extra five to six months in the post -production.

322

That's when Netflix came in and really helped us.

323

It's not just CGI.

324

We accept it if a person puts on a fat suit, or you paint their hair white, they're supposed to be old but what if you do it digitally?

325

It's like makeup.

326

It's just taking that leap of saying, oh, no, it's gotta be the old way to, this is now a transformation into a new way.

327

Silence.

328

Things that happen When I was making Last Temptation, that took me only up to a certain point.

329

I found myself wanting more, and I found it in silence.

330

And when I read the book, I was in Japan, actually.

331

It was 1989, and I tried to write a version of the script with my friend Jay Cox by 1990, 92.

332

But I didn't get it, and it took me years, another 10, 12 years, to live a life and experience with different exploration going,

333

making Kundun, for example, on the Dalai Lama, all of these things.

334

And finally, by around 2006, 2007, I was able to put the script together.

335

I felt that we could do it.

336

Too many technical business problems.

337

It almost made it impossible to get made, but eventually it did.

338

Ang Lee's group helped us to shoot in Taiwan, you know.

339

A special experience for the entire crew making the film.

340

The locations, the people, the scenes themselves, the Japanese actors.

341

I mean, it was really a kind of spiritual journey.

342

Killers of the Flower Moon.

343

Their time is over.

344

This has taken six years.

345

We didn't intend to take it six years, but I was making The Irishman, and then there was COVID.

346

I was given the book and read the book, and I was very excited by that.

347

I didn't quite know how to go about it.

348

Eric Roth and I went through a process of a few years of pulling the script together and the story, and there were some wonderful things in it.

349

We got it to a point where we said, let's sit down and read this thing.

350

I got some friends, and we sat down, and Leo was there, Eric was good, but there was something about it that I felt we'd been there before,

351

and that was the idea of a police procedural.

352

And the character that he was supposed to play, Tom White, was a character that is straight -laced, you know, very strong, very proper guy.

353

And so we thought about it for another week and a half, and then Leo came to me, said, where's the real, he came to me, he said, where's the real heart of this picture?

354

I said, the heart is with this guy, Ernest, and his wife, Molly.

355

The only problem is we don't know anything about Ernest everybody

356

else you've got tons of material on we don't know anything about them

357

so we came up with the idea of what

358

if instead of coming from the outside in what

359

if we go from the inside out then i said oh yeah the story really is the relationship of ernest

360

and molly and the betrayal i said the only problem there is

361

that it's a creative problem which is you take the script you turn inside out

362

and how much of procedural do you need not very much

363

it started to come together it gave me the direction

364

that i felt comfortable in the other way i've seen that that kind of movies.

365

I enjoy doing it.

366

Imagine doing it.

367

Horses and running Western tropes, in a way, they call it.

368

I would love that, but I've seen it, and they did it so much better.

369

Everybody else does it better.

370

So here, though, you're in the house, and there's a husband and wife, and this guy is dodgy.

371

He's being manipulated by this sort of angel of death, his uncle.

372

You know, you got nice color skin.

373

What color would you say that is?

374

my color we had been working on the casting for quite a

375

while including indigenous people she says I have somebody I want you to see

376

but then I saw the scene from certain women Kelly Reichardt's film I thought she was wonderful

377

and after COVID we got to meet I was struck by the whole visage the face

378

and her intelligence one could see that there's a lot going on in her face

379

but they're not doing very much which is perfect for film acting also the intelligence

380

and level of understanding and coming from indigenous people

381

and being an activist we could learn from her

382

which is what we did and we all work together myself her and Leo very very closely

앱 다운로드

유창하게 말하는 데 필요한 모든 것

AI 발음 평가문장마다 점수 확인

IPA 발음 연습모든 소리 마스터

단어 학습나만의 단어장 만들기

단어 게임놀면서 외우기

QR 스캔

Download on theApp Store Get it onGoogle Play

같은 채널

Ed Sheeran answers all the questions fans really want to know | Vs The Universe | British GQ

Daily ConversationWorking Adults

Psychiatrist Breaks Down Mental Health Scenes From Movies & TV | GQ

Daily ConversationWorking Adults

FOR YOU

이 레슨을 통해 배울 것

이번 레슨에서는 마틴 스코세시 감독이 그의 대표작 택시 드라이버에 대해 이야기하는 영상을 활용해 영상 영어 공부와 영어 회화 연습을 하게 됩니다. 특히 IELTS 스피킹 준비에 도움이 되는 자연스러운 발음, 억양, 그리고 복잡한 주제를 다루는 표현을 연습할 수 있습니다. 감독의 진솔한 이야기를 통해 영어로 생각하고 표현하는 능력을 키워보세요!

핵심 어휘 & 표현

cachet: (명사) 권위나 명성. "그 당시에는 충분한 cachet가 없어 영화를 만들 수 없었다"에서 사용되었습니다.
act out: (동사구) 감정을 행동으로 표출하다. "그의 외로움과 act out하는 모습"에서 감정이 행동으로 나타나는 것을 뜻합니다.
disconcerting: (형용사) 당황스러운, 불안하게 하는. "약간 disconcerting하게 설계된 촬영"에서 시청자를 불안하게 만드는 것을 의미합니다.
psyche: (명사) 정신, 심리. "Travis의 psyche에서 비롯된 캐릭터"에서 캐릭터의 내면 세계를 뜻합니다.
rough cut: (명사) 초연 편집본. "main streets의 rough cut을 보고 마음을 바꿨다"에서 영화의 초기 편집본을 말합니다.

연습 팁: Shadow Speech 방법

이 영상은 말속도가 빠르고 감정이 풍부하므로 shadow speech를 할 때는 단계별로 연습하는 것이 좋습니다. 먼저 영상을 0.75배 속도로 재생하며 단어별로 따라하기 시작하세요. 특히 "why won't you talk to me"와 같은 강한 감정이 담긴 구문은 억양을 주의깊게 따라해보세요. IELTS 스피킹에서는 자연스러운 억양이 중요하니, 감독의 말투에서 느껴지는 진정성도 함께 표현해보세요. 두 번째로는 원래 속도로 재생하며 동시에 따라하기를 시도하고, 세 번째로는 영상을 멈추지 않고 완전히 따라하는 연습을 합니다. 이 과정을 반복하면 영어 회화 연습에서 자연스러운 발화 속도와 리듬을 익힐 수 있습니다. 실수가 나도 걱정하지 마세요—연습이 실력을 만듭니다!

이 영상의 문법

화자가 가장 많이 쓰는 문형을 영상 속 실제 표현과 함께 정리했습니다.

문형	영상 속 표현
“used to” used to + 동사 — 지금은 아닌 과거의 습관이나 상태	used to tell · used to call
수동태 be + 과거분사 — 누가 하는지보다 무슨 일이 일어나는지에 초점	were acquainted · was made · was called
현재완료 have/has + 과거분사 — 과거의 일이 지금도 관련이 있을 때	you've always wanted · We've seen · has organized
관계절 who / which + 절 — 사람이나 사물에 대한 추가 정보	him, which is · script, which is · friend who was

쉐도잉이란? 영어 실력을 빠르게 키우는 과학적 방법

쉐도잉(Shadowing)은 원래 전문 통역사 훈련을 위해 개발된 언어 학습 기법으로, 다언어 학자인 Dr. Alexander Arguelles에 의해 대중화된 방법입니다. 핵심 원리는 간단하지만 매우 강력합니다: 원어민의 영어를 들으면서 1~2초의 짧은 지연으로 즉시 소리 내어 따라 말하는 것——마치 '그림자(shadow)'처럼 화자를 따라가는 것입니다. 문법 공부나 수동적인 청취와 달리, 쉐도잉은 뇌와 입 근육이 동시에 실시간으로 영어를 처리하고 재현하도록 훈련합니다. 연구에 따르면 이 방법은 발음 정확도, 억양, 리듬, 연음, 청취력, 말하기 유창성을 크게 향상시킵니다. IELTS 스피킹 준비와 자연스러운 영어 소통을 원하는 분들에게 특히 효과적입니다.

섀도잉 방법: 단계별 전체 가이드 읽기 →

쉐도잉 연습: Martin Scorsese Breaks Down His Most Iconic Films | GQ - 영상으로 영어 말하기 배우기

연습 모드 선택

앱 다운로드

10 Things England Captain Harry Kane Can't Live Without | GQ Sports

Megan Fox & Machine Gun Kelly Take a Couples Quiz | GQ

Central Cee Breaks Down His Favourite Music Videos | Action Replay

10 Things Joji Can't Live Without | GQ

Casino Boss Breaks Down Gambling Scenes from Movies | GQ

Mads Mikkelsen Breaks Down His Most Iconic Characters | GQ

Daniel Radcliffe Breaks Down His Most Iconic Characters | GQ

10 Things Formula 1 Driver George Russell Can’t Live Without

Simu Liu Replies to Fans on the Internet | Actually Me | GQ

10 Things Jensen Ackles Can’t Live Without | 10 Essentials

Kendrick Lamar & Rick Rubin Have an Epic Conversation | GQ

Becoming Michael with Jaafar Jackson

The Odyssey's Zendaya & Robert Pattinson Take a Friendship Quiz

10 Things Fredo Can't Live Without

Seth MacFarlane Breaks Down His Most Iconic Characters | GQ

Jason Segel's Favorite 'How I Met Your Mother' Scene

Bob Odenkirk Replies To Fans Online | Actually Me

Sal Vulcano Replies to Fans Online | Actually Me

Ed Sheeran answers all the questions fans really want to know | Vs The Universe | British GQ

Psychiatrist Breaks Down Mental Health Scenes From Movies & TV | GQ

Robert De Niro on Acting - Michael Parkinson Interview [1981]

Top 10 Most Epic Movie Scenes of All Time

Frank Castle and David Lieberman being a chaotic duo for 18 minutes

Jake Gyllenhaal Reveals How He Uses Backstory to Prep for Roles

Green Book VS Oscar Bait - Let Me Explain

Fellow Travelers Director Breaks Down THAT Scene | Fellow Travelers | SHOWTIME

Stopped An 80 Year-Old London Man: This Is What He Told Me...

CITY | Islamophobia in a NYC Taxi

Sacha Baron Cohen on Why Democracy Isn't Compatible with Social Media | Pivot Conversations

Cillian Murphy’s Closet Picks

Inside Out (2015) We’re Abstracting ! Scene. HD & CC SUBTITLES

이 레슨을 통해 배울 것

핵심 어휘 & 표현

연습 팁: Shadow Speech 방법

이 영상의 문법

쉐도잉이란? 영어 실력을 빠르게 키우는 과학적 방법