Shadowing Practice: Daniel Day-Lewis - 'Movies 101' Part 2 - Learn English Speaking with Video
Les maken...
1
You described to us how you met Jim Sheridan.
2
Now this was the beginning of a real collaboration between you and Jim Sheridan.
3
And to me it seems to be also parallel in your life with a real affection for things Irish, for people Irish, for the culture Irish.
4
Do you think that that began with the relationship with Jim Sheridan?
5
Or do you think that your interest in Jim Sheridan and your interest in that story, and In the Name of the Father and the Boxer, part of your trilogy of Irish films,
6
Do you think that they came out of what was there already?
7
Well as much as I love Jim Sheridan and as Much as he has been a great influence in my life.
8
I couldn't really give him the credit
9
For that too it was really the other way around
10
because my father I suppose I was probably four years old when I first
11
Went with my father with my family to to the west of Ireland
12
He wasn't from the West actually was from from County Leash
13
which had been called Queens County in the old days and And from an early age, we began to think of it as being a place that was,
14
if not home, certainly as close to home and perhaps something almost better than home, which was a sanctuary, a place that you could escape to and always find what you were looking for,
15
a certain quietude.
16
And I grew up in England, and I mean, I am by culture and education an Englishman, and I've never tried to deny it,
17
but I suppose in some sense, and I might share this with a lot of people that work in the performing arts,
18
I felt a sense of alienation within my own society.
19
And something about the nature of the class system there appalled me, as it had done my parents too.
20
And Ireland always beckoned throughout the years, and I was fairly confident that at some time I would move over there.
21
Your dad was a successful writer of detective stories and also a poet,
22
but your grandfather started in the film industry when it was silent, 1922.
23
And for 40 years, Michael Balkin, later Sir Michael Balkin, literally dominated the industry.
24
He created Ealing Studios, where all those spectacular black and white films came from.
25
When you were a little boy, Anyway, was that where you were introduced to the movies through your grandfather?
26
I wasn't really introduced to movies, Richard.
27
I mean, I didn't know what my grandfather did until I was quite a bit older.
28
When I discovered the Ealing Commodays,
29
it was quite a revelation to me because my grandfather had long since retired from the business,
30
and I grew very close to him after my father died and grew very, very fond of him.
31
But as a young kid,
32
he was quite an intimidating character and I don't remember ever having many conversations with him. But really,
33
I suppose the theater was more of an influence through my
34
mother who had started out her life as an actress and when she married my father, she more or less put that to one side,
35
but still occasionally did things.
36
And it was, and her father, my grandfather, was appalled when she became an actress.
37
I mean, he thought it was the next thing to becoming a hooker as far as he was concerned.
38
It was that, you know, it was an absolutely unacceptable.
39
You're going on the stage.
40
You're going on the stage.
41
My daughter was going on the stage.
42
I know, it was outrageous.
43
Well, that caused a storm in the house.
44
But it was through my mom that I began to meet a few people.
45
And we lived, I watched from the top window of our house as they rebuilt from the ground up a cinema
46
that had been bombed during the war.
47
And they built it into a theater, which is now the Greenwich Theater.
48
And my mother always sort of made it clear to anyone
49
that was working at the theater that the house was open to them
50
if they wanted to just come and relax and spend a bit of time there.
51
And I got to meet some lovely people during that time.
52
One of the things I read that you wrote a long time ago is you said, as a youngster, I rather liked actors because I found them to be generous and warm-hearted people.
53
Well, now you know actors.
54
Do you still think that that's true?
55
Yes, I do.
56
You do?
57
Yes, I do.
58
Do you remember when you said to your folks, I think this is the career I've chosen.
59
I think I want to go into theater.
60
I want to be an actor.
61
I think I kind of kept it to myself for a while.
62
I think it was more of a kind of private decision I made when I was around 12.
63
But it seemed to be a decision made out of necessity, because at that time I was just really a layabout
64
and the only time I ever really used energy it more
65
or less got me into trouble some kind or another and
66
and like many people the theater seemed a forgiving trade
67
and my first boarding school that I was sent to
68
which was absolutely unforgiving in pretty much every respect all the reprobates congregated in the art room not
69
because we were artists
70
because there was just this tiny little corridor of of of liberty of some kind in that place and so
71
um it began there strangely in this hugely restrictive environment where the world seemed pretty bleak
72
because a boarding school is your world whatever lies outside of
73
it is eclipsed by the by by the the day-to-day horror
74
and i was struggling i mean i was really struggling to keep my head above water
75
so so the theater seemed you know without knowing anything about it the The theater seemed to be the life for me.
76
Excuse me.
77
And I had one moment, I suppose you could call it, as people often talk about defining moments, and mine would seem to have an unpromising orator
78
which was that I was given a bit part in a production of Cry the Beloved Country.
79
Does that play mean anything to you?
80
It's set in South Africa.
81
Yeah, it was a play about the horrors of apartheid.
82
That's exactly right, yeah got it um
83
and i was cast as a little black boy
84
because of course woe betide that there should be any black children in this school
85
or if they were they were hidden away in some in the east wing
86
or something and so i had to and i had a little tiny little t-shirt and a pair of skimpy shorts,
87
and that meant that I had to cover my body in makeup and my face and wear a little wig.
88
And the thing that I really loved about this, for that two hours a night,
89
you walked onto a place that was flooded with light in an otherwise dark world
90
and it was as simple as
91
that even from the very beginning working in the theater I understood certain things about myself
92
and again I'm very grateful for that because it's not it's not invariably true
93
that you understand what it is that you need is an early stage
94
because there's so much you're impelled to do so many things that go against the grain very often.
95
It's you know it's gonna be a tough life
96
and from my point of view I assumed I was gonna have a life in the theatre
97
because very few English actors at that time were getting a chance in movies.
98
Much as I loved films it never really occurred to me that that would be a part of my life.
99
We all really thought we were gonna work in the theatre
100
and maybe do a bit of TV to pay the bills
101
now and then so
102
and the theater world is very different you know the theater
103
world is not it's you know you may I suppose gain some recognition
104
but it's just not it's not in the say you know
105
what I'm talking about it's not to the same degree you go out
106
and you play to 800 people right 900 yeah night here a movie goes out
107
and you're that big to most of them as well If they've got the cheat sheets, you're like, you need binoculars to see who you are.
108
So, you know, and that was my early years spent working in the theater.
109
I knew that the capacity to do this work was something that was a delicate thing.
110
Whatever it was at one's very core that led one to do this work,
111
I knew that it was not indestructible and that if I kept putting myself in situations that made me uneasy,
112
which could be doing work that i didn't believe in even when i didn't have a choice in the matter
113
or having to hulk myself around even auditions this sounds like horribly arrogant
114
but open auditions i did a couple of those for the rsc
115
and the national where you sit in a room with 50 other
116
miserable actors working on a piece of shakespeare and then you walk into a room with seven
117
men all puffed up with self-importance and you know you strut around
118
and they they look at you like a specimen of some kind.
119
And I went up.
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Woordenschat en spreektips bij deze les
Deze spreekles op niveau B2 is gebaseerd op de video “Daniel Day-Lewis - 'Movies 101' Part 2”. Deze video bevat 119 zinnen en 1609 woorden om na te spreken. Het gesproken deel duurt 9:16. De spreker praat in een natuurlijk tempo van ongeveer 174 woorden per minuut, dicht bij een alledaags gesprek. 84% van de woorden hoort bij de 3.000 meest gebruikte Engelse woorden; de rest kun je beter vooraf bekijken.
Belangrijke woorden in deze video
De 15 moeilijkste woorden uit de video, met uitspraak en betekenis:
| Woord | Uitspraak | Betekenis |
|---|---|---|
| audition zelfstandig naamwoord | /ɑˈdɪʃən/ | auditie |
| alienation zelfstandig naamwoord | /ˌeɪli.əˈneɪʃən/ | vervreemden |
| beckon werkwoord | /ˈbɛkən/ | wenken |
| binoculars zelfstandig naamwoord | /(ˌ)baɪˈnɑ.kjə.lɚz/ | verrekijker |
| hookah zelfstandig naamwoord | /ˈhu.kə/ | waterpijp |
| indestructible bijvoeglijk naamwoord | /ɪndɪˈstɹʌktɪbəl/ | onverwoestbaar |
| intimidate werkwoord | /ɪnˈtɪmɪdeɪt/ | intimideren, inschuchteren |
| invariably bijwoord | /ɪnˈvɛɹ.i.ə.bli/ | onveranderlijk steevast |
| orator zelfstandig naamwoord | /ˈɒ.ɹə.tə(ɹ)/ | redenaar |
| reprobate bijvoeglijk naamwoord | /ˈɹɛpɹəbət/ | verworpen, verlaten |
| unforgiving bijvoeglijk naamwoord | onverzoenlijk, meedogenloos | |
| youngster zelfstandig naamwoord | /ˈjʌŋstɚ/ | jongere |
| restrictive bijvoeglijk naamwoord | /ɹɪˈstɹɪktɪv/ | beperkend |
| specimen zelfstandig naamwoord | /ˈspɛsɪmɪn/ | voorbeeld |
| hulk zelfstandig naamwoord | /hʌlk/ | scheepsromp |
Phrasal verbs die je zult horen
| Woord | Betekenis |
|---|---|
| go out werkwoord | naar buiten gaan |
Zinnen om te herhalen
Korte, volledige zinnen uit de video die je in alledaagse gesprekken kunt gebruiken:
- Do you think that they came out of what was there already?
- You're going on the stage.
- Do you still think that that's true?
- Does that play mean anything to you?
Grammatica in deze video
De structuren die de spreker het meest gebruikt, met de exacte woorden uit de video:
| Structuur | In de video |
|---|---|
| Lijdende vorm be + voltooid deelwoord — het gaat om wat er gebeurt, niet om wie het doet | had been called · were introduced · wasn't really introduced |
| Present perfect have/has + voltooid deelwoord — iets uit het verleden dat nu nog telt | has been · I've never tried · I've chosen |
| Betrekkelijke bijzinnen who / which + zin — extra informatie over een persoon of ding | home, which was · theater, which is |
Uitspraak om op te letten
De spreker gebruikt 20 samentrekkingen en verkorte vormen, zoals you're, didn't, gonna. Spreek ze kort uit, zoals je ze hoort.
- De klanken “sh” en “zh”: audition /ɑˈdɪʃən/, alienation /ˌeɪli.əˈneɪʃən/, affection /əˈfɛk.ʃən/, revelation /ˌɹɛv.əˈleɪ.ʃən/
- Lange woorden — let op de klemtoon: alienation /ˌeɪli.əˈneɪʃən/, binoculars /(ˌ)baɪˈnɑ.kjə.lɚz/, indestructible /ɪndɪˈstɹʌktɪbəl/, intimidate /ɪnˈtɪmɪdeɪt/, invariably /ɪnˈvɛɹ.i.ə.bli/
Klanken die Nederlandstaligen lastig vinden:
- Stemhebbende eindmedeklinker — /b/, /d/, /g/, /z/, /v/ niet verscherpen: binoculars /(ˌ)baɪˈnɑ.kjə.lɚz/, quietude /ˈkwaɪ.ɪ.t(j)uːd/, restrictive /ɹɪˈstɹɪktɪv/, fond /fɑnd/, rebuild /ɹiːˈbɪld/
- /æ/ — opener dan de Nederlandse “e”: arrogant /ˈæɹəɡənt/, unacceptable /ˌʌn.ækˈsɛp.tə.bl̩/, sanctuary /ˈsæŋkt͡ʃuˌɛɹi/, spectacular /spɛkˈtæk.jə.lɚ/
- /g/ — een harde plofklank, geen Nederlandse “g”: congregate /ˈkɒŋɡɹəɡeɪt/, arrogant /ˈæɹəɡənt/, grain /ɡɹeɪn/
Zo oefen je met deze video
- Luister de hele video één keer zonder te spreken en noteer de woorden die je niet kent.
- Begin op 0,75× snelheid, spreek zin voor zin na en ga terug naar normale snelheid zodra het makkelijk gaat.
- Neem jezelf op en vergelijk met het origineel; let daarbij op woorden als audition, alienation, beckon.
Wat is de Shadowing-techniek?
Shadowing is een wetenschappelijk onderbouwde taalleermethode die oorspronkelijk is ontwikkeld voor professionele tolkentraining en gepopulariseerd door polyglot Dr. Alexander Arguelles. De methode is eenvoudig maar krachtig: je luistert naar native Engelse audio en herhaalt het onmiddellijk hardop — als een schaduw die de spreker volgt met slechts 1–2 seconden vertraging. In tegenstelling tot passief luisteren of grammaticadrills, dwingt shadowing je hersenen en mondspieren om echte spraakpatronen tegelijkertijd te verwerken en te reproduceren. Onderzoek toont aan dat het de uitspraaknauwkeurigheid, intonatie, ritme, verbonden spraak, luisterbegrip en spreekvaardigheid aanzienlijk verbetert — waardoor het een van de meest effectieve methoden is voor IELTS Speaking-voorbereiding en echte Engelse communicatie.