Shadowing Practice: (2020/10/01) GWTV Behind The Scenes - ANIMA - Thom Yorke (Video) - Learn English Speaking with Video
Creating lesson...
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What time is it now?
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Oh, it's only one o'clock.
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One o'clock.
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We've been shooting through till 7am for six days.
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Oh.
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So we're now officially Preachers of the Night.
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I see people angry.
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People are angry.
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People are carrying on like everything's normal.
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But if you ask them, they're angry angry or if you,
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you don't have to push much for there to be all this stuff underneath at the moment, everywhere.
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I guess without thinking about it, it's that.
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This is an old quarry which has quite a lot of interesting history
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and we've been doing projections in it we're in France near Arles
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and Cocteau shot here what are you doing good dancing sorry
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I'm chucking totally putting you on the spot I said
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if you put a gun to my head the best way I can describe this is like
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you have all these bodies going to work they work within a system within a program
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but their subconscious is starting to resist that program and they can't they can no longer follow follow the desired patterns
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One is creating the main phrase and the other is doing the oppositional phrase.
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So if one goes down, the other one will come down.
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So it's this kind of like dance creating counterphrase.
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By having a concept of falling asleep and being very grounded.
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The neck going?
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It's all about the fucking neck.
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The dancers have been training to do this thing, which was my big obsession at the beginning, like some sort of involuntary movement.
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And what are they based on?
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They're based on a choreography that Damien did with a friend of his.
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It's like...
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But because they're on the floor, when they do this, they lift off the floor.
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And the accumulation of seeing a lot of human beings do that makes them, like...
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It's just so fucking wrong.
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The record's called Anima.
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Jung used it as an expression of the female subconscious of man in the dream world.
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It felt really nice because it was like, Anima is like a physical manifestation of your subconscious,
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which really made sense to me.
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And you'll see with the choreography and all that why that makes sense.
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So this is a physical manifestation of what's going on in your mind?
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I wouldn't sign a contract saying that but yeah probably.
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It probably is right?
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That's kind of alarming.
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Paul Thomas Anderson just doesn't fuck about,
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you know, he walks into a space and he'll just make it work and you're like wow.
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When I saw him first time, I had to say...
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Hello.
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That's all you're going to get at him.
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It's pretty crazy to like take...
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It's a huge production and we're all thinking on our feet.
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And now you're wearing silly shoes.
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Yeah, oh god, don't talk about the shoes.
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We're all wearing them if that makes you...
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You won't believe how many discussions we had about the shoes and eventually went off.
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Alright, let's just finish.
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It's a weird history to all of this.
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I really was enjoying just having a microphone and visuals behind, and Nigel just leaving Nigel to do the music and arrangement and effects.
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I was like, oh, okay, I actually really like this.
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This is kind of new to me.
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So this is Tarik's projection.
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He uses fucking rapid lines that move through the space.
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So you've got something that's quite organic and jumping and then something that's going the opposite.
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In the process of doing these things I guess I've enjoyed not analysing any of the decisions that we're making at all.
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I would say to Paul quite frequently, mate, please tell me you shut the fuck up.
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And his response would be, you've got us into this.
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You don't get to walk away.
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I'm like, fuck.
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I'm Emilios, who's Damien's partner.
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And he, in Prague, he's doing this, right?
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Rolling on the fucking cobblestones in Prague.
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Like that.
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Like an animal.
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That's fucking nuts.
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The last bit of it is really romantic.
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I think that's the point where the characters,
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not just me, the characters find a form of expression which they haven't got.
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Because the rest of the time, as I'm thinking in the thing, it's like everybody's movements are not their own.
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So the idea was to have a real contrast of Diane and I are sort of discovering...
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Each other.
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Yeah.
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And standing out from everyone else as a result, from all their movements.
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Why not for them to be playing with that, because actually it looks like they're really intimate but then at certain points,
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yeah, all the other dancers learnt it in the same tram and the camera turns around and you see, well what, everyone else is doing the same.
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You know, so we're kind of messing with that idea a bit.
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Thank you.
About This Lesson
You're practicing English with "(2020/10/01) GWTV Behind The Scenes - ANIMA - Thom Yorke (Video)" using the Shadowing technique — a method originally developed for professional interpreter training.
Focus on sounding like the speaker — not just repeating words. With 15–30 minutes of daily practice, you'll build real-world speaking confidence.
What is the Shadowing Technique?
Shadowing is a science-backed language learning technique originally developed for professional interpreter training and popularized by polyglot Dr. Alexander Arguelles. The method is simple but powerful: you listen to native English audio and immediately repeat it out loud — like a shadow following the speaker with just a 1–2 second delay. Unlike passive listening or grammar drills, shadowing forces your brain and mouth muscles to simultaneously process and reproduce real speech patterns. Research shows it significantly improves pronunciation accuracy, intonation, rhythm, connected speech, listening comprehension, and speaking fluency — making it one of the most effective methods for IELTS Speaking preparation and real-world English communication.