Shadowing Practice: Leonardo DiCaprio & Jennifer Lawrence | Actors on Actors - Learn English Speaking with Video
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Your guys' chemistry was amazing.
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Have you ever kissed?
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I got a Matchbox car commercial where I played a gangster.
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Why did somebody dose everyone and why would they waste drugs?
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You're starting?
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Yeah, I'd like to start.
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Because One Battle After Another is my favorite movie I've ever seen in my life.
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Oh, thank you.
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Oh, stop.
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No, really.
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You're a really, really, really great actor.
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And this was like the greatest performance I've ever seen.
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Stop.
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And what struck me just as somebody, because I know you, and I thought this character was so, it's like the rawest I've ever seen you, but you were also really warm.
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and Bob reminded me not in like personality
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but I guess in like values of your dad
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and I know your parents were like very counterculture yeah
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so is there something that was like built from you about Bob
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or like do you think PTA just kind of handed you a really warm
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and amazing guy I think it was very personal for Paul.
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He'd been writing it for 15, 20 years, and it was very pertinent to today, very topical.
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But yeah, it was, you know, it was based on violin, but he made his own rendition of all of it.
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And I think the idea of this guy who was a revolutionary,
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then trying to assimilate himself in the modern world with a daughter that he didn't connect to,
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was something that had been permeating in his mind for a long time
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but as far as like the counterculture stuff yeah my
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my parents are different though you know my dad hung around with abby hoffman a bit
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back in the day they were definitely hippies but these were much more hardcore revolutionaries
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much crazier stuff but yeah your dad was also a bomb maker my father was a bomb maker
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but i don't know i just love the idea of picking
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up on this guy who's just kind of essentially an extra
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in the beginning of the movie to tayana's sort of revolutionary fire
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and then you find him stuck there trying to live off
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the grid with no internet no phone thinking his daughter is going to be as paranoid as he is
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and then this idea of them trying to reconnect in a modern context
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and he doesn't even know how to relate to his daughter
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or the world that he lives in but all that was in in the script and something that Paul, you know, put a lot of thought into.
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What time is it?
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You know, I don't I don't I don't remember that part.
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All right.
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Let's just not nitpick over the password.
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So it was the funniest I've ever seen you.
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And was that because you were were you like aware of the comedy?
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Because I think the funniest people are like an Alec Baldwin who like does it like as serious as a heart attack.
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And I can't do that like when I was doing No Hard Feelings, I was too like aware that it was a joke and I was like, yay, a joke's coming up and I don't think I could do that.
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But did you, were you like aware that you were being funny or were you just really...
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It was the circumstances.
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I mean the fact that Paul wrote this idea
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that you think I'm going to be able to utilize all the skills from my past as a revolutionary, but that he's too stoned to get off the couch
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and he can't remember the password and then
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that kind of dominates the entire story right
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and then each time we got to these moments where maybe
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my character was going to do something heroic we throw it
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out the window all the way to the end yeah
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when you fell off the roof all the way to the
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final moment in the movie where we still thought maybe i
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was going to do something heroic we're like nah no he
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doesn't do it yeah Benicio also never really got his moment of like all this kind of work
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and then there wasn't like a moment where he rides off
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into the sunset right it was just kind of he was
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fantastic he was your guys chemistry was amazing have you ever kissed he was actually doing Phoenician scheme
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and we said we have to wait for him
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so we shut down production for three months
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and then he was like I'm not I'm not prepared for this
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but he came in and knew exactly who his character was and we changed the whole movie when he arrived Yeah, all that stuff we did on the road Is because Benicio's like no,
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I'm not doing this.
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I am doing this.
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This is who sensei knows This is what he's we just kind of made up the improvised
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Most of that stuff that we did Wow This is the end of the line Not for you Ocean waves, ocean waves.
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Well, last question.
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I have more, but before we move on to me, do you watch playback?
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Depends on the movie.
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Did you watch playback on this?
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No. Oh, yeah, you couldn't because of the film.
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It was all VistaVision.
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Right.
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Almost endangered or extinct cameras.
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Giovanni Ribisi.
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Yes.
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Yeah.
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I actually told Paul about Giovanni Ribisi, who makes a lot of these cameras.
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Yeah.
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A lot of them are from Hitchcock's era.
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The last film was One-Eyed Jacks.
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And then the Brutalist shot something in VistaVision.
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But the thing about VistaVision cameras, not only are they incredibly rare, and that's when Giovanni stepped in and said, hey, I have two of these cameras that I put together.
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The projectors, there's only like four in the world.
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Wow.
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The film goes this way, and it's very, you know, I think Cinemascope took it over.
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But yeah, there was no playback.
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Yeah.
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A lot of rollouts a lot of roll outs
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and we actually i think only destroyed one camera destroyed it how yeah
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driving the driving oh man i saw the movie in imax and those driving scenes were amazing
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like stomach dropping so good so do you think you'll have another one yeah pregnant now
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cooking up twins what happened to your hands oh you should see the wall
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so tell me about die my love i thought it was i just finished it this morning
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because this all got decided yesterday
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but it kind of reminded me of like french new wave
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or cassavetes filmmaking and i thought immediately of woman under the influence
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which is one of my favorite performances and one of my favorite movies yeah
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so why did you want to do this part what got you into it you were fantastic in it.
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Tell me more.
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Thanks.
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Martin Scorsese had read the book in his book club and he was like, you should be in this movie or you should make this into a movie and star in it.
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And then when I was reading it, I really couldn't understand how it would be a movie because it's like all her inner dialogue.
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I got the emotion of it.
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Like I felt like the author, Ariana Horwitz, was able to like describe the indescribable like grave depression
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and like an identity crisis but like really poetically like being lost in a forest
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and just like these visuals and these metaphors
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that i i just never thought of like the human condition in
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that way but i couldn't like crack how to make it a movie
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and i didn't want to like go back to marty and be like i don't gotta try someone else.
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The ending is really powerful.
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Well it's interesting because it okay so once I realized
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that it's poetry you know it's not like a literal story then it clicked that it's Lynn Ramsey because she's a poet.
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And what stuff was in the book was there stuff in the book
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that wasn't in in the movie or is it pretty much?
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No she changed a lot.
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She changed a lot.
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She made the couple be new to town, which in the book they're not.
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And I think that adds a huge element to my character's depression.
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And I think also the kind of pacing like a tiger in a cage, you know, just like this.
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I think it added a lot more of like the isolation that I think a lot of new parents have.
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Cause like, what is my life now without a community?
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You know, just being really lost.
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At the beginning, both of our characters kind of stick out like sore thumbs.
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Cause we're like from a big city and we're in this small town.
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And then as the movie progresses, I start to blend in,
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and then that was my way of finding where I was in the day, where she was mentally.
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I'd be like, oh, the pink cardigan.
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Okay, she's...
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A lot of the tension for me was that baby.
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Yeah.
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You know?
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I know.
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You think of the tension in a film like this, you're like, okay, what's going to happen to this child?
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I know.
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Because she's unraveled.
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Yeah.
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Uncapable of anything.
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Yeah.
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That's what got me on edge.
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I know.
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I really loved seeing you be a dad one battle after another.
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I'm so sad that you don't have a teenage daughter.
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You look great with one.
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We changed a lot in the book.
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You know, the child is not well taken care of.
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Rob and I are both parents.
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Rob had a newborn and we just were not capable of, I think, even playing
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characters like that and it changed and I think
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that ended up being for the better
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because postpartum I think we've only been talking about it really recently right and so
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when we do talk about it the only understanding of it
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like is like a very simplistic like you don't connect with your child
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and you don't like your child right
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when really that's like one version of it you know another version of it is your marriage starts to erode
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because your dynamic is completely different and we dealt with a lot of
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that with Teyana's character too in the movie yeah
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which was kind of something i didn't wasn't really i guess it was kind of hinted at in the script
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but this idea of me loving the baby more than her her being jealous of the baby
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and then all these secret conversations
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but it was just a little blip in the movie yeah
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whereas you explored it well i can't i imagine how much
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that would happen for her specifically because she was doing something
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so important and then
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when you have a baby it's hard to not just feel like an animal right
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and you're just like i'm a useless cow
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but just you know i used to have a life i used to do important things right
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and i mean for her right she was doing like
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and then she almost blames me for being the paternal one in a weird yeah
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and you'll never understand what i get it i'm Montana side
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I'm curious about something I was gonna ask our work aside okay no
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but I mean we're both you know we both started out very young how old were you
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when you started out auditioning 14 in Kentucky no New York
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in New York yeah 14 14 I was 12 Wow yeah
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and you did a lot of commercials TV yeah before Winter's Bone.
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And we were both on sitcoms.
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Yes.
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What was your sitcom again?
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Well, yours was Growing Pains, which I watched every day after school.
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And mine was the Billing Ball show, which I don't think anybody has ever seen except me and my parents.
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How long were you on it?
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Two years.
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Two years.
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And then as soon as I wrapped Winter's Bone, and then the show got canceled.
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It worked perfectly.
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I did one year of Growing Pains, then I got This Boy's Life, which was like my first starring role and they were
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so incredibly awesome to me because i think
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that we were going to do another year
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and the late great alan thick and all of them got together
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and like let the kid go do this let him go
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it was really an amazing moment yeah they're not normally nice like
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that and what was your first commercial um i did an mtv promo for my super sweet 16 the show
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so i was like on chaise lounge like
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and then they like dropped me but were you in the show super sweet 60s no
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what is a promo what does
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that mean a promo is like it's like a it's like
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a commercial for the show still don't get it okay i
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was playing a rich girl i see having a over the
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top birthday i was acting like i had money gotcha mine was a didn't grow up rich no
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but you got a sitcom at 12 i mean that's yeah
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i mean i think a lot of my propulsion to want
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to act was to get out of my neighborhood like
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that you could do
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that for work right my stepbrother did a lot of commercials like wait a minute you get paid to do
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that yeah i'm gonna get out i gotta get out of this place yes
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so i was the stage mom right i was pushing my
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parents to take me on auditions i'm like you know my school is this far away
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when you pick me up we can stop at a couple auditions on the way home get me out there so i
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and then i like like i said my step brother he
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was he was an actor did an episode of battle star galactica
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and some television and i was like
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if anything this is going to be my college fund to
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get me money to try to have some sort of career in something
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and then i didn't book anything for I got a matchbox car commercial where I played a gangster with slick back hair.
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Wow.
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Like I had a briefcase and I opened it up.
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Did you go to the audition looking like a gangster?
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Yes.
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I slicked back my hair.
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I put like a little leather jacket on it.
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I love that.
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And then I got a lot of Mickey's Safety Club.
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They were called after school special kind of things where you teach kids not to do drugs and all that.
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And the dangers of drugs.
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Dare?
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It was kind of like that from that era and then like I think my first television show was in The Outsiders.
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There's my whole filmography.
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Wow.
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That's my whole.
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Which brings me to one of my questions.
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PTA was your white whale for a while after Boogie Nights.
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Now you've just worked with him.
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Who's your white whale now?
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I don't know really.
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I mean there's a lot of great directors out there damon
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chazelle's very talented michael mann's amazing i've always wanted to work with him
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there's so many i don't really have one specifically
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if i'm being honest paul for me was always somebody who i kind of felt generationally was somebody
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that i really looked up to he almost did boogie nights together
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and then i got to watch his entire career progress over the last 25 years
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and see this incredible visionary and just always wanted to do something with him did Did you pass on Boogie Nights?
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It was a hybrid of that.
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Like there was Titanic and then there was Boogie Nights and they kind of overlapped.
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Maybe it could have worked out.
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Have you re-watched Titanic?
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No. Oh, you should.
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I haven't seen it.
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I bet you could like watch it as a movie now.
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And it's so good.
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I don't really watch.
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Maybe I do.
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Some movies I've watched.
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You watch your old movies?
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No, I've never made something like Titanic.
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But if I did, I would watch it.
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But I mean, when was the last time you did that?
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When I was really drunk.
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I put on American Hustle.
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And then my assistant went to download something.
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But did you do it alone?
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Were you showing some...
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Showing people?
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Oh, being like, yo, this is what this movie was like.
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No, I was drunk, and I was like, I wonder if I'm good at acting.
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And I put on American Hustle.
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And I don't remember what the answer was.
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That is funny.
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I'm gonna have them cut that out.
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That is very funny.
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I wanted to ask about David O.
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Russell.
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Oh, okay.
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And what the first film was like, American Hustle was like, Silver Linings,
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and what you feel like he brought out in you in a lot of these roles.
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I mean, I think you've talked about it.
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Like, this sort of push and
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and i mean i want to help you as an actor
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in a lot of ways yeah yeah he taught me how
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to act really i i want to be sensitive that's hard to believe other actors who've worked with him
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because i know he's tough you know he can be really
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really hard on people for me i i don't know if it was because i like I grew up doing sports,
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and so I just felt like he was just like a stern coach.
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It's like, do it louder, do it more quiet.
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That was bullshit, do it again.
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That was bad, do it better.
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Like it was just very straightforward to me.
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And I think I was young enough that I didn't have anything to, it was normal to me.
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As I was like 21, when I did Silver Linings Playbook, it just felt really alive.
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I never felt like he was like yelling at me.
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But anyway, I feel like when I say he taught me how to act, I feel like because I never did like lessons or anything like that,
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I think I would have really easily fallen into, I don't know, something.
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And he, I mean, you know how I'm like never like prepared.
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And I would always feel bad.
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That's not true at all. About that.
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But he was kind of like, he taught me that like that was like staying loose, you know, and that that's okay.
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And I think if I wasn't like aware that sometimes there's, sometimes there's a need to like prepare.
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And then sometimes there is the need to like, to not and to stay loose.
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And I'm happy he taught me that.
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You kind of like the process of somebody calling out direction like that?
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Yeah.
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We do. Do you?
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You know.
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I think it does help sometimes.
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Yeah.
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Actually.
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but you show up like you're already like you you you're like making a movie
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but the idea of somebody i mean yeah i'm trying to think
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if i ever had that yeah most
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because most of the times it's the director coming up to you in an intimate conversation like
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that yeah and i really don't like being tiptoed around like i'm an emotional landmine i hate
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that i'm just gonna leave it It's your girlfriend, you clean it up.
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Nice.
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Pissed on the floor too.
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For this movie, did you have that dynamic too?
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For this movie, she was really hands off by the time we started shooting.
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She kind of like builds the world and then steps back and like watches and is very observational.
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But I think like our conversations were, it was like more of a universal conversation than like a
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coming up in between a lot of it was improvised obviously right i don't think was
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that was that written in the script
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all the stuff that you did in
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that film no i mean for the like pacing around the house
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and stuff she would just kind of set up a camera
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and tell me to exist yeah i think she improv a lot like us crawling in the grass
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that was written as like us like flipping burgers when he proposes to me
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didn't you say that was the first day of filming or something no the first day was the naked
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fighting like tigers yeah and rob and i didn't even know each other
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that well we like met a couple times wow i think it was better
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that way like threw you into the gauntlet you kind of like
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that yeah yeah i think
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so yeah have you ever done nudity full yes maybe i have i did a film which
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you never would have seen called totally clips about arthur rumbeau french poet
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when i was 17 or 18 i was nude in that
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and i think i was partially nude in aviator you should re-watch it
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i was trying to get the rendezvous point for my daughter right willa
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if you can't answer what time is it i cannot give
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you the rendezvous point i do just want to hear more about like how bob Okay, did it start did it like it I guess chicken or the egg,
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but like he's fried his brains on drugs He can't remember the password
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So it's kind of like this
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Fran you're kind of playing Bob in a moment where he's never that he's never existed him before Mm-hmm,
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you know, he like started the movement because he was like horny for her
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and then it felt like he believed in a cause too I feel like that grew.
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No, I'm not the character.
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Well, maybe, yeah, actually, maybe that's what it seems like when you watch it.
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Like he's running up with the wheelbarrow and he's just starting.
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I think it started about her.
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That's interesting.
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And then it.
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No, that's not the way we started out.
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he was kind of the based on the weather underground
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and a lot of this this book that i read days of of rage
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and there was a specific bomb maker in there
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and they're kind of in the background as you know the more sort of pertinent
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or like forceful revolutionaries are in the foreground
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and it had a lot to do with what his life was like but yeah i felt like he was definitely
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a revolutionary from the start and trying to fit in yeah yeah I think
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that the creative part of my brain
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and my the political part of my brain are intrinsically linked
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like I keep finding like every time I come up with like a movie
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or like I'm at it's it's more often than not political I think it's
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because that's how I'm like digesting the world hmm are you like that no okay
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no no but this this this was an interesting one
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because he wrote this 15 years ago
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and it kind of feels yeah very topical totally
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and you know as we know it don't look up together
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it's very difficult to say something about the world we live in
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and it has to have an element of irony
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or comedy to it otherwise people they're not allowed in you
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know I mean it feels like oh I'm watching these people's vocation
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and they you know do I relate to them and And the messiness of the comedy, I think, is kind of, you know, there's all those political films of the 70s,
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Parallax View, Three Days of the Condor, All the President's Men, and they were taken very seriously.
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But nowadays, it feels like there's such polarity and such extremism that if you pick a side, you're alienating.
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Half.
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You know, yeah, it's true, right?
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Yeah.
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So this, I think Paul, delicate balance, and I think he did an amazing job with this movie and saying something.
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I agree.
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I agree.
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It reminded me of not the movie, but the actual revolutionary Napoleon.
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Well, the French 75.
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Right, French 75.
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What are your good and bad habits as an actor?
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And can I answer for you?
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No, I'm just kidding.
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Yes.
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By the way, that'd be much better.
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Bad habits.
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I think I shoot out a lot of...
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You shoot out? ideas sometimes unnecessarily.
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Well it's kind of like a shotgun spray of anything that comes to mind
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and a lot of that may waste time for the focus of what we already know.
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Do you know what I'm saying?
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Yeah but that sounds helpful because if it's not useful then you just move on
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but if it is useful that's like really important.
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Well sometimes maybe it it steers away from what is obvious do you know what i mean but yeah
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that still sounds like a good thing to me does it
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steering away from what is obvious well well you know but
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but sometimes it's unnecessary like you know we know what the scene's about let's
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and i just keep coming up with this stuff that
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may seem unnecessary that's all well a broken clock is right twice a day
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so i think there are inevitably going to be moments where it's not necessary
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but i don't think that that means the whole process is bad
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so maybe it's a i think it's a good maybe it's a good and One bad thing, I answered both in one.
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Great.
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Now I'm gonna throw that back on you.
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My bad habit is that I am so good at
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Letting go at the end of the day
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That I don't think about the next day right
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and then it's like a mad scramble and the hair and makeup trailer to like
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If it's like a bigger scene than I was expecting it
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because normally it's like you get sides
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And it's like you have two lines in the day
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and then it's like a mad scramble to try to memorize
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and then I'm not doing my best
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because I'm trying to remember what the lines are instead of just knowing the lines and then going elsewhere.
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So your ability to shut off in between.
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Is great because for my life.
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I imagine on this movie it was very emotional what you were doing
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so that when you went home you were able to shut.
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How long was the shoot?
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Two and a half months I think.
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Wow.
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Maybe it wasn't.
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Maybe it was one month.
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Six weeks?
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I don't know.
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Yeah, that is a good quality.
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Yeah, it's good until...
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Makes you not go crazy.
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It makes me not go crazy, but the next morning is hell.
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I mean, with Silver Linings, I had a scene where I'm just like yelling nothing but sports stats to Bob De Niro.
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And that's obviously really hard to memorize because it's not like there's a train of thought to follow.
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It's just numbers and sports, which I don't care about.
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and you know I didn't know that I had to do
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that until the day of and it's Robert De Niro
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and I'm like I'm not gonna fucking waste Robert De Niro's time
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and so that's an example of it was a really really bad thing to do
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but it turned out great well I ended up I I nailed it on the first take
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and then fucked up every single other take until we finally moved on that's a tough one isn't
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when you cannot i've had those moments too i remember on
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the aviator i had to say stuff about the spruce goose
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and i could not i could literally couldn't say the words yeah
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and it's humiliating and it's like going to school with your underwear on a horrible feeling well you
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and i are both obsessive about sleep like
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when we're working like counting the hours yeah and
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when i was doing red sparrow i took an adderall instead of a sleeping pill
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and then i didn't sleep all night
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and i was like taking hot showers like panicking because like i can't i can't i'm not like somebody who can
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function without sleep and then i had to say senate armed services committee in a russian accent That sucked.
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That's like 11 benevolent elephants.
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Senate arms.
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Senate arms.
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Now that you're saying it, now I can't.
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Senate arms.
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Oh my God.
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I've remembered it for 10 years.
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Senate arms service.
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What did you just say?
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I have no idea.
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Now it's gone.
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And it's gone.
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Now I have more long-term memory, I guess, to make room for.
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I also once took an Ambien in the morning thinking it was something else.
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Those are key screw-ups.
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Yeah.
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Wow.
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And it was a dance scene with Philip Seymour Hoffman on the second Hunger Games movie.
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And I was hallucinating.
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It almost shuts off a certain part of your brain, Ambien.
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Well, certainly the memorizational part of your brain.
473
And you had to say lines with that.
474
I did.
475
Yeah, I did.
476
And Elizabeth Banks got really annoyed with me because maybe she didn't know that I was on an Ambien.
477
but I kept asking the director, wait, and what does this mean?
478
Wait, and what does this mean?
479
And what does that mean?
480
And she just like threw her sides.
481
I was just like, fine, let's just keep talking about it.
482
Have you ever, well, on Titanic, everybody got dosed with peyote.
483
I mean, you weren't, or PCP.
484
You weren't there.
485
Yeah, I wasn't there.
486
I just heard the story third hand.
487
I wasn't there.
488
Yeah, that was the modern day stuff where I think people started, there was like a conga line that formed and people were dancing.
489
Well, and a lot of people went to the hospital.
490
Yeah.
491
Well, they thought that it was a neurotoxin from the clam chowder.
492
Why did somebody dose everyone and why would they waste drugs?
493
It's a two-parter.
494
I wasn't there.
495
I have a question.
496
Yes.
497
Was there one note that PTA gave you that became like Bob to you?
498
And does that happen to you on every movie?
499
is that like some because that for me happens i hear like one note
500
and then i'm like that that it's almost like getting in an accent
501
and saying the same line well i think
502
that back to what you said earlier like the sort of bohemian counterculture stuff
503
that i grew up with with my father my father's you know anti-vietnam all
504
that the kind of cast of characters
505
that i grew up with was very connected to
506
that those ideals of bob
507
and i think there was a moment with him we were about to start filming
508
and i was still trying to create somebody else
509
and he was he was he was very much like you know make this much more personal to the guys
510
that you knew growing up and the people that you saw
511
and and don't try to do something
512
that is out of the box with this one you know
513
don't make him from somewhere else this is a california kind of guy yeah you know
514
and then of course the big lebowski came into my mindset with the dude
515
and what a modern day dude would look like who maybe maybe planted bombs as well
516
and then as soon as we got to northern california really
517
and i and i understood what this idea of hipnecks were
518
which were these kind of hippies
519
that were you know also don't tread on me get off
520
my property anti-government you know might have a shotgun in their
521
backyard ready to get people you know out of their face
522
that that northern california thing
523
and paul is amazing with like location scouting he did it
524
for i think a year we did northern california borrego springs with all the amazing road sequences
525
that chase sequence el paso and everywhere we went all sort of the local community
526
that we worked with really helped with shaping the whole movie
527
and the narrative a lot of the people we worked with in the movie are non-actors
528
so he just bring people in
529
that really had those vocations well we're about to work with each other yeah is there anything
530
that i need to like i should absolutely know about martin scorsese before we start it's a great thing
531
and he's going to give you a lot of film references oh do i have to watch
532
which is amazing because because they usually come in the form of a DVD, and if you don't have a DVD player, get a DVD player.
533
Oh my God, I'm gonna kill myself.
534
So, but he'll have screenings sometimes for just one sequence in the movie.
535
Like if he can't, he doesn't have a hard time articulating anything, but if there's something that he wants you to capture from an old film,
536
or the pacing of something, you might have a screening of a whole film just for a specific scene that he wants to try to capture.
537
You know, we might see some Japanese ghost films for reference, just to get the tone of it.
538
You're gonna have an amazing time.
539
Wow.
540
Yeah.
541
Are you really excited to work with me again?
542
Yes, I am.
543
I am too.
544
Are you really excited to work with Marty for the first time? Who isn't, right?
545
I can't believe that.
546
Okay, Leo, well, goodbye.
547
Thank you.
548
Thank you.
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Vocabulary and speaking notes for this lesson
This video has 548 sentences and 5624 words to shadow. The speech runs for 32:40. The speaker talks at a natural 172 words per minute, close to everyday conversation. 84% of the words are among the 3,000 most common in English; the rest is worth studying before you start.
Key vocabulary in this video
15 words from the video worth learning, with pronunciation and meaning:
| Word | Pronunciation | Meaning |
|---|---|---|
| revolutionary noun | /ˌɹɛvəˈluʃənɛɹi/ | A revolutionist; a person who revolts. |
| audition noun | /ɑˈdɪʃən/ | A performance, by an aspiring performer, to demonstrate suitability or talent. |
| boogie noun | /ˈbʊ.ɡi/ | A style of swing dance. |
| pace noun | /peɪs/ | A step taken with the foot. |
| remind verb | /ɹəˈmaɪnd/ | To cause one to experience a memory (of someone or something); to bring to the notice or consideration (of a person). |
| script noun | /skɹɪpt/ | A writing; a written document. |
| sequence noun | /ˈsiː.kwəns/ | A set of things next to each other in a set order; a series. |
| habit noun | /ˈhæb.ɪt/ | An action performed on a regular basis. |
| maker noun | /ˈmeɪk.ɚ/ | Someone who makes; a person or thing that makes or produces something. |
| password noun | /ˈpæs.wɜɹd/ | A word relayed to a person to gain admittance to a place or to gain access to information. |
| promo noun | /ˈpɹəʊməʊ/ | A reduction in consumer cost for a limited time for items or services rendered; a special. |
| gangster noun | /ˈɡæŋ.stəː/ | A member of a criminal or street gang. |
| element noun | /ˈɛləmənt/ | One of the simplest or essential parts or principles of which anything consists, or upon which the constitution or fundamental powers of anything are based. |
| capture verb | /ˈkæp.(t)ʃɚ/ | To take control of; to seize by force or stratagem. |
| connect verb | /kəˈnɛkt/ | To join (to another object): to attach, or to be intended to attach or capable of attaching, to another object. |
Phrasal verbs you will hear
| Word | Meaning |
|---|---|
| grow up verb | To mature and become an adult. |
| start out verb | To emerge suddenly; to jump out. |
| come up with verb | To manage to produce, deliver, or present (something) by inventing, creating, thinking of, or obtaining it. |
| end up verb | To bring to a conclusion. |
| get off verb | To move from being on top of (something) to not being on top of it. |
| get out of verb | To leave, exit or escape from; to become free of. |
| call out verb | To specify, especially in detail. |
| come up verb | To emerge or become known, especially unexpectedly. |
Grammar in this video
The structures the speaker uses most, with the exact words from the video:
| Structure | In the video |
|---|---|
| Present perfect have/has + past participle — a past action that still matters now | Have you ever kissed · I've ever seen · has ever seen |
| Passive voice be + past participle — the focus is on what happens, not who does it | was based · being lost · being really lost |
| Relative clauses who / which + clause — extra information about a person or thing | guy who was · Life, which was · somebody who i |
Pronunciation to watch
The speaker uses 152 contractions and reduced forms, such as I'm, don't, didn't. Say them the short way, as you hear them.
- The “th” sounds: thick /θɪk/, leather /ˈlɛðɚ/, thumb /ˈθʌm/
- The “sh” and “zh” sounds: revolutionary /ˌɹɛvəˈluʃənɛɹi/, audition /ɑˈdɪʃən/, capture /ˈkæp.(t)ʃɚ/, tension /ˈtɛnʃən/, shotgun /ˈʃɑtɡʌn/
- Long words — get the stress right: revolutionary /ˌɹɛvəˈluʃənɛɹi/, incredibly /ɪŋˈkɹɛdɪbli/, unnecessary /ʌnˈnɛs.əˌsɛɹ.i/, universal /ˌjunəˈvɜɹs(ə)l/, essentially /ɪˈsɛnʃəli/
How to practise with this video
- Listen to the whole video once without speaking and note the words you do not know.
- Start at 0.75× speed, shadow it sentence by sentence, then go back to normal speed once it feels easy.
- Record yourself and compare with the original, paying attention to words like revolutionary, audition, boogie.
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.