Prática de Shadowing: Best Dialogue of All Time - Aprenda a falar inglês com vídeo
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Speaker 1st of 111- Film isn't just a visual medium, it's a verbal one too.
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And nowhere is the brilliance of a good script easier to hear than in the mouths of the characters.
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Bickering and bantering, yelling and yapping, probing and pontificating, these are our picks for the best dialogue of all time.
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Kicking us off at number 10, we're looking at dialogue that was brilliant in its specificity, and how it evoked a certain place or time or sense of character by choosing words,
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pacing, structure, cadence that was specifically evocative.
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This is dialogue from The Departed.
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A lot of you fucking die.
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On the waterfront.
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A one way ticket to Palookaville. And Snatch.
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Hey, what is my kindest for the horse?
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You know?
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My Cousin Vinnie.
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Two Utes.
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Juno.
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I'm a splog.
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True Grit.
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I'm the dude, man.
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However, for our number 10 pick, we think it's pretty damn hard to beat Hunger.
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Speaker 1, how's your smoke going?
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Speaker 2, Grand.
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Speaker 2, Mm, filthy habit, disgusting.
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Speaker 1, why awful?
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Speaker 3, Lovely though.
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Speaker 2, Aye, praise the Lord.
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Speaker 1 We're not actually Irish, so this could be about as accurate as Lucky Charms' commercial, but goddammit if it doesn't sound bang on to us.
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And what's more important even than its accuracy is how it uses it.
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How it dresses a most urgent of conflicts in the most eloquent and specific of clothing.
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There's a certain musicality to the sound of it.
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A rhythmic patter to what amounts to a negotiation for a group of men's lives.
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It transports you to a place and a time where terrible decisions had to be made, and illustrates it with the most beautiful of language.
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Next, we're considering wordplay, verbal trickery, linguistic aerobics.
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The famous who's on first routine is the classic benchmark here.
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Speaker 3 007 Well then who's playing first?
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Speaker 3 007 Yeah.
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Speaker 1 007 I mean the fellow's name on first base.
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Speaker 4 007 Who?
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Speaker 1 007 But we also have to show some love to the Grand Budapest Hotel.
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Speaker 2 007 A second copy of the second will.
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Speaker 1 007 Lucky number Slevin.
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Speaker 2 007 I never thought you were him I thought he was you.
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Speaker 2 007 And our number 9 pick Rosencrantz and Gildenstern are dead.
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Speaker 2 008 A man talking sense to himself is no matter than a man talking nonsense not to himself.
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Or just as man.
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Or just as man.
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And he does both.
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So there you are.
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Stark raving saint.
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Rosencrantz and Guildenstern are dead is Tom Stoppard's absurdist spin off of Shakespeare's Hamlet.
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Following two of its most interesting minor characters as they grapple with various existential dilemmas.
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Attempting to riddle their way through an inherently nonsensical world in one extended conversation the whole film long.
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So the turn of a phrase is tantamount to the entirety of the drama.
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It is even physicalized in a verbal tennis match as they match wits instead of swings.
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The word play is the plot.
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They seemingly live and die by their language
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and it puts an urgency behind their conversation that is both desperately hilarious and completely gripping.
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Of course, sometimes it's not the words, so much as how they relate to the meaning underneath.
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We're talking subtext, dialogue that takes the scenic route, that zigs when the intention zags, that works to conceal or contain or contrast the underlying truth.
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It's done wonderfully all over Double Indemnity.
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I wonder if you wonder.
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The third man.
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You oughta leave this thing alone.
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And famously in The Godfather.
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I'm gonna make him an offer that can be filled.
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But come on, people, we'd have to be kidding ourselves to not go Tarantino's way.
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And while he's written Cirque du Soleil level verbal contortion all the way from Reservoir Dogs.
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You're a big Lee Marvin fan, aren't you?
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To Hateful Eight.
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Did I know him?
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Yep.
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Yeah, I knew him.
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There's nothing that's had quite the subtextual impact as Pulp Fiction.
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Looks like me and Vincent caught you boys at breakfast.
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Sorry about that.
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Did you have it?
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Hamburgers.
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Hamburgers, the cornerstone of any nutritious breakfast.
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What kind of hamburgers?
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Cheeseburgers.
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No, no, no, no, no, where'd you get them?
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Tarantino is the master of subtext.
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And it's our favorite kind.
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He's not just writing subtext in that awful literary way where both people are talking in a mutual, thinly veiled metaphor that's basically just a coat.
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No, in Pulp Fiction, they talk about hamburgers.
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They talk about coffee.
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They talk about tomatoes and pot bellies and oral sex and the Bible.
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They talk about anything and everything that has nothing to do with what's really going on.
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Because what they're really doing is threatening and apologizing and flirting and falling in love and sparring and opening up.
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And the results speak for themselves.
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Next up we're looking at the all time best verbal conflict.
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Dialogue that attacks and digs and dodges and parries and goes straight for the heart.
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Words as warfare, conversation as combat.
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Think the master.
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Who likes you except for me?
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Or the lion in winter.
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You can expire.
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Move first, old man. Or doubt.
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You have taken vows.
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Or Glengarry Glen Ross.
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What is this, courtesy class?
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You bet your ass it's all over the social network, but for our number seven pick, our favorite of Sorkin's psychological sadism belongs to Steve Jobs.
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Speaker 3rd of Nate Harnessy, Vycella, Jr.: We're there.
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Speaker 3rd of Nate Harnessy, Vycella, Jr.: No, it's got a one in six chance of working.
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Speaker 3rd of Nate Harnessy, Vycella, Jr.: God damn it.
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Speaker 3rd of Nate Harnessy, Vycella, Jr.: We're not a pit crew at Daytona.
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This can't be fixed in seconds.
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Speaker 3rd of Nate Harnessy, Vycella, Jr.: You didn't have seconds.
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You had three weeks.
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The universe was created in a third of that time.
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Speaker 3rd of Nate Harnessy, Vycella, Jr.: Well, someday you'll have to tell us How you did it.
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Love it or hate it, Sorkin's writing is something to marvel at.
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And nowhere is it more talky, more play-like, more reliant on what characters say than hear.
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The conflict bubbles so turbulently just below the surface, always swirling around and constantly being dredged up by Jobs himself.
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Who flies about like a conversational juggernaut, arguing and threatening and bludgeoning the people around him into the shape of the world as he envisions it.
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Sorkin's dialogue stages a war on many fronts, while always connecting it to Jobs' central thrust for a result
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that is a frenzied whirl of a character desperately clawing about in a fight for his own self worth. On the other hand,
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the flip side of this kind of linguistic aggression takes us to the calmer world of dialogue as storytelling.
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Where the pleasure lies not in the conflict, but in the honesty and vulnerability of humans sharing their personal narratives.
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It's the big chill.
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Why is that folks, we're all alone out there. And Magnolia.
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The past is not true with us.
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End of tour.
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I'm sure that I still have those same parts of me.
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And coffee and cigarettes.
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I know I got it.
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Freezes coffee.
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But for our number six, there can be none other than My Dinner with Andre.
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See, I've seen a lot of death in the last few years, Wally.
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And there's one thing that's for sure about death.
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You do it alone, you see.
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That seems quite certain, you see.
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That I've seen.
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That the people around your bed mean nothing.
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Your reviews mean nothing.
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Whatever it is, you do it alone.
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And so the question is, when I get on my deathbed, what kind of a person am I going to be?
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And I'm just very dubious about the kind of person who
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would have lived his life those last few years the way I did.
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My Dinner with Andre is quite literally just a conversation.
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There is no plot, no external conflict, no ticking clock.
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Just two men with various disagreements, as men have, talking them through.
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There is no character arc or grand reconciliation or great big epiphany.
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The film is just talk, and yet, it's utterly fascinating.
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Written by the two actors, distilled from months worth of their actual conversation, it is nothing more than two men gradually and articulately revealing their inner selves.
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At number five, we want to reserve a spot for a dialogue that manages to feel as true to life as possible.
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And sure it'll never be realistic because have you listened to real people talk?
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It's awful.
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But with careful balance and compromise and imperfection, a talented scribe can achieve a subtle naturalism worthy of this list.
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Primer is an excellent example of this.
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Speaker 1st 3rd year old
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Speaker 1st 3rd year old Speaker 1st 3rd year old Speaker 1st 3rd year old Speaker 2nd year old
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Speaker 1st 3rd year old Speaker 1st Week 1 Speaker 1st
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Week 2 Speaker 1st Week 2 Speaker 1st Week 2 Speaker 2st Week 2 Speaker 1st Week 2
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Speaker 2 Speaker 1st Week 2 And even Superbad in parts.
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Speaker 1st Week 1
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Speaker 1st Week 2 Speaker 1st Week 2 And Kenneth Lonergan is hot as hell right now with Manchester by the Sea, but we want to turn new Lonerganians,
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onto an older lesser known gym of his that's flush with this kind of dialogue, you can count on me.
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Speaker 2 on speaker 2 Speaker 1st Week 2 Speaker 2 Speaker 3 Speaker 3 Speaker 1st Week 3 Terry,
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how are you?
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Yeah.
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The magic of You Can Count On Me is that so much happens in the dialogue without resorting to the extraordinary, the unbelievable, or the melodramatic.
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It is subtext but a tamer sort.
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Deep familial conflicts of love and responsibility and respect
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and dependability lie underneath the everyday topics of plumbers and car rides and the quotidian how are you.
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Speaker 1st on the far opposite end of the naturalism spectrum, we end up with the hyper stylized, uber suave quick wit of banter.
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Where everyone always seems to know the exact right thing to say.
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David Mamets is sharp as attack and heist and house of games.
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Speaker 1st on the screen, let's talk turkey pal.
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Speaker 1st on the screen, Woody Allen's is quick and frenetic in Amy Hall and Manhattan.
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Speaker 1st on the screen, people should make the full life like pigeons or Catholics.
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Speaker 1st on the screen, and Scott Frank's take on Elmore Leonard is never better than in Get Shorty.
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Speaker 1st on the screen, I say any more than I have to, if that.
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Speaker 1st on the screen, but for our fourth to last slot, we're going with Shane Black, who is iconic in Lethal Weapon.
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Speaker 3 That's a real badge, I'm a real cop and this is a real fucking gun.
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Speaker 1 Hilarious in The Nice Guys.
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Speaker 3 Oh, excuse me, I'm carrying a dead body and I have a schwanz in my face.
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I'm sorry I'm not.
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Speaker 2 You can't even say Baryshnikov.
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Speaker 1 But never better than in Kiss Kiss Bang Bang.
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Speaker 2 I want you to picture a bullet inside your head.
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Speaker 2 Can you do that for me?
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Speaker 2 F* you.
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Speaker 2 Anyway, that's ambiguous.
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Speaker 2 Ambiguous?
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No, I don't think so.
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No, I think he means that when you say picture it inside your head, okay, is that a bullet will be inside your head or picture it in your head?
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Like, he's got a point.
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Where Sorkin's characters always seem in danger of destroying each other with their words, Shane Black's are just slap boxing.
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And Kiss Kiss Bang Bang is him at his quippiest, throwing the most hilarious of shade in the cleverest of ways.
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It's verbal slapstick, characters tripping over their own words in an attempt to prove themselves smarter than each other.
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Of course, that last slot was all Hollywood.
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And while you may have noticed by now
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that we've limited this list to English language films only
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because we didn't feel properly qualified to evaluate dialogue in languages we couldn't speak, English isn't only the purview of America.
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The UK has their own special kind of banter too.
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You can find it in Lock, Stock and Two Smoking Barrels.
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That boy doesn't know his arsehole from his ear on.
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Train spotting.
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They're just wankers.
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With Nail and I.
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They must be delighted with your career.
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And Hot Fuzz up the model village.
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But to our ears, there's one modern master who stands above them all, Martin McDonough.
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And while Seven Psychopaths is a fantastic second effort, our hearts still belong to In Bruges.
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Speaker 1st of 11, I retracted it, didn't I?
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Speaker 1st of 11, while Martin McDonough only has two feature films to his name, he's an accomplished playwright of the funniest, darkest theater you'll ever read.
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We personally recommend The Pillow Man
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if you ever get a chance for the most hilarious take on child murder you'll ever hate yourself for laughing at.
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And some of that sneaks over into InBrews too, because McDonough goes dark.
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He takes his comedy to the blackest of places.
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Everyone in Bruges should be despicable for what they've done and will undoubtedly continue to do.
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And yet, you love them for their cleverness, their humanness, and their sense of the absurd.
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But banter isn't a modern invention, and we want to take these last two slots to pay homage to its origins.
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And in America, that means your Noirs.
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Speaker 1st of 11, Speaker 1st of 11, Speaker 1st of 11, Speaker 1st of 11, Speaker 1st of 11, Speaker 1st of 11, Speaker 1st of 11, Speaker 1 00 You paid us more than
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if you'd been telling us the truth and enough more to make it all right.
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Speaker 1 00 You're Wilder.
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Speaker 1 00 I'll say.
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Speaker 1 00 You're Sturgis.
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Speaker 1 00 You find him, I'll push him.
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Speaker 1 00 You're Lubitsch.
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Speaker 1 00 Must you flirt?
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Speaker 1 00 I don't have to but I find it natural.
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Speaker 1 00 You're Hawks.
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Speaker 1 00 How do you like your brandy sir?
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Speaker 1 00 They're in a glass.
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Speaker 1 00 However, we're gonna take it back one step further to some of the original kings of banter, the Marx Brothers and their brilliant back and forths of horse feathers.
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Speaker 1 00 Who are you?
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Speaker 1 00 I'm fine thanks, who are you?
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Speaker 1 00 I'm fine too about the animal crackers?
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Speaker 2nd Doctor Hennessey And our number two pick, duck soup.
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Speaker 788 Three- Speaker 1 that I care, but where is your husband?
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Speaker 4th of 2000 Why he's dead.
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Speaker 19 0000 I'll bet he's just using that his excuse.
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Speaker 819 I was with him till the very end.
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Speaker 109 Hmm, no wonder he passed away.
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Speaker 1913 I held him in my arms and kissed him.
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Speaker 109 Oh I see, then it was murder.
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Will you marry me?
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Did he leave you any money?
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Answer second question first.
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Speaker 1 111 While the screenplay was written by a handful of scribes, over a handful of years, the mouthful of dialogue is distinctively brothers Marxist.
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In an act refined over decades from vaudeville to Broadway to the screen, the Chico, Harpo, Groucho, Zeppo combination was honed into one of the best comedy formulas of all time.
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The type of banter they sling rapid fire and nonstop is specific to the wild smorgasbord of characters the brothers had created.
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And Duck Soup is probably the best incarnation of their particular brand of madness, and by God does it sing.
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Finally, for our number one, we're tracing British banter's origins to another place.
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And it's not to Monty Python.
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I'm your king.
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Well, I didn't bow for you.
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Or James Bond.
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Mr. Smith and Wesson, and you've had your six.
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Or kind hearts and coronets.
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He said he wants to improve his mind.
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He has room to do so.
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No, it comes from before all that, way before all that.
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Our top scribe of our top slot goes to a young man by the name of Bill, who wrote some of the prettiest dialogue you ever did see.
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He did it in Romeo and Juliet.
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Why then is my pump well plowed?
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He did it in Julius Caesar.
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He's a tried and valiant soldier.
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So is my horse, Octavius.
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And he did it in our top pick, Hamlet.
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Gildan, sterner, hrosen, crads, good lads, how do you both?
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As the indifferent children of the earth.
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Happy in that we are not over-happy on fortune's cap, we are not the very button.
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Nor the soles of her shoes.
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Neither, my lord.
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By then you live about her waist, or in the middle of her family.
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Faith a private's way.
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In the secret parts of fortune, most true, she is a strumpet, what news?
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Are we cheating because this dialogue was originally written for the stage?
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Sure, maybe.
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But to separate the origins of cinema dialogue from theater is disingenuine and likely impossible.
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And the bard is simply the goat and Hamlet is even better.
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And if you haven't given him a shot since high school, do yourself a favor and try.
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Try him on film.
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His dialogue is so much more fun in the hands and mouth of a smart actor than it is on the page.
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They can reveal the humor, the wit, the musicality, the subtext, the emotion, the conflict, the humanity beneath it all.
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And it hardly gets better than Kenneth Branagh's turn.
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There's nothing on this list that Shakespeare didn't do better and first, which is why we think this is the best dialogue of all time.
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So what do you think?
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Disagree with some of our picks?
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Do we leave out any of your favorite dialogue?
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Think my voice sounds sexy and want to take me out for a night of passion and romance?
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Is anyone still actually listening?
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God, I hope not.
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Let us know in the comments below and be sure to subscribe for more Cinefix movie lists.
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Vocabulário e dicas de fala para esta lição
Esta aula de conversação de nível B2 usa o vídeo “Best Dialogue of All Time”. Este vídeo tem 286 frases e 2978 palavras para praticar shadowing. A fala dura 14:06. O falante fala rápido, cerca de 211 palavras por minuto, então espere sons ligados e reduzidos. Apenas 79% das palavras estão entre as 3.000 mais comuns do inglês, por isso o vocabulário é exigente.
Vocabulário principal deste vídeo
As 15 palavras mais avançadas do vídeo, com pronúncia e significado:
| Palavra | Pronúncia | Significado |
|---|---|---|
| banter verbo | /ˈbæntə/ | caçoar, bulir |
| verbal adjetivo | /ˈvɜː.bəl/ | verbal |
| subtext substantivo | subtexto | |
| hamburger substantivo | /ˈhæmˌbɜɹ.ɡɚ/ | hamburger, hambúrguer |
| slot substantivo | /slɑt/ | fenda, ranhura |
| musicality substantivo | /ˌmju.zɪˈkæ.lɪ.ti/ | musicalidade |
| naturalism substantivo | naturalismo | |
| scribe substantivo | /skɹaɪb/ | escriba, amanuense |
| ambiguous adjetivo | /æmˈbɪɡ.ju.əs/ | ambíguo, dúbio |
| linguistic adjetivo | /lɪŋˈɡwɪstɪk/ | linguístico |
| threaten verbo | /ˈθɹɛt.n̩/ | ameaçar |
| desperately advérbio | /ˈdɛs.p(ə.)ɹət.li/ | desesperadamente |
| underneath advérbio | /ˌʌndɚˈniθ/ | abaixo |
| handful substantivo | /ˈhæn(d)fʊl/ | palmo |
| soup substantivo | /sup/ | sopa |
Phrasal verbs que você vai ouvir
| Palavra | Significado |
|---|---|
| pass away verbo | falecer, ir-se |
Frases que vale a pena repetir
Frases curtas e completas do vídeo que você pode usar na conversa do dia a dia:
- Hey, what is my kindest for the horse?
- No, no, no, no, no, where'd you get them?
- Who likes you except for me?
- Did he leave you any money?
- Why then is my pump well plowed?
Gramática neste vídeo
As estruturas que o falante mais usa, com as palavras exatas do vídeo:
| Estrutura | No vídeo |
|---|---|
| Voz passiva be + particípio passado — o foco está no que acontece, não em quem faz | be made · is even physicalized · can be filled |
| Present perfect have/has + particípio passado — uma ação passada que ainda importa agora | have taken · I've seen · they've done |
Pronúncia para ficar de olho
O falante usa 65 contrações e formas reduzidas, como I'm, we're, didn't. Diga-as na forma curta, do jeito que você ouve.
- Os sons de “th”: threaten /ˈθɹɛt.n̩/, underneath /ˌʌndɚˈniθ/, deathbed /ˈdɛθˌbɛd/, feather /ˈfɛðə/, filthy /ˈfɪlθi/
- Os sons de “sh” e “zh”: conversational /ˌkɒnvə(ɹ)ˈseɪʃənəl/, benchmark /ˈbɛn(t)ʃmɑːk/, homage /(h)oʊˈmɑʒ/, reconciliation /ˌɹɛkənˌsɪliˈeɪʃ(ə)n/, negotiation /nɪˌɡəʊ.ʃiˈeɪ.ʃən/
- Palavras longas — acerte a sílaba tônica: musicality /ˌmju.zɪˈkæ.lɪ.ti/, ambiguous /æmˈbɪɡ.ju.əs/, desperately /ˈdɛs.p(ə.)ɹət.li/, articulately /ɑɹˈtɪk.jə.lət.li/, conversational /ˌkɒnvə(ɹ)ˈseɪʃənəl/
Sons difíceis para falantes de português:
- Consoante final — sem acrescentar um “i” depois: slot /slɑt/, scribe /skɹaɪb/, flirt /flɚt/, linguistic /lɪŋˈɡwɪstɪk/, soup /sup/
- /l/ final — a língua toca o céu da boca, não vira “u”: verbal /ˈvɜː.bəl/, handful /ˈhæn(d)fʊl/, conversational /ˌkɒnvə(ɹ)ˈseɪʃənəl/, despicable /dɪˈspɪkəbəl/, conceal /kənˈsil/
- /h/ — um sopro suave, diferente do “r”: hamburger /ˈhæmˌbɜɹ.ɡɚ/, handful /ˈhæn(d)fʊl/, inherently /ɪnˈhɛɹəntli/, homage /(h)oʊˈmɑʒ/, humour /ˈhjuːmɚ/
Como praticar com este vídeo
- Ouça o vídeo inteiro uma vez sem falar e anote as palavras que você não conhece.
- Comece na velocidade 0,75×, faça shadowing frase por frase e volte à velocidade normal quando ficar fácil.
- Grave a sua voz e compare com o original, prestando atenção a palavras como banter, verbal, subtext.
O que é a Técnica de Shadowing?
Shadowing é uma técnica de aprendizado de idiomas com base científica, originalmente desenvolvida para o treinamento de intérpretes profissionais. O método é simples, mas poderoso: você ouve áudio em inglês nativo e repete imediatamente em voz alta — como uma sombra seguindo o falante com 1-2 segundos de atraso. Pesquisas mostram melhora significativa na precisão da pronúncia, entonação, ritmo, sons conectados, compreensão auditiva e fluência na fala.