Prática de Shadowing: Christian Bale Breaks Down His Most Iconic Characters | GQ - Aprenda a falar inglês com vídeo
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I don't really know how to do the sort of prep stuff without it being somewhat intensive, because otherwise I just don't feel I have the confidence.
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I always imagine that I'm going to get to set and the director's going to go, I don't even like this scene.
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Make it up and I've got to be ready for that.
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And if I'm not ready for that, I feel very insecure arriving on the set.
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American Psycho.
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New card.
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What do you think?
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Woohoo!
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Very nice.
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Look at that.
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Picked them up from the printers yesterday.
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Good colorin'.
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That's bone.
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Any scene we were doing every single day, I had the book by my side, and I would read through it every single time, because Brett had just had so many wonderful descriptions.
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And I think that was why Mary and I clicked, was because when I first went and auditioned for her, I just went to her apartment, and it was just her with a little camera.
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And I didn't approach it like she said the other actors had, where they were talking about what's his childhood, what's the reason he's become this.
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I was like, "Ah, none of that really matters.
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He's just like this alien." And so, as we were doing the scene, I started laughing And she started cracking up,
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and we both realized we had the same very sick sense of humor.
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And we were like, "Oh, yeah, all right, this will work between us." She really put herself on the line, you know, and I so appreciate that,
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because she had so many known actors who were stepping up and wanted to do it.
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And she just said, "No, I want Christian," even though all the financiers were saying, "We're going to give you no money." And then actually kicked the two of us off.
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You know, we went and we did a stage reading in New York for it.
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And the Brayson Ellis was there and then we got the money, yay!
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But what our agents forgot to do-- our agents at the time-- forgot to do was to include us in the package.
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And so we raised the money.
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And then they said, right, and the two of you, bye bye.
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But I went a little bit psycho myself in that, in that I just said, no. "No, I'm still making the film." And even though other people were cast,
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other directors were on board, I just kept on prepping.
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And I would call Mary up and she would say, "Christian, they've given it to other people." And I was like, "Yeah, yeah, yeah, no, it doesn't matter, we're still gonna make it." And she was like,
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"Ooh, he's lost the plot." And all my friends were saying that to me, like, "What are you doing?" And I was turning down.
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It wasn't like I was getting offered much, but, you know, a couple of projects.
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Not really good ones, I turned them down.
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And kept on going and lo and behold, look at that, it did eventually come back.
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So that felt like a great victory.
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Don't doubt your gut instincts, you know, always listen, always be aware of the style that the director is looking for.
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But understand, you're always going to bring something unique from anybody else.
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pat me on the back and go, "Oh, yeah, we love him." And I was like, "Yeah, ironically, right?" What do you mean?
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So it was always worrying, even back then.
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But clearly, look, it's a satire.
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on capitalism in the 80s and as such is so bloody far -fetched and ridiculous that, you know, to me I can't help but think it's hilarious.
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Do you like Phil Collins?
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I've been a big Genesis fan ever since the release of their 1980 album.
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I'm not going to ruin anyone's enjoyment and say that I'm not a huge fan and that they're not life -changing songs.
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Of course they are, for everyone, right?
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Come on, when you admit it.
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For me, music's so much a part of actually building characters as well.
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You know, like for Amsterdam, David and I were listening to and watching a lot of jazz documentaries, etc. And I use all sorts of different music to help me,
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you know, get into the mood when I'm working.
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Because emotion really comes through the ears, you know, something that you notice when you're in the edit room.
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You really see how you can see the visual.
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Keep that the same, but change the music, and it absolutely changes the way you feel about it.
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So it's such a joy of life.
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Get a goddamn job, Al.
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You've got a negative attitude.
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That's what's stopping you.
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I remember somebody threatening me on the street, because some people did object to the film getting made and all that.
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And I remember people saying that they were going to do me harm and stuff like that.
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And I would actually go like, I remember somebody warned me, must have been a friend of mine who was crazy early on the Internet.
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and you go down this back alley and they say
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that they're going to jump on you and they're going to rip your cerebral cortex out of your head.
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So please don't go down that alley.
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So of course I was like, I'm going to that alley.
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I want to see what happens.
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Unfortunately, nothing.
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I kept walking up and down it going.
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Where are they?
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Come on.
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What's...
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But nothing ever happened.
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Batman.
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I'm Batman.
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What a weirdo, right?
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Jumping around.
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town at night in a bat outfit.
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In many ways, in the same way that people were telling me, "Hey, you can't go play Patrick Bateman, it's career suicide." And I was like, "Bring it on." I definitely want to do that.
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Other people also said, "Hey, you know, if you play Batman, that's it.
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You're never going to play anything else again.
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You will always be Batman." And I went, "Bring it on.
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Let's see if that happens." Because I just always felt like, "Look, if I don't have the skill to be able to rise above that, then I don't deserve to either." I absolutely know
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and cherish the fact that that will be the role I'm probably remembered for most, you know, every reason, iconic, you know, larger -than -life role.
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But I don't view it really as, "Oh, being stopped in the street." For me, it was, "Ah.
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I could pay off my house.
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That's a huge relief, you know.
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That was a dream of mine since being a kid.
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So I really appreciate that.
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I thank Chris Nolan Noend for that, you know, the experience of actually working with him, of course, and we went on to make, you know, four films together.
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But the fact that that allowed me to make so many other films, you know, for instance, it took Mary a Herculean effort,
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which I so appreciate, to get me cast in American Psycho post -Batman.
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It got a little bit easier for directors to suggest me and financiers to say, OK, yeah, we'll take him.
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You've got the wounded child who never moved on from the atrocity
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and tragedy that happens to him and he loses his parents.
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And then the kind of monster that represents, you know, all this anger and that he, you know, concentrates, focuses into this character of the Batman.
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And then the kind of charade, which is the playboy, apparently vacant and
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that no one would ever suspect of having any beliefs or causes ever in his life.
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Most of my recollection of making Batman is sitting doing crosswords by myself in a blue tent with very uncomfortable stuff on, because they want to be ready in 15 minutes at any given go.
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So I was always sitting there, these things going, four down,
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Hello, is anyone out there?
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Heath Ledger who oh my god, you know what a performance what a pleasure to have gone to work with him
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and just to see him You know
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and how much he put himself into the Joker and I would and I was watching it going yeah,
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this is absolutely fantastic and Are we in trouble here of when Chris and I first sat down?
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We said, you know what?
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The problem with Batman is, is that the villains are always more interesting, right?
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And so Batman actually, he's very close to being a villain himself.
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So let's never let him become dull by comparison.
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And unfortunately, I was sitting there going, I'm feeling a little bit dull by comparison because Heath is just like killing this.
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But I'm so proud of that film.
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I love it.
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The Dark Knight is absolutely extraordinary.
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You know, and it was such a pleasure to have gone to work with Heath.
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I don't want to kill you.
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What would I do without you?
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Go back to ripping off mob dealers?
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No, no. No. No, you.
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You complete...
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Me?
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You're garbage, you kills for money.
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Don't talk like one of them, you're not!
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Even if you'd like to be.
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He was a wonderful go -kart driver, racer.
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Yeah, we went and raced the go -karts, and holy crap, he beat all the stunt guys and everything.
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He was quick.
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When we went to the track, we thought, of course the stunt guys are going to win, and then suddenly Heath wins.
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Gets top place and then very quietly mentions, "Yeah, my dad was a go -kart racer." Very talented individual and a great soul to be around.
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Yeah, I miss him greatly.
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The Fighter.
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Dickie, he's such a character, like he makes his presence felt all the time.
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I mean, I spent so much time hanging out with Dickie beforehand and still in touch, and still in touch with Dickie Jr. Being in Lowell, hanging out with him, going, walking around, getting kicked out of bars,
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having almost every cop stopping and going, "Hey, hey, Dickie," and then telling me about a story about when they arrested him.
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Going to the boxing gym, jumping in the ring sparring with him and oh my God, it's really quite something when you, you might think you can be a decent boxer.
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You spar with other amateurs and whatnot.
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I've done that a few times.
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But when you get in the ring with a pro, bloody hell.
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I remember one time he was sitting and he was reading the script.
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And I was busy doing something else, and suddenly I see him stand up, and he starts walking over to David, like...
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And I could see something had happened.
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And I went, "Wait, this ain't good." And jumped over and said, "Dicky, Dicky, Dicky, what?" And just kind of talked him down, because it was about, sort of, "Hey, look, when you tell someone's story,
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you've got to tell the good stuff, and you've got to tell the bad stuff,
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otherwise there ain't no story there at all." made more films together.
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And I loved it.
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I loved playing Dickie so much.
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There were hilarious things and there was...
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you know, stuff to do with just sort of almost being shut down by the local cops and things like that.
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But to me, that's all part of the fun of it.
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They're a machinist.
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- Thank you.
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- You okay?
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- Okay.
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Don't I look okay?
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Brad, when I turned up, was really stunned at how much weight I'd lost.
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He went, "Oh, you really did it." Like, he didn't think I really was going to.
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That was just a outward show of his guilt and being eaten alive, literally, you know, by guilt.
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I'd come off of making a couple of films
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that I'd been less than satisfied with and just really wanted something where I could become immersed and obsessed with it.
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You know, I mean, I remember at the time it was like not the smart "Oh,
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bloody hell, I'm gonna lose my place where I'm living." And I was quite newly married and all that.
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So it wasn't the business smart thing to do, but I've never been smart in a business way.
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But it was something that I really wanted to challenge myself and kind of see, could I achieve that?
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Could I fulfill how I imagined the part of Trevor should be played, you know, and testing myself.
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Perfect fit.
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A lot of times actually I would sit there with headphones in
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but I wasn't listening to anything I was just pretending to listen
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so that I could actually hear everything that was going on
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But nobody thought I could also at the time I was engaged in a very filthy habit of smoking
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So I was rolling my own cigarettes and sitting there puffing away.
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I did read numerous things I remember Because the conversation with Brad the director was a crime and punishment,
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but then I was reading a lot lighter fair as well Somehow, losing all the physical weight put all the energy into my brain.
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So I only slept two hours a night.
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And all I wanted to do was read.
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And so I would just sit and read endlessly.
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And I found that I could read without stopping and needing to move or get a distraction.
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I could just sit and read for 10 hours straight without moving a muscle.
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I can't do that now.
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The Big Short.
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I've been very clear.
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People will.. withdraw their money.
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- That would be so stupid.
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I mean, if the fund's capitals drop too much, then the swaps' contracts are voided,
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and then the banks uh get to keep all of the wait a minute all of it what The contract's avoided?
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The contract's avoided.
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I had a wonderful day where we sat in his darkened office together and just chatted.
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And they had scheduled all these things for us to go out and about and do different stuff.
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And we ended up doing none of that
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because we just enjoyed talking with each other so much and had just an extraordinary day.
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And he was so helpful.
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And then he came to visit the set.
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And then, you know, we keep in touch from time to time.
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And he's an extraordinarily special guy.
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And wow, what a role.
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And also my first time working with Adam, which I just loved.
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You know, he's something else, you know.
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It's like with David, you know, when you get really great directors, they're very unique in the way that they work.
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Anyone who plays drums can look and go.
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Christian doesn't employ drums.
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But that, to me, was not the point.
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The point was not that Michael Burry was a shit -hot drummer.
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It was that he took his anger out on these drums.
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And I did.
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I was just shattering the drumsticks.
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They were flying across the crew.
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I had to all put shields up because so many of them were flying at speed at everybody.
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I love to get to interview people.
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I love to get to really study them in an obsessive way that you wouldn't get to usually.
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That's part of the joy of the job for me.
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Vice.
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In a sense that you're a kinetic leader.
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You make decisions based on instinct.
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I am.
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People like to say that.
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Yeah, yeah.
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Very different.
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Very different from your father in that regard.
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All right.
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All right.
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Let's dig a bit deeper and go.
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Do the very unlikely thing of me playing Dick Cheney, which I was like, "What?
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Adam? Are you...
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Hi?" Usually they don't allow special effects makeup artists that much time to prep, but I said, "No, wait, we've got to have, you know,
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months and months and months to get anywhere close to something that can work here." Because it's the movement, you know?
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Thank God, you know, we had people who were patient enough with me to just kind of keep going
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and keep going and keep going until eventually going, "All right, I think we're in the realm." experience working with Adam.
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He uses a mic and will kind of just chuck out lines and chuck out ideas and try saying this instead.
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Not improvising, but like, you know, suggesting lines and nudging you in the right direction.
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But you've got to be prepared to pivot and be on your toes, even though Cheney's very not somebody who you would think of as being on his toes.
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He's very much like flat -footed.
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But yeah, no, really enjoyed the immersion that that took,
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you know, even though it was like the it could be possible that I could play him.
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And to give it a shot was a wonderful risk.
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You have authorization to shoot down any aircraft deemed a threat.
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Presidential authority?
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That is correct.
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All orders are UNIDIR.
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UNIDIR, sir.
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Unless otherwise directed.
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Mr. Vice President, are we sure these are the proper rules of engagement?
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The country is under attack.
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The ROE is fluid.
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Well, he was very brilliant.
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You know, he is.
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He is a brilliant man.
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You know, whether you agree with what he Vision 10 you know, was and is, there's absolute brilliance in intelligence there.
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You know, he rose incredibly quickly for good reason.
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He understood the machinery of politics better than anyone else did.
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And so he could manipulate that.
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And for someone who was absolutely awful at retail, politics, you know, he had no interest in kissing babies or whatever.
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He was very interested in the true mechanics of power and how that works, and there's nobody better at it than him.
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Empire of the Sun.
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Man, what an adventure.
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Yeah, it was something else.
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I got to not go to school and travel about by myself.
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I realised that every film didn't build a bloody runway
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that planes could land on in the middle of a marshland in Spain, or build a pagoda, or build huge hospitals, or build literally half a full -size stadium.
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out there.
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I didn't realize every film didn't travel to China and have, you know, 10 ,000 extras up and down the bund.
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You know, it wasn't until later when I was on much smaller films, I went, oh, yeah, that was a big one.
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Which I think was great in that way, because I didn't really feel any pressure.
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And at that age, I didn't really feel like an actual film was going to come out of it at the end.
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I was just in the moment doing it.
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Animals and children are the best actors, you can't compete with them.
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And the reason is because they don't give a shit.
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about the consequences.
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And in many ways, that was how I felt when I was making Empire of the Sun.
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You know, not through any intentional thing, it just didn't even enter my mind.
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- V29s?
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- Yep.
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The Super Fortress.
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What we call a hemisphere defense weapon.
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- Where from?
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- Okinawa, Philippines.
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Tokyo is in bombing range now.
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- Tokyo?
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Tell him to think of going home soon.
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There's a great purity to just playing a role.
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And that's it, because every kid does it.
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I still consider that I play dress up for a living.
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And kids do that naturally.
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It only gets spoiled when adults come in and ruin it.
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by bringing money and expectations and you should do more etc. That's when things go wrong.
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I never felt that while I was filming and You know, I mean, there were times because I, left my family, et cetera.
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They weren't able to come with me.
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So I'd be like in the airport, you know, crying my eyes out going, "I don't want to go." But when I got there, Man, I was loving it and I was enjoying it no end.
283
But then it was when I started doing the press, I didn't get that.
284
I couldn't understand that.
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And I didn't understand why I had to keep talking about the same thing all day long.
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And I was starting to go insane and then people follow me around or whatever.
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And so that was when I went, oh, no, this isn't for me.
288
But I always focused on going, yeah, but I really did love doing it itself.
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So let's try to figure it out
290
so I can deal with this part of it and not have to stop doing the bit that I really do enjoy.
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price for everything and it's a, once you get your head around it, it's a very small price to pay for getting to tell stories
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and I recognize and I'm so grateful for what I do get to to do.
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Amsterdam.
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How can I know this is you really in the picture?
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Yes, sir.
296
So, well, I'm the doctor.
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She's the nurse.
298
He's the attorney.
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We all met in Belgium, which if you recall is where we met for the first time to Bert, someone who's in experimental medicine.
300
And likewise, so with his brace, you know, it's something that he hates, but he can't be without because he's got such terrible injuries, you know, to his back and his spine and everything like that.
301
So, no, I just kept on all the time because also you see it through the The suit, you know, it's kind of like two little bumps of the metal sticking out,
302
you know, and if I can avoid acting, I do avoid acting.
303
Like if you can just really do it and be uncomfortable, why bother pretending to be uncomfortable?
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Just be uncomfortable.
305
It was a practical thing because, you know, these were very rudimentary back braces, not like anything you would get today.
306
These were things that he had kind of made himself in the same way
307
that he's working on creating medicine that can help these returning war vets who weren't given a damn bit of help.
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You know, they were meant to be returning heroes and absolutely nobody treated them like that.
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It was despicable.
310
And who were all suffering from PTSD, but nobody recognized that at all.
311
your pills or whatever.
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David and I, we wanted to create characters that we loved, that we wanted to hang out with, characters that just refused to be beaten down by life despite everything that life had thrown at them,
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that they remained optimistic, refused to be cynical whatsoever.
314
"Eyebrows up" was kind of our mantra.
315
Where is my eye, Harold?
316
Right here.
317
Yes.
318
You leave me here with this invalid when you know very well that I think she should be hospitalized.
319
It's for her own good.
320
I do remember
321
that both of them looked a bit shell -shocked on the very first day of work
322
because they hadn't worked with David before.
323
We'll film the script, but then he will just throw different lines at people or he'll just change the lines.
324
No, don't you say that.
325
You're going to say that now.
326
And he'll be laying on the floor underneath here and then he'll crawl during the scene over there. And I love it.
327
But David would occasionally come to me
328
when he saw someone was just sort of looking like a deer caught in headlights and say, oh, can you go be the ambassador and just explain how we're going to do this?
329
And then everyone got into it.
330
And then it's really joyful and just a very, very satisfying experience.
331
And Margot and JD just embraced it.
332
You know, and then I would go off and, you know, I'd telephone him and go, I sound like a stalker, but I'd be like, there's a dude I'm following down the street.
333
Oh my God, he's fantastic.
334
I'm going to use this for Bernie's Life.
335
Great.
336
And then I'd tell him that.
337
Mannerisms from different people, attitudes, you know, it was all kind of very baked in and over years.
338
So what's wonderful about that is that by the time you're actually filming, it's really in your bones.
339
Pale Blue Eye.
340
There's so many good actors.
341
with the different amount of talented actors I've gotten to work with.
342
And so it was a real pleasure to work with all them.
343
But let me just focus on one, and that would be Harry Melling, because Harry is just a really superb actor.
344
And so I just enjoyed any day that we got to do scenes together.
345
Scott Cooper and I have worked together now.
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This is our third film.
347
I love working with Scott, and this was something that we've been talking about since, like, 2012, that he had been putting together.
348
He is prolific beyond belief in terms of his writing.
349
He went and did different things.
350
I went and did different things.
351
But just the period of it, the Gothic crime nature of it,
352
the fun origin story of Edgar Allan Poe, and what might have made him into such a master of the macabre and why.
353
He was so comfortable and enjoyed that way of thinking and trying to think about, OK, well, let's create a character that could have inspired all of that.
354
And that also keeps in the vein of an Edgar Allan Poe story itself as well.
355
And I think Scott's done a superb job again with that.
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Vocabulário e dicas de fala para esta lição
Esta aula de conversação de nível B2 usa o vídeo “Christian Bale Breaks Down His Most Iconic Characters”. Este vídeo tem 355 frases e 4249 palavras para praticar shadowing. A fala dura 22:57. O falante fala rápido, cerca de 185 palavras por minuto, então espere sons ligados e reduzidos. 84% das palavras estão entre as 3.000 mais comuns do inglês; vale a pena estudar o restante antes de começar.
Vocabulário principal deste vídeo
As 15 palavras mais avançadas do vídeo, com pronúncia e significado:
| Palavra | Pronúncia | Significado |
|---|---|---|
| uncomfortable adjetivo | /ʌnˈkʌm.fɚ.tə.bl̩/ | desconfortável, incómodo |
| alley substantivo | /ˈæl.i/ | beco, ruela |
| drum substantivo | /ˈdɹʌm/ | tambor |
| preposition substantivo | /ˌpɹɛpəˈzɪʃən/ | preposição |
| racer substantivo | /ˈɹeɪ.səɹ/ | corrente |
| stunt substantivo | /stʌnt/ | proeza |
| instinct substantivo | /ˈɪn.stɪŋkt/ | instinto |
| villain substantivo | /ˈvɪl.ən/ | vilão, salafrário |
| dull adjetivo | /dʌl/ | cego, embotado |
| superb adjetivo | /suˈpɝb/ | soberbo, extraordinário |
| satisfy verbo | /ˈsætɪsfaɪ/ | satisfazer |
| toe substantivo | /təʊ/ | dedo do pé, artelho |
| guilt substantivo | /ɡɪlt/ | culpa |
| eyebrow substantivo | /ˈaɪˌbɹaʊ/ | sobrancelha |
| mantra substantivo | /ˈmɑn.tɹə/ | mantra |
Phrasal verbs que você vai ouvir
| Palavra | Pronúncia | Significado |
|---|---|---|
| go down verbo | descer | |
| come back verbo | voltar | |
| crack up verbo | /ˈkɹæk ˈʌp/ | rachar o bico, gargalhar |
| end up verbo | terminar, acabar | |
| go off verbo | explodir | |
| go out verbo | sair | |
| pay off verbo | compensar | |
| put together verbo | montar, construir |
Frases que vale a pena repetir
Frases curtas e completas do vídeo que você pode usar na conversa do dia a dia:
- What do you think?
- You've got a negative attitude.
- We said, you know what?
- What would I do without you?
- Don't I look okay?
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 | were cast · being stopped · being shut |
| Present perfect have/has + particípio passado — uma ação passada que ainda importa agora | they've given · I've been · I've done |
| Orações relativas who / which + oração — informação extra sobre uma pessoa ou coisa | charade, which is · Anyone who plays · people who were |
Pronúncia para ficar de olho
O falante usa 107 contrações e formas reduzidas, como I'm, don't, didn't. Diga-as na forma curta, do jeito que você ouve.
- Os sons de “th”: authorization /ˌɔːθəɹaɪˈzeɪʃən/, filthy /ˈfɪlθi/, threaten /ˈθɹɛt.n̩/, withdraw /wɪðˈdɹɔ/, underneath /ˌʌndɚˈniθ/
- Os sons de “sh” e “zh”: preposition /ˌpɹɛpəˈzɪʃən/, cherish /ˈt͡ʃɛɹɪʃ/, intentional /ɪnˈtɛnʃənəl/, authorization /ˌɔːθəɹaɪˈzeɪʃən/, distraction /dɪsˈtɹæk.ʃən/
- Palavras longas — acerte a sílaba tônica: uncomfortable /ʌnˈkʌm.fɚ.tə.bl̩/, financier /f(a)ɪˈnæn.sɪ.ə/, preposition /ˌpɹɛpəˈzɪʃən/, manipulate /məˈnɪp.jʊ.leɪt/, intentional /ɪnˈtɛnʃənəl/
Sons difíceis para falantes de português:
- Consoante final — sem acrescentar um “i” depois: kart /kɑɹt/, stunt /stʌnt/, instinct /ˈɪn.stɪŋkt/, superb /suˈpɝb/, guilt /ɡɪlt/
- /l/ final — a língua toca o céu da boca, não vira “u”: dull /dʌl/, cynical /ˈsɪnɪkəl/, cerebral /səˈɹi.bɹəl/, intentional /ɪnˈtɛnʃənəl/, crawl /kɹɔːl/
- /h/ — um sopro suave, diferente do “r”: beforehand /bɪˈfɔɹhænd/, hemisphere /ˈhɛmɪsfɪə/, behold /bɪˈhəʊld/, humour /ˈhjuːmɚ/, headphones /ˈhɛdfoʊnz/
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 uncomfortable, alley, drum.
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.