Prática de Shadowing: Cillian Murphy & Brendan Gleeson - Irish interview for Perrier's Bounty - Aprenda a falar inglês com o YouTube

Difícil

YouTube

Controles de Shadowing

0% concluído (0/46 frases)

by asking what was it that attracted you to this movie per ofie um well uh it was it was the script

⏸ Pausado

Velocidade:

Nº de repetições:

Modo de espera:

Sinc. legendas:0ms

Todas as frases

46 frases

by asking what was it that attracted you to this movie per ofie um well uh it was it was the script

0:04.96 – 0:15.48 (10.5s)

really it was the the the the words on the page you know uh I'd made a film that Mark Maro wrote called intermission a few years ago and uh you know I love

0:11.88 – 0:24.28 (12.4s)

his writing and so he talked to me about this back then and then the script arrived and I was very taken with it you know it was sort of dark and funny and

0:21.76 – 0:34.08 (12.3s)

weird and and um but I knew that you know he that Ian would be able to get a brilliant cast together so and it came together really really quickly in the

0:30.24 – 0:41.32 (11.1s)

end and yourself yeah same as that the words of the page you know they just jump out and I liked his work anyway I mean I hadn't worked with you know on on

0:39.12 – 0:51.72 (12.6s)

any of the macro stuff but it uh you know you just you just know when stuff is well constructed and well put together so yeah it was fun the

0:48.44 – 0:59.40 (11.0s)

character was kind of a blast so I said I wanted to get in touch with my psycho self again and uh so that yeah I didn't know how the time scale was going to worry

0:56.72 – 1:07.76 (11.0s)

out that work out that was the only problem and they worked out really well and just because you mentioned intermission there obviously there's been a lot of films recently in in Ireland that have concentrated in duin

1:06.40 – 1:18.60 (12.2s)

and the urban space that is is duin um kisses for example and intermission and films like that what is it that you think that makes duin work as a kind of urban space on

1:15.96 – 1:29.40 (13.4s)

film well uh I think you know you know it's the the movement has been um for cities to get bigger and bigger and bigger so like Millions upon

1:25.72 – 1:36.56 (10.8s)

Millions upon millions of people are living in cities and so therefore you're talking it is the universal language before I think even you know the rural the rural was what might have been

1:35.40 – 1:46.68 (11.3s)

called the ordinary I think now Suburbia is the norm and it's something that's been happening in film and in plays I remember doing with the passion machine like Paul Mercer and Rod doy and people

1:44.56 – 1:56.60 (12.0s)

like that he was concentrating on the Suburban reality that was neither the you know cosm City Center or out in the

1:54.20 – 2:04.28 (10.1s)

mushy luscious green kind of you know Hills of wherever uh so I think I think it's not just um Dublin in fact a lot of

2:02.16 – 2:13.60 (11.4s)

this movie was shot in London um but I think that sort of area that's that's just in where most people actually lives and then you go down the back

2:09.92 – 2:22.00 (12.1s)

Lanes where not everybody chooses to go at night H and you have a very interesting kind of a uh gloomy slightly dangerous place and this is your fourth

2:19.56 – 2:30.64 (11.1s)

or fifth film working together I think at this stage you obviously had 28 Days Later and breakfast and Pluto um does it get easier working together or how does

2:28.88 – 2:41.00 (12.1s)

it different Jee I mean it just seems to get worse every time it does yeah just it's got to be the last time you know I know at least the time before like brex

2:38.32 – 2:49.80 (11.5s)

and Pluto I was kind of in a very large suit I actually didn't have to look at him very much I know it's been great and hopefully we'll do it again you know

2:48.12 – 2:59.52 (11.4s)

very soon um so no it was great and actually just working with the whole clatter of them in this film you know conningham and all the rest of them um

2:56.40 – 3:06.48 (10.1s)

you just kind of felt it's the kind of stuff I want to do that's basically with Jim how was that great uh he's well I'd worked him before very briefly but we didn't have much to

3:05.08 – 3:16.20 (11.1s)

get on screen and gang's New York and he's he's just superb he's got um you know fantastic comic timing we're just talking about it earlier but it's also

3:14.36 – 3:25.60 (11.2s)

he's got a kind of a Humanity he just appears and immediately your heart is broken for him for some reason uh he just has he just communicates um such

3:23.80 – 3:34.52 (10.7s)

Humanity I think people appetize him immedately you have tips from him for the the Irish accent that he was coming up Killian told him that nobody talks like

3:32.60 – 3:45.00 (12.4s)

that nobody uses those words really do it's quite heightened um but I know it's a beautiful performance he gives in it you

3:41.08 – 3:52.16 (11.1s)

know and as brenon says you can't help but just adore him even though my character is intensely irritated by him but yet you can see that there's a there's a love there between the two of

3:50.32 – 4:00.64 (10.3s)

them and that's another great thing about the film like IT addresses that father son that complex relationship to Father and Sons have uh particularly this one where it's being aranged and

3:59.44 – 4:11.60 (12.2s)

kind of fractured and then they you know he it reconciles and resolves towards the end of the film in in a in a nice

4:08.72 – 4:19.44 (10.7s)

sad way and just to talk about someone else that was on screen with you a lot the dogs how was that like you have to be an animal lover obviously to deal with them I think you should really ask

4:17.04 – 4:29.04 (12.0s)

the dogs it's the dogs I felt sorry for they were great they were great they were very good they got knackered at about 3:00 in the morning that was the only problem with them just on to liay

4:25.68 – 4:37.64 (12.0s)

down and had enough of show Showbiz but um no they were brilliant they were great great Savages yeah and um you yourself you've had right year you've

4:35.28 – 4:45.76 (10.5s)

had the ammy win obviously and then the nomination for um secret life Cals was that a surprise to you at all or were you very happy with that uh I was very

4:43.52 – 4:55.20 (11.7s)

surprised about um I was very surprised when I heard the secret of KS um because not because I was surprised because the nature of the work the quality of the

4:52.88 – 5:03.60 (10.7s)

work is such that uh of course I didn't but I it was one of those I completely lost sight of it I wasn't even thinking about it the next thing I got this text and I was absolutely over the moon about

5:01.36 – 5:11.88 (10.5s)

that I have to say um and I think it just shows you like it gets such bad press you know and all the rest of it um the Oscars and there so much you know schmalz and rubbish and politics and

5:09.64 – 5:21.16 (11.5s)

everything that people talk about but actually you know over there there is a real kind of conscientious search for for good stuff and the fact that they found it and that they brought it in

5:19.44 – 5:30.48 (11.0s)

mean to get in Academy Award a nomination in animation which is so labor intensive so expensive and needs such kind of ambition to make happen uh

5:28.96 – 5:39.60 (10.6s)

I just thought it was absolutely brilliant achievement I can't really proud of them and really and really proud of the whole the fact that the academy went and saw it and took it and

5:38.12 – 5:48.40 (10.3s)

brought it over there and showcased it you know so yeah it's been a great year that way and next up is your directorial debut I believe hope so yeah hope so that coming along now it's I'm trying if

5:46.68 – 5:57.48 (10.8s)

I can lose Killian out of the film I think we might we might have a chance of making it yeah you've got a big cast for that and who else is yeah it is well I mean col and TL and Gabriel burn and a

5:56.12 – 6:07.64 (11.5s)

whole crowd of people like Damon Mor's and all that we did a table reading about three years ago um it's that long ago now when we're just trying to you know developing the script and there

6:05.36 – 6:16.76 (11.4s)

were four generations of Irish actors at the table and it was one of the best days I ever spent quite nerve-wracking up to a point but then fantastically enjoyable so uh if we can get that

6:15.00 – 6:26.16 (11.2s)

actually working on a SAT I'd be I'd be over the moon and Kaden what's next for you uh I have film called Inception it

6:23.76 – 6:33.84 (10.1s)

comes out in July um so and uh just kind of reading stuff now and seeing what what lies around the corner really can you give us any spoilers about inception

6:30.60 – 6:41.92 (11.3s)

no I I couldn't possibly no it's worth it'll be worth the wait I think and it'll be worth not really knowing I think uh because it should be should be

6:39.52 – 6:50.24 (10.7s)

quite special I hope anyway perfect okay that's everything I have for you guys thanks cheers

6:47.52 – 6:55.04 (7.5s)

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.

Como praticar de forma eficaz no ShadowingEnglish

Escolha seu vídeo: Escolha um vídeo do YouTube com inglês claro e natural. TED Talks, BBC News, cenas de filmes, podcasts — todos funcionam bem. Cole a URL na barra de pesquisa.
Ouça primeiro, entenda o contexto: Na primeira vez, mantenha a velocidade em 1x e apenas ouça. Não tente repetir ainda. Concentre-se em entender o significado.
Configure o modo Shadowing:
- Modo de espera: Escolha +3s ou +5s — após cada frase, o vídeo pausa automaticamente para você repetir.
- Sinc. legendas: Legendas do YouTube às vezes estão adiantadas ou atrasadas. Use ±100ms para alinhar.
Faça Shadowing em voz alta (a prática principal): Assim que a frase tocar — ou durante a pausa — repita em voz alta, clara e confiante. Imite o ritmo, ênfase, tom e sons conectados do falante.
Aumente o desafio: Quando um trecho ficar confortável, aumente a velocidade para <code>1.25x</code> ou <code>1.5x</code>. Pratique 15-30 minutos por dia para resultados visíveis em poucas semanas.

☕ Pague-nos um café

O ShadowingEnglish permanece 100% gratuito graças ao seu apoio. Os custos de servidor e IA são altos — seu café nos mantém ativos! 🙏

Doar via PayPal

ShadowingEnglish.com – Prática de Shadowing em Inglês

Fale inglês fluentemente usando a técnica de Shadowing. Ouça vídeos nativos do YouTube, repita frase por frase e desenvolva pronúncia e fluência reais — usado por estudantes de IELTS no mundo todo.

Prática de Shadowing: Cillian Murphy & Brendan Gleeson - Irish interview for Perrier's Bounty - Aprenda a falar inglês com o YouTube

Sobre Esta Lição

Vocabulário e Frases Importantes

Dicas de Prática para Este Vídeo

O que é a Técnica de Shadowing?

Como praticar de forma eficaz no ShadowingEnglish