Prática de Shadowing: The Original Plans for Fantastic Four: First Steps - Aprenda a falar inglês com vídeo
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What if the Fantastic Four didn't just battle Galactus and the Silver Surfer,
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but instead fought John Malkovich as the Red Ghost and his army of super apes?
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Not only that, what if Adam Driver and Emma Stone played
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Reed and Sue Richards?
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And finally, what if the film featured a completely different musical score by Michael Giacchino?
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Believe it or not, all of these things almost happened.
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So to find out how we went from all of that to the movie we got,
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let's dive in and take a look at what could have been the Fantastic Four First Steps.
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Recently, it feels like almost every single major
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Marvel production suffers from the exact same behind -the -scenes disease.
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A grueling cycle of massive rewrites, extensive reshoots, and brutal recuts in the editing room.
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Instead of executing a clear, unified vision from day one, Marvel's massive tentpoles are increasingly being stitched together at the 11th hour,
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treating the script as a rough suggestion rather than a locked blueprint.
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First Steps was certainly no exception to this trend.
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What started as one distinct narrative was ruthlessly carved up during post -production, leaving a graveyard of deleted scenes, scrapped subplots, and entirely abandoned character arcs.
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One of the most notable casualties of all
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this editing was the complete removal of John Malkovich as the classic villain Ivan Kragov, better known as the Red Ghost.
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Originally, the film didn't begin with Reed and Sue learning about her pregnancy.
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Instead, the movie would have opened with a team waiting backstage
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to be introduced on the Ted Gilbert Show for Fantastic Four Day.
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But just as they're about to make their grand entrance, the Fantastic Four receive an urgent alert on their watches, forcing them to suddenly take off,
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mirroring the same gag that happens at the end of the film, meaning poor Ted Gilbert never actually gets his interview with the family.
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After ditching the talk show, the team would rush off to the Excelsior launch pad to stop
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Red Ghost and his Super Apes from stealing the team's rocket.
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This sequence also would have given
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Reed an opportunity to show off his powers more, something many criticized the final film for not doing enough of.
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The team would eventually stop
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Red Ghost with him being taken into custody.
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However, director Matt Shackman quickly realized he had a pacing problem.
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To get to the narrative faster, the entire rocket heist was scrapped.
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Instead of a full -blown set piece, snippets of this fight, including a brief shot of Reed kicking a super ape,
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were salvaged and repurposed into the quick origin montage we see at the start of the film.
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Also included in this origin montage were moments that featured the Fantastic Four in their original
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Jack Kirby suits.
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But Malkovich's role wasn't originally meant to be a one -off cameo at the start of the film.
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The Red Ghost was slated to return later with Reed visiting him in prison
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and offering him a work release program in exchange for help building one of the teleportation bridges.
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Red Ghost would agree, but later when Reed checks in with global stations in major cities like Madrid and Chicago,
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a booming voice with a distinct Russian accent would have echoed over the loudspeakers,
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mocking Richards and warning him that he's a fool to think he can pull off this plan.
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As Reed desperately pleads with him to stop, Red Ghost betrays him anyway and destroys the bridges.
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So why was such a massive sweeping character and subplot entirely excised from the movie.
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Allegedly, everything related to the Red Ghost just wasn't working.
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The character reportedly failed to resonate in test screenings, with audiences feeling that his later prison scenes added very little to the narrative
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and that the inclusion of the super apes came off as completely ridiculous.
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As a result, Red Ghost was replaced by the surfer coming back to destroy the bridges, which made more narrative sense.
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It kept the story focused on the primary antagonist that audiences knew
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and had been spending the most time with throughout the film.
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And to beef up the surfer's role, they went back and shot a new sequence where a backstory is shown,
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as we see her give herself to Galactus to save her planet and family, which Shackman felt reinforced the film's theme of family.
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However, an alternate version of these flashbacks were shot that included Johnny witnessing them himself metaphorically.
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The opening sequence wasn't the only casualty of the editing room.
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In fact, Shackman intentionally wrote and shot significantly more material for the first act just to establish the team's history.
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Because the film picks up four years after the Fantastic Four received their powers, Shackman initially felt they needed a massive amount of exposition to
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explain exactly what the family had been up to during that time jump.
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This resulted in a ton of world -building footage that ultimately was left on the cutting room floor.
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Some of these extended sequences included a detailed television tour of the Baxter Building, heavily inspired by Jackie Kennedy's famous tour of the White House,
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as well as glimpses into Reed's educational Mr. Fantastic Science show.
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Additionally, the much -publicized
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Family Dinner at Seven scene, which was heavily featured in the film's marketing, was nowhere to be found in the final film.
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However, perhaps the most interesting deleted scene was a sequence featuring
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Ben Grimm appearing as a contestant on the dating game.
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This wasn't just played for retro laughs, it was specifically designed to establish
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Ben's deep sense of loneliness and his desperate desire for love despite his rocky exterior.
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While Shackman noted
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that shooting all this extra footage was helpful for the creative team to build out their massive retro futuristic world,
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they quickly ran into a pacing problem,
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as they realized that lingering too long on the team's celebrity status and daily routines was dragging down the film's momentum.
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To keep the story moving forward, these character -driven moments were ultimately gutted so the film could get to its true inciting incident,
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the arrival of the Silver Surfer on Earth.
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Beyond the Red Ghost and the massive
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Act I worldbuilding, an extended sequence was also cut where Herbie was actually destroyed
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by angry protesters who wanted the Fantastic Four to give up their baby to Galactus.
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This would have led to a poignant moment where the thing discovers the broken machine
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and brings the pieces back to the Baxter building.
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One of the most unfortunate casualties of the film's cuts was an important relationship building scene between Harvey Elder and Sue Storm,
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where Sue descends into subterranean to find out why he's threatening to revolt again.
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It's a surprisingly grounded moment, as the two share a drink, with Mole Man respectfully pouring the pregnant
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Sue a glass of water, while he has a whiskey and complains that her underground sewer pipes burst.
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The scene goes on to prove
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Sue's diplomatic value to the team by showing her actively turning a former enemy into a reluctant ally.
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Rather than treating Harvey like another villain to be defeated, Sue offers him an olive branch.
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She proposes employing his people to repair the damaged pipe, addressing the very problem that sparked his anger in the first place.
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That small gesture becomes a crucial step toward building real trust between the surface world and subterranea.
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And that setup pays off in a massive way during the third act, when Mole Man opens his doors
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and allows the people of New York to evacuate into subterranea while the Fantastic Four lure Galactus to Times Square.
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He doesn't do it because he suddenly loves the team.
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In fact, he still despises most of them.
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But he does it because of Sue, and because of the foundation she quietly built with him earlier in the film.
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Another fascinating wrinkle in the film's evolution came through Michael Giacchino's score,
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because the version of a score that we heard in theaters was not the first version he wrote.
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Giacchino actually started building the music incredibly early, after Kevin Feige brought him in to compose the music for the film's
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Comic -Con presentation.
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And by the time cameras were rolling, he had already written themes for Galactus and The Silver Surfer,
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but because the movie kept evolving through production and post -production, the score that once fit the film suddenly belonged to a different version of it.
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Giacchino later admitted he had written a whole other score that audiences would probably never hear,
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because when he finally watched the music that he wrote against the new cut, he felt it wasn't working.
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Rather than trying to awkwardly shoehorn his existing work into a movie it was no longer built for,
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Giacchino made the massive decision to completely throw it out and take a second stab at the entire score,
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leaving his first attempt locked away in the Marvel Vault.
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With rumors swirling that the original version of the film was nearly three hours long, contained a different score, and missing a significant amount of content,
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fans immediately began clamoring for a director's cut.
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However, Shackman quickly dashed those hopes, explaining that because so much of the deleted material relied heavily on CGI,
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the visual effects for those scenes were never finished.
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As a result, releasing a longer cut of first steps would require massive post -production work
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and a hell of a lot of money, meaning we'll likely never see it.
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The casting process for the film was also incredibly turbulent, starting with the decision to move away from John Krasinski.
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While Krasinski had previously played a variant of Reed Richards in Multiverse of Madness,
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Marvel always viewed that appearance as a one -off piece of fan service, rather than a long -term commitment.
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When it came time to cast the definitive version of the team for the mainline MCU,
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the studio set its sights on entirely different roster of talent.
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Marvel initially targeted Adam Driver and Emma Stone to lead the franchise as Reed and Sue.
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However, both actors ultimately declined the offers.
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Driver allegedly didn't connect with the character, while Stone declined because Marvel wasn't willing to pay the exceptionally high salary that she was demanding.
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With their top choices out of the running, Marvel was forced to scramble.
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Before the start of the 2023 SAG after a strike in July, the studio held a series of screen tests for Reed Richards,
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with several different actors, including Christopher Abbott and Jamie Dornan.
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However, these auditions apparently didn't go very well, leaving the studio empty -handed.
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This forced, creative pause during the Hollywood strikes ultimately allowed
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Marvel to re -strategize, completely resetting their search before finally landing on Pedro Pascal and Vanessa Kirby.
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However, First Step serves as yet another stark reminder of the chaotic realities behind
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Marvel's modern production machine.
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While the theatrical cut succeeded in finally bringing the first family into the MCU, it left behind a massive graveyard of fascinating concepts,
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scrapped scores, and abandoned character arcs,
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proving once again that sometimes the most interesting version of a movie is the one that never makes it to the screen.
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Vocabulário e dicas de fala para esta lição
Esta aula de conversação usa o vídeo “The Original Plans for Fantastic Four: First Steps”. As palavras que mais se repetem: film, Reed, Ghost, massive, Fantastic. Este vídeo tem 125 frases e 1869 palavras para praticar shadowing. A fala dura 8:32. O falante fala rápido, cerca de 219 palavras por minuto, então espere sons ligados e reduzidos. Apenas 76% das palavras estão entre as 3.000 mais comuns do inglês, por isso o vocabulário é exigente.
Vocabulário principal deste vídeo
15 palavras do vídeo que vale a pena aprender, com pronúncia e significado:
| Palavra | Pronúncia | Significado |
|---|---|---|
| sequence substantivo | /ˈsiː.kwəns/ | sequência |
| narrative substantivo | /ˈnæɹ.ə.tɪv/ | narrativa |
| edit verbo | /ˈɛdɪt/ | editar |
| delete verbo | /dɪˈliːt/ | apagar, excluir |
| scrap substantivo | /ˈskɹæp/ | apara, retalho |
| casualty substantivo | /ˈkæʒu.əlti/ | baixa |
| establish verbo | /ɪˈstæb.lɪʃ/ | firmar, instaurar |
| decline verbo | /dɪˈklaɪn/ | declinar |
| incredibly advérbio | /ɪŋˈkɹɛdɪbli/ | incrivelmente |
| pace substantivo | /peɪs/ | passo |
| footage substantivo | /ˈfʊtɪd͡ʒ/ | material |
| rocket substantivo | /ˈɹɑk.ɪt/ | foguete |
| distinct adjetivo | /dɪˈstɪŋkt/ | distinto |
| pipe substantivo | /ˈpaɪp/ | flauta |
| arc substantivo | /ɑɹk/ | arco |
Phrasal verbs que você vai ouvir
| Palavra | Significado |
|---|---|
| find out verbo | descobrir |
| give up verbo | render-se |
| go back verbo | voltar |
| move forward verbo | adiantar |
| pick up verbo | pegar |
| pull off verbo | conseguir |
| show off verbo | mostrar-se, jactar-se |
| take off verbo | tirar |
Pronúncia para ficar de olho
O falante usa 13 contrações e formas reduzidas, como wasn't, didn't, doesn't. Diga-as na forma curta, do jeito que você ouve.
- Os sons de “th”: theater /ˈθi(ə)tɚ/, threaten /ˈθɹɛt.n̩/, theatrical /θiˈætɹɪkəl/
- Os sons de “sh” e “zh”: casualty /ˈkæʒu.əlti/, establish /ɪˈstæb.lɪʃ/, rush /ɹʌʃ/, establishment /ɪˈstæb.lɪʃ.mənt/, evolution /ˌiːvəˈluːʃ(ə)n/
- Palavras longas — acerte a sílaba tônica: casualty /ˈkæʒu.əlti/, incredibly /ɪŋˈkɹɛdɪbli/, allegedly /əˈlɛdʒ.ɪd.li/, ridiculous /ɹɪˈdɪk.jə.ləs/, establishment /ɪˈstæb.lɪʃ.mənt/
Sons difíceis para falantes de português:
- Consoante final — sem acrescentar um “i” depois: edit /ˈɛdɪt/, delete /dɪˈliːt/, scrap /ˈskɹæp/, rocket /ˈɹɑk.ɪt/, distinct /dɪˈstɪŋkt/
- /l/ final — a língua toca o céu da boca, não vira “u”: steal /stiːl/, removal /ɹɪˈmuː.vəl/, crucial /ˈkɹuː.ʃəl/, brutal /ˈbɹuːtəl/, theatrical /θiˈætɹɪkəl/
- /h/ — um sopro suave, diferente do “r”: helpful /ˈhɛlp.fl̩/, nowhere /ˈnoʊ.(h)wɛɹ/
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 sequence, narrative, edit.
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.