Практика Shadowing: Portraying Marie Colvin in A Private War | Rosamund Pike on Acting - Изучайте разговорный английский с YouTube

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I actually sought out the role of Marie Colvin in A Private War.
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I actually sought out the role of Marie Colvin in A Private War.
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I heard that they were making a film about Marie.
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I read a Vanity Fair article that was written about her
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maybe a year and a half after her tragic death in Syria.
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And the article just struck me with the kind of commitment of this woman,
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the contradictions of her, the passion with which she pursued her career,
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the single-mindedness but also this person who was so effervescently
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optimistic I suppose despite all the trauma that she witnessed
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and I just thought this is an extraordinary person and
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if the right filmmaker comes on to direct the film then it could be an extraordinary film
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and when I heard
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that Matthew Heinemann whose background is in documentary was going to
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be the filmmaker I just really really wanted to be involved
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because I thought he's going going to have an unflinching eye on this woman
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and we're going to get all of her
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and there's going to be a truth to the war zone depictions
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which you know really matters it can't be a hollywoodisation
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when you're dealing with subject matter like this um
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so i tried to meet him and i
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and it took me about a year to actually um to actually meet him face to face
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but luckily he was working on the script for that long
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so the delay didn't matter we really hit it off it was a kind of meeting of minds
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and a sort of search for the same truth
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and he was probably being persuaded and people were probably trying to persuade him to cast someone else but we
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just sort of knew we had the same vision in mind
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and that sort of trust that we established on that day
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or an instinct for the trust that we could have just carried us through the movie.
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Marie's great ally towards the end of her life was her
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photographer Paul Connery had a reputation for ditching photographers who she became impatient with
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and Paul Conroy was one of the few who kind of stayed the course.
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And you know I think that was largely
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because they shared this fantastic sense of humour
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and they both like to kind of go against the grain and not follow the pack.
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And Jamie Dornan plays Paul in our film and the interesting thing is
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when I came on board the film we didn't actually have life rights to anybody apart from Marie herself.
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So other characters' names were changed.
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And then as people got to know Matthew Heinemann and me and we gained people's trust,
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more and more people said,
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okay, I think it would be great if you used my name.
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So that was true of Sean Ryan,
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the editor of the Sunday Times, and of Paul Conroy.
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And Paul Conroy came on board, actually, as an advisor.
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And he came out to visit us during our first week of filming in Jordan,
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and then he never left.
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I think he found a kind of,
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like another family, really, in the tribe that we become
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when we're making a film
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and I think it had a sort of strange relationship to
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the to the band of journalists on the road following conflict
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and I think there was something in the experience of making a film
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that he recognized and felt very comfortable with
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so we benefited from his stories his experiences you know
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when we were depicting a scene he was actually there
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so the level of accuracy
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that he could help us achieve was astonishing I think Matthew Heinemann and my greatest fear when embarking on this project was,
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you know, would we be able to get as close to something that felt truthful as we wanted to?
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You know, when we were depicting conflict zones, could they feel real?
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Could the experience that the audience was going to get come anywhere close to the experience
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that Marie had when she was in these places?
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And I think the fact that Matt has,
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you know, shot documentaries up to this point,
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you know, he's been the cameraman,
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he's taken his own sound,
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he's embedded with people very much in the way
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that Marie did to get to the truth of the stories
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that he's telling and he followed a kind of similar instinct with our film.
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So we filmed all the war zones in Jordan
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but he interviewed everybody who was going to make up the background of our film.
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So basically whatever conflict zone we're covering,
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we went, Jordan stood in for Libya,
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Iraq, Afghanistan, Sri Lanka and Syria
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and Matt found refugees from all those countries currently living in Jordan
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and they became the fabric of our of the war zones as we showed them in the movie
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so when I'm interviewing people or coming across people
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or interacting with anyone who's been you know the victim of an IED explosion
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or you know people who are crowding around a mass gravesite
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that Marie had an instinct about and she She hired a digger to dig up the earth.
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And they did find bodies.
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The people crowded around the graves.
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We were in a clinic in the besieged city of Homs.
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Everybody was someone who had had a very similar experience,
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if not the very experience that we were describing.
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So there was a level of reality that I just didn't believe could be achieved really.
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And it became the kind of touchstone of our film.
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It's what gives it its truth.
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It's what gives it its fierceness.
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It's what gives it its power.
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Because again and again, you're diving into an experience through these people that doesn't just feel real.
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It is real.
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So, for instance, there are two women at one point tell me the stories of losing their husbands
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and one tells me the story of losing her child.
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And I'd never heard it until the minute it's told to me on film,
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and that's the moment that's in the movie.
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And it's harrowing, and it's harrowing for the audience,
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it was harrowing for me.
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and I think comes very close to the kind of in-depth connection-driven reporting that Marie was famous for.
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I mean, I think I'm still very affected by Marie.
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I think she's in me somewhere.
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I think my eyes have been opened to the world as she saw it.
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You know, you inhabit someone.
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Your job as an actor is to trick your brain into believing you are the person.
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And if you trick your brain well enough,
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your body starts to respond as if you are that person.
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So situations that are not dangerous because you're an actor
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and it's a movie are read by your body as dangerous and your heart will race,
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you'll sweat, you'll have a physiological reaction that's not of your making.
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you know, and that those experiences in the body never leave you, I think.
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I mean, there is so much pressure in playing a real person,
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especially someone who was as fiercely loved and missed as Marie.
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I mean, Marie's friends are devoted.
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Her family, you know, it's a painful recent loss for them.
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Her family are fighting at the moment.
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They're bringing a court case against the Syrian regime for Marie's murder.
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They really believe and have a body of evidence to support the fact that she was targeted by the Assad regime
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when she went into Homs.
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I mean, it was an enormous pressure because in this instance,
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and I don't think it's the same with every real person you play,
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sometimes I think you can have a legitimate choice as an actor to get a feeling of the person across
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or tell the truth of their story but not,
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you know, embody them fully.
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But in this,
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I had a documentary maker as my director who is used solely to trading in the truth in real people,
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in observing real people.
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And secondly, I found Marie such an intoxicating woman when I listened to her,
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watched her, that I just thought I want to put that on screen.
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I want to be as close as I possibly can to her.
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I want to be her.
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I want to apologise for not being her,
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you know, with a documentary maker as my director.
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So I just tried to do everything I could to kind of eradicate all trace of my own instincts and behaviours.
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And once I decided to do that,
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I then realised what a momentous task it was,
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to change your voice, change your posture,
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change the way you walk,
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change the little tells, the little insecurities that you default to in an uncomfortable situation,
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learn to smoke.
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And that's just the external,
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there's a whole world of internal stuff too, of course.
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One of my heroes I ended up playing right after I played Murray Colvin,
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and that was Murray Curie.
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So I had this very extraordinary year where two very important Marie's came into my hands at the same time.
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And that was, you know,
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they definitely influenced one another in my mind,
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I think, because I was sort of thinking about them both in tandem sometimes.
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And Marie Curie was just an astonishing person.
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Again, someone who lived courageously.
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I mean, Marie Curie probably,
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I would say, lived pretty fearlessly.
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Mary Colvin, I don't think was fearless.
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You know, that's often the cliche about the war correspondent,
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is that they're fearless.
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I think she was not fearless at all.
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I think she had tremendous fear,
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but the need to tell the story was so urgent that she went past her fear.
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Apart from that, there's no one currently calling me,
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no. But give me a year.
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Hearing stillker
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В этом уроке вы погрузитесь в мир актёрского мастерства, обсуждая роль Марии Колвин в фильме "Личная война". Вы сможете научиться различным ключевым фразам и словам, используемым в контексте обсуждения актёрских ролей и документальных фильмов. Основное внимание будет уделено тому, как выражать свои мысли на английском языке, а также как проживать эмоциональные моменты, что является важным аспектом практики разговорного английского. Вы сможете испробовать подход shadow speak, который поможет вам лучше усвоить произношение и интонацию.

Ключевая лексика и фразы

  • commitment — приверженность
  • contradictions — противоречия
  • unflinching — непоколебимый
  • truth — истина
  • documentary — документальный фильм
  • ally — союзник
  • advisor — консультант
  • trust — доверие

Советы по практике

Для того чтобы эффективно практиковать разговорный английский и улучшить навыки shadow speech, вам стоит следовать нескольким простым рекомендациям. Во-первых, смотрите видео в среднем темпе: начните с замедленного просмотра, чтобы лучше усвоить интонацию и акценты. Затем переходите к нормальной скорости, стараясь одновременно повторять за актёрами. Это подход shadow speak поможет вам не только улучшить произношение, но и поймать эмоциональный оттенок диалогов.

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