Практика Shadowing: Steven Spielberg Believes in Aliens - Изучайте разговорный английский по видео

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How would you draw the line between national security and the public's urge to know?

I think the public's urge to know is more like a right to know.

If the unknown is known by a very small group of people,

the injustice of not everyone knowing what they know is kind

of what drives me especially to tell the story of Disclosure Day.

I am on much firmer ground now, certainly with all the circumstantial evidence that's out there for me to believe

that you know they're here why do

ufo sightings persist are at least some of them figments of our imagination

or are we missing something in my latest book take me

to your leader i actually explore what's possible in this universe given the universal laws of physics

if the aliens are out there the laws of physics will dictate how they find us i also narrated the audiobook

so i'm duly informed that the audiobook

and the print version are available now wherever books are sold

steven good to see you again good to see you thanks

for coming on to the podcast uh we did a bit of homework

and i did not know

that your first student film was about aliens yeah it was

called firelight i made it an eight millimeter on eight millimeter

film i was 17 years old i was the i was in high school

so you you aliens have just been a thing well it

was it was more about ufos it was it was it was

and it wasn't uh peace -loving uh aliens the first one i did was much more of the

formulaic you know monogram movie exploitation and and

but it was it was in an area of interest ever since I was a kid

and I mean why wouldn't it be

because everybody's interested in aliens at some point

but you have the power to bring it to life on levels

that no one could have imagined well it's not really

so much my interest in aliens it's been my interest in the unknown and

and the feeling I've had you know for a very long

time having been a consumer of everything involving the unknown not

the unknown you know you know a million light years from here

but the unknown right here and it's always been something that's really interested me

and I've always wondered you know you know

if the unknown is known by a very small group of

people the injustice of not everyone knowing what they know is

kind of what drives me especially to tell the story of

disclosure day it never occurred to me to think of people left out as being the consequence of an injustice

and inequity maybe is a better word yeah no

but still no i'm applauding the term because

when it's an injustice you want to correct that as a viewer you want you want to right the wrong.

And you clearly established that in Disclosure Day.

I mean, it was, that was the greatest feeling any of us had as we, as we watched this.

A question that I've always had as a director,

what is the value of the eyes of whatever it is you're looking into?

Not only in Disclosure Day was there a lot of eye contact from animal to, you know, non -human animal to human animal,

but also human to human where you're kind of seeing into their soul imparting a bit of empathy, I guess, for lack of a better word there.

That is the word.

That is the word of the day.

That is the key word of the day.

But aliens tend to, as we now think of them, they all have big eyes and eyes seem to matter.

Can you just speak a little bit as a director?

And let me throw in the mix, the eye contact with the Velociraptor, right?

I mean, at my museum, the Velociraptor is not much bigger than a big dog, but they were sort of pumped up in Jurassic Park so

that you're making eye contact with something that's going to eat you.

So not only as a source of fear, but as a potential source of empathy.

How does that feel to you?

Well, with human beings, you know, eyes are the mirrors of the soul and to animals, I guess, eyes are the mirrors or the appetite.

But they both serve a similar purpose.

Animals with teeth.

They both give a kind of satiation.

And I think everything is in the eyes.

It's in the eyes.

It's from anything you've, any movie experience anybody's ever had.

It's all about the E .T.'s eyes in my film was critically important.

The design of those eyes were critically important.

It's a little bit harder with what people report when they report non -human entities.

They there's no iris or pupil.

So it's so I never thought about that It's never drawn with anything inside the eye No, but but but there are other things happening

when people have close encounters of the third kind which is

that that How that that that sort of you know defines itself?

That there is something that is also a psychic part of looking into an eye of a non -human

As has been reported and still feeling something without needing the pupil

or the iris so uh in disclosure day uh

because they actually had a an alien uh i always felt like what's the need to even disclose any video

if you've got the alien what do you need the video

for you need the context you've got to have 80 years

of context okay you've got to be able to he steals 80 years of the truth

that has been hidden from the public and even from the government

because you know it's very hard for elected officials to keep secrets you know

but in a way contracted you know you know deep state

contract companies contracted companies they're pretty good at keeping secrets there's

not a lot of leaks from the big tech companies

or even unless there's a mutiny as in disclosure day and

and there there have been whistleblowers

that went to the uh you know house intelligence committee and it gave their testimony you know you know grush

Fravor and Ryan sworn under oath 2023 in front of

Congress and the American public

so that's quite the setup for this movie

but presumably the movie was percolating even before then it takes time to make a movie

were those testimonies the trigger for this whole idea?

the trigger for the whole idea was the New York Times article

that article that came out in the New York Times in 2017 yes yes

and that was that was the trigger for me

which was the the first time we ever heard the term tic -tac being used instead of ufo

because first it was ufo and then it was tic -tac

and then we hear something called uap it's all confusing you

know you know unidentified anomalous phenomenon it's who are they fooling

they're talking about ufo can we go back to ufo please

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please completely I remembered speaking of a Tic -Tac at the time

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and a few weeks later at my office a whole crate of Tic -Tac showed up.

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So it's free advertising for them.

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I just had questions about the story.

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You know, all the places are mentioned.

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We've heard tension occur in all of the Korea and Russia and Ukraine.

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And so that's kind of this buildup behind the disclosure

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because that's the backdrop that's the landscape landscape on

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which this is unfolding yeah what were you what was your

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goal there well my goal was not to lay it on thick my goal was to suggest

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that there was something approaching critical mass happening in the world uh

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that at least was uh bringing back the word defcon yes you know

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and and that

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that you know we people tend to take these things in

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their stride i remember during the cuban missile crisis i was in high school and when it was hitting the tele, my parents went to a dinner party,

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and I was home with my three sisters worrying about the world ending.

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My parents weren't worried about that during the Cuban Missile Crisis.

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And so there are people who aren't going to really be focused on the DEFCON situation, but there is a crisis happening in the world,

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which has something to do with the timing of Disclosure Day.

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Yeah, and it's coincidence, surely, that the government is releasing files right around when you've got your movie coming out.

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That is a complete coincidence.

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Unless you have access.

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I know, no, no. You can tell me.

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I won't tell anybody.

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No.

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My movie is not a holistic review of the entire UFO phenomenon as fed to me by any actors inside

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or outside the government.

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No, I've had no government contact about this at all.

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We're going to have quality time with your writer.

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You're a long -time partner in this.

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But let me just ask, what would you say of this movie is your imprimatur as director and storyteller?

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Well, I wrote the story.

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So I wrote it from scratch based on my deep interest in this subject

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and so much was starting to come out in 2017.

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All right.

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And I was very satisfied with Close Encounters, very satisfied having made E .T and then even War of the Worlds, which was more analogous to 9 -11 than to 8 -11 aliens,

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but when I saw that everybody that has a smartphone has been photographing and capturing some extraordinary things happening.

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We're crowdsourcing any possible alien invasion.

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It's incredible how much is out there right now.

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And some of it, yes, can be faked, but a lot of it I don't think is.

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And it just, my interest, I didn't think I would get interested again in this subject, And then when the 2017...

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New York Times article came out, I thought, well, you know, something's about to happen.

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May not be this year or next year, but something is going to happen.

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And I really would like this movie to be my summation story in my entire,

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I guess, filmography of UFOs and extraterrestrials.

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So let's explore empathy some more.

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Yes.

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Because that really mattered in this film.

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Yes, it does.

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Who trusts whom?

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Right.

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How and why?

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Trusting a stranger, complete stranger.

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So how did empathy land as a running theme?

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Well, because I've often, I've dwelled a lot about not just empathy, but the lack of empathy.

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And the feeling that empathy is sort of in short supply.

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It used to be a lot more taken for granted.

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And now you have to kind of find it, reach for it.

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The way the world's, our country's divided

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and the way people go to their silos and they stay with their groups and it's kind of like...

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Heels dug in?

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Heels dug in.

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It's sort of like sports too, you know, in that sense.

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It's not a lot of empathy between, you know, crowds competing against each other in any sporting event.

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Empathy is toward your team, toward your home team, but not toward the opposition.

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And so more and more we're having less and less common ground that we can find.

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And I do a lot of philanthropic work through our Hearthland Foundation trying to fund things

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that bring people of different ideologies and beliefs together, not to change their minds.

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I'm not interested in changing anybody's mind, just finding common ground so we can start joining together as opposed to separating further and further.

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Disclosure Day has a lot to do with that, and empathy is the key.

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So how would you draw the line between national security and the public, the public's urge to know?

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I think the public's urge to know is more like a right to know.

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And I think when, you know, you can always look back and look at all of the conspiracy theories and all of the urban myths.

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And you could look at all of the legends that haunt us constantly, that television shows are made from.

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It's great.

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It's great material.

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We have no entertainment material for us you know but

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when you look at it the one thing

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that hasn't changed the one thing that could be considered mythology

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which is uf ufology could be considered by some mythology but

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when you look at the consistency of the reporting how it's

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so consistent for 80 years you know um uh you know

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i i am on much firmer ground now certainly with all

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the circumstantial evidence that's out there for me to believe that you know they're here

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now empathy is something

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that the aliens in war the world did not have no they just came

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and they just want to slaughter with abandon yeah that was

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that was a 19th century book written by the great hg

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well i'm not blaming you no no i'm saying oh no

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but i'm just saying

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that i made a choice to you know to make it

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a very aggressive it was very dark a very dark film oh my gosh about about you know invasion and annihilation

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so genocide do you have any feelings well that's the wrong

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word do you have any thoughts on whether aliens would be sympathetic empathetic evil what might be their motives

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or their attitudes towards us just given your sense of the

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world well my my sense of The world is obviously already on film with close encounters.

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A benign non -human civilization coming here.

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And E .T.

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is as benign as you could possibly imagine any entity could be.

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And I believe that what's been going on is not something that we should fear.

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It's something that we should be very open to.

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In spite of how cinema has trained us to just completely believe in an evil aliens.

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I mean, that's just, that trope is with us.

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Yeah, if I hadn't made War of the Worlds, that was not in my filmography, I would say, well, I've been trying to train us too between three movies,

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but War of the Worlds kind of makes me a hypocrite.

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It totally undoes your line there.

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It undoes my good intentions, and yet I do have good intentions, and I am optimistic that whatever is interacting with us,

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whatever is here, out there, under the water, wherever it, and whoever knows the truth knows that this is not something,

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you know, that we need to flee and panic.

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There's going to be a lot of ontological shock if this ever gets announced.

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And the stuff that the government or the Pentagon has been releasing in drips

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and drabs is kind of hard to see what it is.

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But what they're releasing is not causing, going to cause any you know, social dislocation, because it's not enough.

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And nobody's coming out and making that big public announcement, they're here, they've been here, they've always been here.

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Short of that, there is no, you know, culture shock.

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But ontological shock happens when your fundamental beliefs of what you consider reality are shattered by a new world reality.

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And that was, of course, comically addressed in Men in Black yeah understanding of the world

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is changed that's right that's why they have to keep it quiet yeah yeah

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and they got that magic light thing they have the neuralyzer

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and of course neuralyzer neuralyzer

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and of course it could only happen in New York City a quick another element about empathy mm -hmm you expect

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everyone to want the government to disclose aliens no there are

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people who don't want the government to disclose any of this and and

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because it's not going to shake up our core truth of

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our core realities you just want to keep the rest of

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us in the dark yeah there are people who don't really want this disclosed not just government people

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but there are people in the country

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that would rather uh you know get the price of eggs down you know

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and not have to worry about all this

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but you know in america our movies are our culture they're they're our binding force among us

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so uh with disclosure day you've already disclosed the aliens I don't need the Pentagon anymore

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because Steven Spielberg has done so at least some people are surely gonna feel

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that well I've told a story that that

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that is is I told a story from my imagination based on credible things

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that I have seen and heard about and read for years

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but it did go through a process to be able to

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find a great story it said it's a chase film this

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is an action picture yes yes you need to put on a seat belt

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and a chest harness when this film starts

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and it shoots you kind of out of a cannon and

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and you got to really pay attention to keep up

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and don't go on your phones and

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and text other people you got to go see this movie

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wait until the movie's over before you talk to anybody watch the screen

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and that's very important to be able to comprehend it all

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but at the same time you know this is not a documentary this this this is a story

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but but you're you asked great questions

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because that's what you've done your whole career

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and you know you're one of the greatest uh uh science people

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that i know oh thank you i'm just trying to keep

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it real you do steven thank you thank you all right great to talk to you again

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when steven spielberg tells a story about aliens it tends to shape how the rest of us imagine them.

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His new film, Disclosure Day, taps into something that already feels like it's happening in real life.

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Because lately, aliens, or at least the possibility of them, seem to be showing up in the news more and more.

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But here's where things get tricky.

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Not all of these headlines are created equal.

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Some push bold claims while others take a more measured approach focusing on data and uncertainty.

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That's why we've been partnered with Ground News since 2024.

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Their app

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and website give us a data -driven approach to reading the

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news by pulling articles from over 50 ,000 sources worldwide in one place.

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You can easily compare how different sources cover the same story and get a visual breakdown on the bias, reliability of a source, and who owns it.

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Take this recent story about the Pentagon releasing secret UFO files.

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If you scroll down to the headlines, you can quickly compare how it's being covered across 700 different sources.

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The LA Times leaves room for people to draw their own conclusions, while multiple sources on the right focus on the political implications and shock factor.

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Ground News Blindspot feed doesn't allow any of

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that to be missed by showing stories that are disproportionately reported by either side of the political spectrum.

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We've been partnered with Ground News since 2024 for their transparency and because they're fully subscriber funded.

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If that's the kind of world you want to live in, you can get the same unlimited vantage plan we use for 40 % off at ground .news .startalk

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or by scanning the QR code on the screen.

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David, welcome to Startalk thank you great to be here yeah

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it's not often we get to hang out with a screenwriter well we keep to ourselves in our room

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because the actors get all the shine and the red carpets

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and but they're just speaking your words the on a good day

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if you're nice to them they'll do that you've got quite the the portfolio here, especially.

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in the geekiverse if i may going back to jurassic park we love it spider -man personally

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that was my favorite of all the spider -mans the first one

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if i may say yeah well thanks if i may say

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that you it's okay with me um the advantage of novelty

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and getting to tell how something started uh yeah is everything yeah

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and we got war of the world of course in the in the remake from 05 uh

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and And is Steven Spielberg your primary guy that you collaborate with, or are you freelancing and he just plucks you when he needs you?

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Well, we've done, I think this is nine or ten together, so that's quite a bit.

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Yeah, it's been a great collaboration.

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I've over 30 -some years since Jurassic Park.

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I have worked repeatedly with a few others, you know, Steven Soderbergh, Brian De Palma.

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And there's different aspects of yourself, and your interests that people are suited to.

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But Stephen's one, our interests most frequently line up.

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And could you correct something in my understanding, or at least highlight for me, when you're a screenwriter, you're not just writing the words people speak.

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Aren't you also conjuring the scene in which those words are communicated?

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Thanks for asking, Neil.

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Most certainly, yes, you are.

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The screenwriter's responsibility is everything an audience sees or hears.

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and i don't think people think

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that they think it's just what the the script line

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but you you're putting the image in front of us yeah

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and if you're writing a scene really well you're not using us

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so much dialogue you're using images visuals movies

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or visual experiences those are the powerful memories

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that we have from them in fact i've heard

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that you can always tell a first timer

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when they they put everything in the script they don't know how to use the visual medium yeah for all

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that it's worth yeah it's those things the things in audio

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we see the only things we can perceive in a movie

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are what we see in here those are the two senses we bring to a movie and

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so therefore where does the director come in uh the director

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come it depends the director can come in from the very beginning

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and ask you to start the director then comes in the

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good ones they can come in later after you've written the

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script the good ones don't just record what you wrote they interpret it

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so they will say things

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that look at your material from a different point of view

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i was i wrote this movie called snake eyes uh brian de palma directed

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and uh he asked me after one

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or two drafts can you make this first 15 pages so i can do it in one shot

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and i said no and he said okay give it a shot

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so i went and gave it a shot

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and rewrote it i never would have occurred to me i never would have imagined it

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that way i never would have interpreted it that way

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and that's what the director okay then that's a collaboration at its very very tension at first

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and then you resolve to something greater yeah then either would have been yeah

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so i with disclosure day as presumably existed with other films there's some mixture of science

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and fiction hence the word sci -fi science fiction how do you navigate

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that boundary i always want to get it right

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if i can i think anything

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that involves science i start the idea by doing as much

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research as i can possibly do talking to people is always better than the internet

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and certainly it's better than ai sources mean a human to

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human conversation actual conversation with a person well how novel yeah

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because then you'll come up with unexpected things and little character things

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and stuff um but i stop at a certain point

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because i now realize well okay now i have to write the story

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and the foremost responsibility of this movie is that it be entertaining.

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So I cannot let reality and truth intrude too much on entertainment.

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But then once I've written it, now there's another round of research.

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Let's make this as close to reality as we can.

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Okay, interesting.

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So the entertainment, because someone has to pay to see the movie and they want to do that willingly.

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Yeah, and it's not a documentary.

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It's not a documentary.

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And they understand that going in, so i don't feel like i'm misleading society they understand this is not a documentary

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but anything i do that's real and grounded in truth

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and reality and actual research works better

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so you have a little black book with your science consultants in there is

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that how that works yeah that kind of i i'd written a novel once

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that that i needed to talk to a microbiologist for

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and i wrote the whole novel and then i gave it to him

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and said now this i found one through friends and said listen As one does, it's on your microbiologist groups, okay?

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Easy to do.

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I said, read this.

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I want you to have a good laugh.

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And then I want you to please, if you're interested, work with me.

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Let's make it closer to reality.

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And he read it, and he called me and said, okay, well, it's not terrible.

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And I took that as huge praise.

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I was like, all right, then let's work on it.

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Okay, so that's good to know that that can happen.

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One of my great frustrations is to hear a creative person say, I didn't want reality to constrain my creative plot lines.

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And often, 80%, not 100 % of the time, 80 % of the time, had they known scientific reality more deeply,

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the plot could have even been strengthened.

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Yes.

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Rather than constrained.

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Exactly.

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Because the universe is often stranger than you have imagined.

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It's a pretty wondrous place, and life forms are pretty unusual and varied,

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and you can draw more from reality than you, it's better in reality, nature has come up with something more interesting than whatever's in your head, I guarantee.

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So the science advice can come in presumably at any phase of this, right?

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You want to get the story idea down, but then you touch it up as you go forward yeah

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well in this case there was a lot of research first

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because there's been there's been a lot there's a lot of material

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and you have access right then you have access

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and people do want to talk it doesn't hurt

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if you can say it's a Steven Spielberg movie then they

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really want to talk they actually return your phone call henceforth

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when we say it's a David Koepp movie

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that gets one kind of return phone call

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but a better one is it's a Spielberg movie

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so what is the process you go through as a screenwriter

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if you're starting with pre -existing material a novel war the

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world a very famous novel in fact it's already been made into a movie in 1951

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so what do you see as your role doing

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that a second time in a well -established piece of sci

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-fi well the first thing you want to do is reread it i'd read it as a kid

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and i knew the book well

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but i had not read it with the intention of making it into a movie

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so i read it again i didn't watch the george powell movie yet

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because i didn't want to remake

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that i wanted we were trying to reinterpret the book for for modern times um you reread the novel

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and start to think what applies what doesn't

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but you have to have an idea for how do i

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make this different from a book where everything is explicit

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and everything is said and you know what people think

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and you know what they feel

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and science can go on for pages how do i make this a movie experience

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and the big thing in

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that was limiting the point of view you have to have

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an idea our idea there was okay let's go from one person's point of view

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and if they don't see it we don't see it

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and observe that rule stringently for the whole movie that's brilliant

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because now i'm in suspense the whole time right

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and you know steven's done very well by suggesting more than he shows

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so if if that's a trademark it's a trademark it's born out of necessity

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which is what's what's brilliant about it is the famous stories about jaws

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and the shark not working right and it and it also didn't hurt

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that our main character we had tom cruise who was going

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to be an interesting person you want to watch anyway right

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so if you're going to restrict a point of view that's the rule do it with someone interesting right right

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so let's go to jurassic park for a moment okay i

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work at the museum natural history you you're a neighbor yeah

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and surely you've seen our velociraptor yes we have a fossil

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velociraptor on display it's not much bigger than a large dog

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in jurassic park okay it was sort of pumped up to be human -sized so

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that eye contact is a thing could you describe to me

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the role of eye contact in storytelling oh that's not where

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i thought you were going that's good well no i mean

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because it can be love

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or you could be the person's next meal yeah eyes are

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everything here particularly i mean one of the ideas behind jurassic

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park there's a you know there's the central brilliant creighton once

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in a lifetime idea of you know the preservation of the dna in amber

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which is fantastic um the other michael creighton yes yes the

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other idea is rearranging our place in the food chain

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that has worked in a couple of jaws notably

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and certainly jurassic park we love to think about that i think

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because it hits us in a very elemental place we used to hide in caves

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and worry about the cries of the tigers at night

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and you're bringing

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that back to life please yeah exactly let's tap into something

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yeah well that's how we know we've got your attention it's

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like you know how disney movies always kill a parent early on okay they grab grab those kids' attention

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and hold on to it.

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And I think I kind of - And the superheroes, they're all orphans, right?

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Yes.

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Yeah.

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But you're quite right.

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Eye contact is a vital part of that.

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And I think the sequence, one of the sequences people really remember is when the great hunter is stalked and defeated

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by the velociraptor that comes around the side of him.

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And the thing we see

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that reveals the velociraptor is the eye um eyes really uh are portals to everything okay

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so you're affirming what i suspected is

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that this is an important part of your of the intensity of a scene yeah yeah

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i'm intrigued as you describe your access to our primal fears

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and how you exploit that in the storytelling um but there are also perhaps other primal emotions that perhaps serve the

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your storytelling needs in disclosure day empathy was an important piece of

446

that oh it's it's it's everything it was steven's notion which is embodied in a beautiful monologue coleman domingo delivers Oh,

447

don't condescend to me.

448

I'm listening to you, Noah.

449

Something I've learned quite a bit about.

450

From your friends?

451

Yes.

452

They regard empathy as an evolutionary advantage, as the foremost evolutionary advantage.

453

In fact, the core of animate existence.

454

Our rejection of this understanding is leading us to our extinction.

455

Empathy can be seen as the foremost necessary evolutionary quality.

456

It's another way, I think, of saying cooperation.

457

Any great human accomplishment is only done through cooperation.

458

You can go back to the agrarian revolution and say the idea

459

that we all must plant and harvest this stuff

460

and then help each other store it is what led to the massive explosion in population.

461

It's what led to the success of the human rights.

462

What we call civilization.

463

Civilization.

464

Building a bridge.

465

No one can do it unless we do it together.

466

And I think that that sometimes gets overlooked as a necessary next evolutionary step,

467

which is increased empathy, understanding others and working with others is the only thing

468

that will let us succeed and prevent our own destruction.

469

I don't want to speak for you and your craft, but the greatest of the villains are the ones that you have some feeling for in some way.

470

Otherwise, they're just, you know, kill them off.

471

That's what Mr. Spielberg is so good at, is insisting that every character is a character, even a villain.

472

Why are they a villain?

473

What is it that's pushing them?

474

They don't, please let no one twirl their mustache.

475

There's a scene in the movie that follows a massive train chase.

476

You see it in the trailer, so I'm not giving anything away.

477

It's thrilling.

478

It's great action filmmaking.

479

The traditional end of that scene is the release of They Escaped.

480

Oh, thank goodness.

481

But there's another scene that follows it, which is an incredibly emotional scene in the boxcar.

482

And that's Stephen, the early drafts of the script didn't have that scene.

483

And he said, but this is the most frightening thing that's ever happened to them in their entire lives.

484

There would be emotional fallout.

485

Can we see that?

486

And that's just being attuned to character.

487

I deeply remember that scene because it was wholly unexpected.

488

They drop into a boxcar.

489

It could have been anything.

490

and it's it's a quiet tender scene yeah emotionally violent uh inside

491

but there are people working together to try to resolve those feelings yeah

492

because at different times we're asking ourselves does the colin firth

493

character have it right is he protecting civilization whose side should we be on

494

and i can tell you that you know yes i want disclosure of course

495

but you can see where he's coming from he makes a

496

fair point we we have not traditionally done well with sudden dramatic cultural change

497

and we're not doing well right now

498

so speak to me again the importance of being able to sympathize

499

or empathize even with people branded as evil in a story

500

well you have to do your honest best to understand their point of view

501

and to actually believe it we we did an interesting process on this script where there were five main characters

502

and at one point we did a draft solely from the point of view of

503

that character i'm not saying we rewrote the entire script

504

so it's only them but thinking about every scene

505

and every moment only from their point of view and

506

that really helps you strengthen their arguments i believe i think colin's character is quite right about most of what he says.

507

He goes too far.

508

But I think he's right about what he says.

509

And I don't think if the action of the movie continued after the last moment of the movie, I don't think it's all peaches and cream.

510

I think there's a lot of tumult that's coming.

511

So given the points of view that we were treated to, really, because then at the end we'd make our own resolution right

512

and that's allowed i kept asking myself would my level of empathy for the aliens

513

because that's really what it came down to i just wonder suppose

514

that footage wasn't there and you just had sort of ufo sightings and maybe an alien

515

from a crashed saucer lifted onto a stretcher,

516

would we still feel as much as we did were it not for that just one squealing alien?

517

No, I don't think we would have.

518

And I think it's telling that that's, Josh's character says, that's the footage Hugo showed me to get me to agree to do this.

519

To join the mutiny.

520

And that means everything, because it's a great turn on every single thing we've always thought about aliens they're omnipotent right

521

because they can handle interstellar travel right uh they're they're gods they're they can do everything we can't

522

and they're invulnerable but no they're not and their ships can crash

523

and they can be injured and we can do terrible things

524

because we have kind of a history of doing terrible

525

because we're dicks sometimes okay sometimes yeah okay uh so okay

526

because that's i thought that i don't want to call it a turning point

527

but that was a key shift in the depth of my empathy

528

that i would have for the aliens now of course in et you know they grab them

529

and they they towards the end they want to operate them on them

530

and cut them open

531

or whatever they were going to do the medical doctors out of curiosity i suppose

532

but it's still once you've built a relationship with the character up until then that's just evil at

533

that level however in disclosure day we don't yet have a

534

relationship with the alien no we didn't look it in the eyes yet

535

so why did that work so well it's a I hadn't thought of it

536

that way until you you said it it's it's a really strong structural underpinning of the script

537

because it it subverted our expectations and it demanded

538

that we question things we had just taken for granted

539

and you see

540

but you see this kind of you know like this kind

541

of deep empathy is in spielberg's work all the way through i just as you were talking was thinking about jaws

542

and uh while the shark no one has sympathy for the jaws no

543

but it's it's no sympathy for sure

544

but it's presented as just doing what it does it's an

545

animal it needs to eat it needs to eat sleep

546

and make baby sharks and that's what it's doing you can't judge it for

547

that i just gotta deal with it yeah it's just being

548

a stay out of its lane you know it's just being

549

a shark yeah you can't can't blame a shark for being a shark

550

and maybe it's because we know the alien has intelligence yeah

551

and that's a threshold that above which we care about

552

or we resonate with you agree with that i think

553

so yeah i mean i think with some animals we kind of are kidding ourselves uh

554

that they don't have an intelligence where they might understand what's happening of course with

555

and the more we study animals the more intelligent we find out

556

that they are yeah my daughter who's a vegetarian would say we are all kidding ourselves

557

and we're horribly cruel so you'll never be as woke as your daughter no maybe not have you considered the possibility

558

that the evil alien trope which was not kept that was not what disclosure day was about but But we,

559

when we've encountered other humans of lower technological prowess,

560

it's never boded well in the whole era of colonization.

561

People were enslaved, killed, and so we imagine these evil aliens.

562

Would you agree that that might just be a mirror to ourselves?

563

Yeah, I think we're imputing our history onto them i think

564

we assume well the spaniards wiped out the aztecs therefore this is what's right on down

565

and that's just one of many examples that could be given

566

so for steven in multiple movies war the world's accepted to have an alien

567

that is not does not want to harm you this is

568

a little weird given the tropes we are fed yeah it's another way of thinking about it

569

which is uh But that's it.

570

And it's fairly consistent across his four movies where he's he's touched on the subject.

571

In three of the cases, maybe they are.

572

I don't know if they're benevolent or not, but they're certainly not malevolent.

573

And then in War of the Worlds, it's, you know, anything goes.

574

Yeah.

575

But that's just for diversity of viewpoint.

576

what do you think of people who are capable of great harm

577

but inside they think they're doing the right thing as a screenwriter what do you do about

578

that well you have to have the second part of what

579

you said you have to have the inside they think they're doing the right thing

580

and you you have to think of it from their point of view

581

and find real reasons to justify why that might be the right thing.

582

Why might they be correct?

583

Because in a

584

any good actor is going to come in well first of all your story's better

585

that way um but any good actors it gets two -dimensional right i mean yeah

586

and you're not really you stop paying attention you don't take the movie as seriously you're not as engaged okay

587

but any good actor is going to come in

588

and act like their character's lawyer

589

and they're going to say now you're not fairly representing my

590

client's interests here you better be right seriously absolutely oh my

591

gosh single -minded point of view i never thought about

592

that okay because this is that's their craft yeah

593

and they have to do it they have to stand at colin had to stand up there

594

and say these things right and find them believable

595

and justifiable genuinely for himself

596

so you have to write better material these days we're used

597

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599

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611

612

can't have been the only one to have immediately thought of the day the earth stood still oh yeah

613

when disclosure day comes and everyone has stopped

614

and is looking at their smartphone the world stopped all I

615

can think of was the day the earth stood still yeah

616

and were you thinking that as well I mean sure but

617

that is how it happens I mean that's what we all remember take the pivotal events in history

618

and remember where you were when we all do

619

and there are some things that happen that are

620

so consequential you stop everybody stops some reference that That movie's a landmark and I adore it.

621

And so some reference, not necessarily that you're consciously referring to those things, but you're not running away from it either.

622

You're not saying, well, we can't do that because Day of the Earth Stood Still did it.

623

Well, yes, because that's what would happen.

624

Because it would happen, yeah.

625

You're not just, you're both representing a reality.

626

You're not copying each other.

627

There's a separate reality that you're both trying to capture.

628

Yes.

629

And it was clearly manifest where on the front lines where people might have been ready to fight,

630

which is, of course, a persistent theme in the background of the entire film.

631

These are hotbed spots in the current news with Russia and Ukraine and Korea and, you know, South Korea, North Korea.

632

It's there.

633

And when Earth stood still, there were the soldiers looking at their smartphone own there's a moment

634

that everything stops and no matter who you are no matter who

635

and it it reminded was conveyed brilliantly good silently

636

and brilliantly yeah well a lot of the best things in movies are done without dialogue yeah

637

and it reminded me of uh who was the astronaut who

638

most of them actually when when they are in space

639

and they look back on at the earth there is an inevitable feeling of oh my goodness we're very small

640

and we're all in this together right the two layers of

641

that there's the overview effect

642

that the astronauts have gone into orbit have experienced then there's what i would i'd pump

643

that up a bit and call a cosmic perspective

644

when you're on the moon and the entire earth is there just adrift in darkness

645

that would be a full up cosmic perspective yeah

646

but you don't get that perspective unless you step out yes

647

and so our challenge is how do we get that to happen

648

but obviously we stay here on earth

649

so the whole movie you're treating us to chaos of the

650

world with familiar places we've seen in the news where there's conflict you didn't have to do

651

that but it was there so you're kind of setting us up to believe

652

that disclosure might remedy that i guess is

653

that was was this an explicit thought that you had that's an excellent speculation

654

and i hope

655

so what we wanted the end of this movie to be

656

was like somebody clapping their hands together in front of your face to say, hey.

657

Wake the fuck up and then in that moment.

658

What's next?

659

I would love to see what's next I have my own ideas about what's next, but the I smell sequel

660

Because you can't answer every single question All at once we

661

wanted the the whole notion of getting this what we've been

662

fighting the entire movie to do is to get this Information out get the truth out to people now.

663

What effect will that truth have?

664

It's a part of what you said earlier It's it's you

665

don't have to have the empathy for these extraterrestrials You don't have to have earth in such terrible chaos,

666

but that's what that's the purpose of the story And that's what makes us involve ourselves more Mm -hmm.

667

So I have just some some more

668

Sharpened technical questions

669

What's funny to me is no one has ever actually seen an alien

670

or brought forth an alien that we are aware of But we all know what aliens look like

671

i just find

672

that you can draw an alien with big eyes you know

673

bald head just once give me an alien with hair an alien is humanoid

674

that could be mammalian

675

and all mammals have hair give it like a nice hairdo

676

i'll tell you what really fascinates me we do have a

677

sort of universal perception of what we think aliens look like based in

678

and it's embedded it's embedded it's based on movies it's based

679

on lore it's based on what we think an interpretation of

680

our physical self here's what's interesting to me we can perceive what do we see between about 4 000

681

and 7 000 angstroms right

682

yeah that's what we can see uh what we can hear i don't know how many decibels

683

or but i know our dogs can hear more than we can

684

so we're 20 to 20 000 hertz thank you it's a nice it's very easy to remember

685

and dogs can hear higher pitches than 20 000 hertz

686

but not lower than 20 no not lower than 20 right you could

687

but great feel it because it becomes a pulse right right

688

so i asked the right guy so but those are fairly crude senses uh

689

so we invented some devices

690

that could help us see other things you know the telescope yes uh all the things we've invented

691

that is modern science The last hundred years, it's really gone far.

692

That is modern science.

693

But who's to say we certainly aren't still perceiving everything that exists around us?

694

We're perceiving a lot more with the help of our gizmos.

695

But who's to say these alien life forms don't exist in a form that we can't yet perceive?

696

I find that as the agnostic's most reasonable explanation for why things exist that I don't understand.

697

They sit outside of your sensory awareness.

698

They may well, and not just our sensory, but all the technical equipment that we have to perceive things.

699

So let me pick up on language for a moment.

700

So the lead character, Emily Blunt's character, speaks in a couple of different scenes.

701

One, fluent Russian.

702

Another one, fluent Korean.

703

And she's not self -aware of that.

704

She just thinks she's speaking.

705

Is this alien powers imbued within her that they gave her?

706

Can you give us some place to anchor what was going on there?

707

I think we see with Emily's character, when the bird appears, something happens.

708

They make eye contact.

709

They make eye contact, which is what it's all about.

710

And then she starts speaking in Russian in a way that she doesn't understand.

711

I think that notion that something is activated in her somehow

712

or given to her somehow that causes her to have these powers she doesn't even know she is implementing, that she's using.

713

And certainly we've seen in all the trailers, she is communicating in some sort of language that we understand that isn't based in the sounds that we know from Earth.

714

So I think it's a fair assumption that maybe this is coming from somewhere else.

715

This isn't coming from her elementary school.

716

This is coming from somewhere.

717

Some long forgotten Russian class you took.

718

Right.

719

This is from deep within or far without.

720

Ooh, I like that.

721

I liked that too as it came out.

722

You must be a writer.

723

Yeah, I was really happy with that one.

724

So I just like that because communication, we take for granted that we understand each other when we're speaking,

725

but half the world can't understand the other half of the world because we all speak different languages, is though we are the same species yeah

726

so that's just a well it gets the heart of empathy

727

and understanding how can you understand someone if you don't even know the words they make right

728

so she not only speaks korean and russian she speaks alien with these clicking noises

729

and i i loved it i i after i saw a screening i went home

730

and just started speaking that way to my family

731

and they're looking at me sure so so is

732

that like klingon is that a real language

733

that we can buy a book on and

734

and speak to each other at comic -con

735

or was it just some noises

736

that you just threw in at the god i hope somebody writes

737

that book and wants to learn how to do

738

that language we wanted to make a language that was based on sounds we don't normally hear in spoken communication,

739

but they still had to come from a human throat somehow or out of the human mouth.

740

So the idea was to create that language.

741

Then more interestingly, with Josh's character, we see that he hears or interprets those same sounds, but in terms of math.

742

Right, because he's math fluent.

743

He is math fluent.

744

And that is, you know, math is the language in which the universe was written and

745

so we wanted to create that language that was based on quasi -human sounds and math, which seemed to us like the best way we would,

746

the best and perhaps only way we could communicate with another species.

747

So how much thought was put into the actual sounds or were they just sort of random clicks?

748

Because if you put some thought into it, then some geek somewhere is going to write a whole dictionary.

749

Yeah.

750

Yeah, you know that's what's going to happen.

751

I do.

752

You'd have to ask Steven and Gary Rydstrom, the sound designer, who came up with it together, I'm afraid.

753

Okay, all right.

754

Clearly the movie had to address our modern understanding of what is true.

755

Is this person speaking the truth?

756

Is this video real?

757

Is it a deep fake?

758

Why should I believe this and not that?

759

The medium, the media vessel through which this was released was local news.

760

Is there some implicit or explicit statement being made there

761

that we kind of trust our local news people more than we might trust the anchor on a network news?

762

Was there any subtle thinking about that?

763

I think so.

764

You're not always conscious of what you're doing and how you're doing it.

765

But building the story, I think we certainly trust what is near to us and perhaps smaller and manageable and with someone we know.

766

Because that's the person reporting on news around the block from me.

767

Right.

768

Somebody's talking about what's happened in Chelsea.

769

Right.

770

I believe it because I can see they're standing in Chelsea and they know Chelsea, and so that's my neighborhood.

771

So I get that.

772

Chelsea's not a person.

773

It's a neighborhood in New York City that he just referred to.

774

Right.

775

The further it goes, the bigger it gets, the bigger the institution, the less we trust it.

776

And what I think is really interesting about this movie as a bookend to Close Encounters, the close encounters late 70s great deal of paranoia is the

777

government i think the government might be lying to us we

778

said in the 1970s in 2026 we say yeah watergate set

779

that up for us right nicely yeah well then

780

that very much grew out of that

781

that was the suspicion they might be lying to us now

782

it's 2026 oh we know they're lying to us we know

783

all y 'all are lying to us we want to know what is true we've gone further

784

and said you've been lying you've been lying you're busted We all know we don't believe a thing, but we're going to find out what's true.

785

And I think this movie's, from the first frame of the movie, there's this desperate urge to find out what's true, to get the information out.

786

But you accurately and justifiably represented the skepticism that people might have on their feed when they're looking at their smartphone.

787

Is this true or is it not?

788

Is it a deep fake?

789

You hear the questions being asked, the skepticism.

790

It's all legit.

791

It's what any of us would ask.

792

Yeah and then you see it in all the news outlets

793

and then people come they have the moment where they say oh my gosh well

794

and the the trick is we know of course there's skepticism

795

the trick is to have such an overwhelming uh amount of information

796

that it can no longer be denied right

797

so thanks for shedding some light from from your literary artistic skills my pleasure delightful to talk to And storytelling.

798

I mean, it's a, you know, I write books and I like to think I tell stories, but I'm not, it's not these kind of stories.

799

I mean, you're immersing a person in a world

800

and have them believe it and feel it and think it and possibly change them in a way for the better.

801

I mean, that's, you have the world in your palm of your hand, dude.

802

Anybody ever tell you that?

803

Movies do have a responsibility because we touch people, we reach them in an emotional, not just an intellectual way.

804

And emotions can be very powerful and very positive, and they can be very negative and dangerous.

805

Also be negative.

806

All right.

807

Well, thanks for being on StarTalk.

808

My pleasure.

809

I just heard you're a neighbor of the American Museum of Natural History.

810

This is true.

811

Four blocks away.

812

I'm going to find you.

813

i'm gonna find you at a coffee shop

814

and we'll drag you in for another interview

815

so this has been yet another episode of star talk disclosure day edition neil Degrass Tyson, your personal astrophysicist.

816

Keep looking up.

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Лексика и советы по произношению к этому уроку

В этом видео 816 предложений и 9462 слов для шедоуинга. Речь длится 55:18. Говорящий говорит в естественном темпе, около 171 слов в минуту, близком к повседневной речи. 85% слов входят в 3000 самых частых слов английского языка; остальные стоит разобрать перед занятием.

Ключевая лексика этого видео

15 менее частых слов из видео с произношением и значением:

empathy /ˈɛmpəθi/ (существительное) — сочу́вствие, эмпа́тия. Identification with or understanding of the thoughts, feelings, or emotional state of another person.
disclosure /dɪsˈkləʊʒə(ɹ)/ (существительное) — раскры́тие, разглаше́ние. The act of revealing something.
script /skɹɪpt/ (существительное) — скрипт, письмо́. A writing; a written document.
documentary /ˌdɒk.jʊˈmɛn.tɹi/ (существительное) — документа́льный фильм. A film, TV program, publication etc. which presents a social, political, scientific or historical subject in a factual or informative manner.
encounter /ɪnˈkaʊntɚ/ (глагол) — встре́тить, столкну́ться. To meet (someone) or find (something), especially unexpectedly.
mathematics /mæθ(.ə)ˈmæt.ɪks/ (существительное) — матема́тика. An abstract representational system studying numbers, shapes, structures, quantitative change and relationships between them.
urge /ɜːd͡ʒ/ (глагол) — подгоня́ть, подстёгивать. To press; to push; to drive; to impel; to force onward.
disclose /dɪsˈkləʊz/ (глагол) — раскрыва́ть, раскры́ть. To uncover; physically expose to view.
shock /ʃɔk/ (существительное) — уда́р. A sudden, heavy impact.
smartphone /ˈsmɑɹtfoʊn/ (существительное) — смартфо́н. A mobile phone with more advanced features and greater computing capacity than a feature phone.
civilization /ˌsɪv.ɪ.laɪˈzeɪ.ʃən/ (существительное) — цивилиза́ция, культу́ра. An organized culture encompassing many communities, often on the scale of a nation or a people; a stage or system of social, political, or technical…
jaw /d͡ʒɔː/ (существительное) — че́люсть. One of the bones, usually bearing teeth, which form the framework of the mouth.
evolutionary /ˌiː.vəˈluː.ʃən.ɛɹ.i/ (прилагательное) — эволюцио́нный. Of or relating to the biological theory of evolution.
injustice /ɪnˈd͡ʒʌs.tɪs/ (существительное) — несправедли́вость, беспра́вие. Absence of justice; unjustice.
perceive /pɚˈsiv/ (глагол) — воспринима́ть, восприня́ть. To become aware of, through the physical senses, to see; to understand.

Фразовые глаголы, которые вы услышите

think about /ˈθɪŋk əˌbaʊt/ (глагол) — обду́мывать, обду́мать. To ponder.
come in /ˌkʌm ˈɪn/ (глагол) — вступа́ть, вступи́ть. To enter.
come out /ˌkʌm ˈaʊt/ (глагол) — выходи́ть, вы́йти. To be discovered; to be revealed.
come up with (глагол) — придумывать, приходить в голову. To manage to produce, deliver, or present (something) by inventing, creating, thinking of, or obtaining it.
find out (глагол) — узнава́ть, узна́ть. To discover, as by asking or investigating.
go on /ˈɡoʊˌɒn/ (глагол) — продолжа́ть, продо́лжить. To continue in extent.
take for (глагол) — держа́ть, принима́ть. To regard as.
talk about (глагол) — ну и, вот э́то. Used to draw attention to the speaker's characterization of someone or something.

Произношение, на которое стоит обратить внимание

Говорящий использует 219 сокращённых и редуцированных форм, например you're, don't, they're. Произносите их коротко, так, как слышите.

Звуки «th»: empathy /ˈɛmpəθi/, mathematics /mæθ(.ə)ˈmæt.ɪks/, sympathy /ˈsɪm.pəθ.i/, mythology /mɪˈθɑ.lə.d͡ʒi/, thick /θɪk/
Звуки «sh» и «zh»: disclosure /dɪsˈkləʊʒə(ɹ)/, shock /ʃɔk/, civilization /ˌsɪv.ɪ.laɪˈzeɪ.ʃən/, evolutionary /ˌiː.vəˈluː.ʃən.ɛɹ.i/, notion /ˈnoʊʃən/
Длинные слова — следите за ударением: documentary /ˌdɒk.jʊˈmɛn.tɹi/, mathematics /mæθ(.ə)ˈmæt.ɪks/, civilization /ˌsɪv.ɪ.laɪˈzeɪ.ʃən/, evolutionary /ˌiː.vəˈluː.ʃən.ɛɹ.i/, presumably /pɹɪˈzuːməbli/

Как заниматься с этим видео

Прослушайте всё видео один раз молча и выпишите незнакомые слова.
Начните со скорости 0,75×, повторяйте предложение за предложением и вернитесь к обычной скорости, когда станет легко.
Запишите себя и сравните с оригиналом, обращая внимание на такие слова, как empathy, disclosure, script.

Грамматика в этом видео

Конструкции, которые говорящий использует чаще всего, с точными словами из видео:

Конструкция	В видео
Present Perfect Continuous have/has been + -ing — действие началось раньше и продолжается	has been photographing · what's been going · I've been trying
«Used to» used to + глагол — прошлая привычка или состояние, которых больше нет	used to be · used to hide
Present Perfect have/has + причастие прошедшего времени — прошлое действие, важное сейчас	have just been · it's been · I've had
Пассивный залог be + причастие прошедшего времени — важно, что происходит, а не кто это делает	is known · are sold · has been reported

Что такое техника Shadowing?

Shadowing — это научно обоснованная техника изучения языка, изначально разработанная для подготовки профессиональных переводчиков и популяризированная полиглотом доктором Александром Аргуэльесом. Метод прост, но эффективен: вы слушаете аудио на английском от носителей языка и немедленно повторяете вслух — как тень, следующая за говорящим с задержкой в 1–2 секунды. В отличие от пассивного прослушивания или грамматических упражнений, Shadowing заставляет мозг и мышцы рта одновременно обрабатывать и воспроизводить реальные речевые паттерны. Исследования показывают, что это значительно улучшает точность произношения, интонацию, ритм, связную речь, понимание на слух и беглость речи — что делает его одним из самых эффективных методов для подготовки к IELTS Speaking и реального общения на английском.

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Лексика и советы по произношению к этому уроку

Ключевая лексика этого видео

Фразовые глаголы, которые вы услышите

Произношение, на которое стоит обратить внимание

Как заниматься с этим видео

Грамматика в этом видео

Что такое техника Shadowing?