ฝึกพูดภาษาอังกฤษด้วยเทคนิค Shadowing จากวิดีโอ: Billie Eilish Breaks Down Her Career, from 'Ocean Eyes' to 'Barbie' | Vanity Fair
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I think that my relationship to the fans has been so vital to all of this.
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And I think like what you do for them
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and how you make them feel is what's going to be the most impactful and rewarding for you and for them.
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Hi, I'm Billie Eilish and this is a timeline of my career so far.
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Ocean Eyes was the start of everything.
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I think within about a week it had a thousand streams, which is not many now, but it was a lot then.
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Just stuff was just changing really fast and I'd never really seen anything like that.
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And it was alarming.
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I was like 13, I think it was my birthday was like the next month
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and I just remember things were just like building around me and I felt, I just was like, whoa, what is going on?
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I was super cautious about all of it.
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Hesitant and kind of making sure that I felt comfortable in every step of the way.
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And I remember my mom being like, you don't have to do this.
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You don't have to do this.
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You can at any time, you can get out of this, you know.
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My little excited, you know, determined, ambitious self wasn't going to listen to anybody.
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Right after Ocean Eyes came out, I got injured in dance.
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There was like a very, very intense injury that just completely just took me out of all things dance.
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And that just shifted my whole life.
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Dance was really like the thing that I loved the most and that I saw myself doing forever.
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And not being able to, I mean, it was really hard.
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Music really came in handy for me and got me through all of that.
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I got injured and then we made like, Bellyache and Hostage and My Boy and the songs that then would become Don't Smile At Me that then came out later.
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We wrote many of the songs from Don't Smile At Me in 2016.
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That whole year we were doing like tiny little shows
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and I remember there was a moment in 2017 where I got an encore for the first time
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and I remember them being like, play another one.
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And I was like, I don't have another one.
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I literally don't have another song.
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Like, I've played all of them.
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For the first time and the last time, we rented out a studio because we thought, maybe it'll be good for us to have a studio.
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Maybe it's bad if we make music at home.
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We should just have a studio and, like, decide that we're going to make the EP in a studio.
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And it was, like, hell.
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It was literally hell.
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Yeah, and then it came out in 2017 while I was on a tour with my choir in Canada.
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I remember being on the bus with my friends with all of our uniforms on, and we had one of those earbud splitter,
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like the dongle splitter, so we all would plug our headphones and our earbuds into the little dongle, and then I would play the new EP through it.
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And my friends would always be like, play I Don't Want to Be You Anymore, play my boy, play this, play that.
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It was very sweet.
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What I really appreciate about that EP, it's like very young people, you know.
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Wrote half of it when I was 13, 14, and then put it out when I was 15, and Phineas was 17, 18, 19.
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Like young little babies that had no experience at all.
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I look back and I'm like, ugh, I can't even.
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But what I do feel about it is that we were
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so experimental and we were so eager to try stuff and we were so eager to do anything.
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We would have an idea and be like, why don't we just try it, even if it's weird?
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And I appreciate that about the EP.
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I was very nervous about a public image though.
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I didn't know that everything I was doing was going to give me a specific image.
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I was just doing whatever I was doing.
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At the time, I remember I was just
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so anxious about how I was being perceived
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and really wanted to be seen as a certain thing and didn't really know what I was doing.
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But I think I did a good job.
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I think I did a good job given the fact that I was a little girl.
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I first started recording When We All Fall Asleep, Where Do We Go? when I was 16.
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Phineas was 19.
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It was my first studio album.
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We made a lot of it on tour in like little hotel rooms with Phineas' laptop.
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And I remember writing multiple verses of Ilo Milo on a plane.
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I remember like recording Wish You Were Gay in like El Paso.
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Yeah, wherever we could make it, we did.
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In the documentary, there's like a thing I say where somebody said about like, oh, well, your next album, this and I was like, I'm not making it in an album.
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No way.
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I really thought that.
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I was like, I'm not doing this again.
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I was like, love y'all. Be safe.
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I'm not doing this again.
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I didn't feel I was good at it.
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And I also didn't know what I wanted.
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The heavier theme thing in all my earlier music and now.
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I swear to God, I never thought about it one time.
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This was such a reoccurring topic for so long, which was like, why are your songs so sad?
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And I remember hearing that and being like, what are you, what are we talking about?
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People seem to forget that when you are a child and a teenager, emotion is the most intense thing in the world.
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Everything feels like the end or the beginning.
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I was just talking about this with a friend that like middle school felt like life was over.
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And that's how everything felt then.
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And so, you know, to be like, how could anyone young understand emotion?
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Are you stupid?
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That's all they have is emotion.
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I've always had a real love and passion for music videos and visuals in general.
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And I always wanted to direct them, but of course I had no experience and I was a teenager and why would I know what I was doing?
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I mean, you know, I can imagine being the adult in the room and me being like, I wanna direct it.
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And it's like, well, you can't, you know?
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But at the time I was like, you know, why not?
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Like, I don't, I know what I want.
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I know what I want.
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Oh my God, I know what I want.
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And I think that I understood that that wasn't enough to like know how to do it.
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But I think I convinced them all to let me, like, I think I proved myself is really what I mean.
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And the first music video that I fully directed was Zanny.
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Then Everything I Wanted.
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And then basically everything after that.
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But it's a lot of work.
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When I first started, I was like, oh my God.
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I would love to do it for other people as well, other artists.
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The reaction to When We All Fall Asleep, Where Do We Go? was so like surreal.
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And the response to Bad Guy, I mean, that changed my life.
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Like Bad Guy completely changed my life.
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That's really what this whole interview should be about, is Bad Guy and its effect on my life.
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And then the awards, the Grammys was amazing.
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It was literally the greatest thing that had ever happened to me.
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And I could not believe any second of it was real.
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That album really lives on for me.
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Like that album completely changed my life.
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So special to me and it's so pure to me.
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Like it's so genuine to me.
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The older I get and the farther away that album is from me, I feel so even closer to it.
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When we were first making music, Phineas and I used to come up with little challenges to write songs.
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We'd be like, let's try to write a song from the perspective of this person
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and this is happening and da da da.
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Like many times we would be like, let's pretend to write a James Bond theme song because that would be the coolest shit in the world.
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And we were such big fans of Bond and especially for me, I loved Skyfall and just everything about that.
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I remember it was like at a certain age where it really like stuck with me for some reason
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and that visual that is going on during the song
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and the movie and I just thought it was the coolest thing you can do as an artist.
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So we would joke about it all the time
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and it was never ever a reality
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and then in 2019 Barbara Broccoli who was working on the film I remember hearing kind of about the fact
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that they were looking for someone and looking for a song and I just remember just me and Phineas being like, whoa, whoa, whoa, like, please.
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And then it was just like many conversations and meetings and we weren't sure at all.
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Like we didn't think we were gonna get it.
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And it was also like, so not in the bag at all.
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Like it was very, very much, we're auditioning and maybe we get it and maybe not.
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We were sent like the first 10 pages of the script, kind of told the plot-ish without like being given any spoilers
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and then we wrote No Time to Die in a couple days on tour in like Texas or something.
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Recorded it in the bunk in the tour bus.
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And we didn't even know if we had the job.
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We honestly didn't know for a while and then we already had gotten it and I had no idea.
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And yeah, it was the coolest thing in the world.
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We felt like we made a good song and we really wanted the part.
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Hans is the best, the most incredible collaborator and he's such a genius and he's such a gork.
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He's such a goofball.
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I mean, it was just the most magical thing in the world.
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We went to London, we got shown the movie,
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and then we spent a few days in the studio with him and Johnny Marr and this whole orchestra,
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and it was insane.
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I mean, the Oscars is just one of those things, it's just like, Oh my god, I feel like I snuck in.
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It was very cool and intimidating.
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And I mean, we watched the Oscars every time when I was a kid.
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It was one of my favorite things that we did as a family.
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So performing was amazing, and then the next year I was nominated, and I couldn't even believe I was shortlisted.
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And then I was nominated, and then I went, and then I performed again.
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And that was insane.
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And then we won.
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And that was crazy.
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I'm away from you.
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Happier Than Ever was made with a little too much confidence.
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And that's not a bad thing.
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We're a little lazy.
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But I love that album.
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I really do.
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And I loved it at the time.
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And it meant that I grew.
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Like I wouldn't have been able to get where I am now had it not been for
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that album and everything that I did in that album.
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And it was also kind of a me needing to break free out of a box
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that I had felt like I put myself in or that the world put me in.
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And from putting out Ocean Eyes when I was 13
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and then getting injured and then being on tour for years
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and being in meetings with a million people and a million agents and, you know, being a 14 year old in a room with only,
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you know, grown ass people, mostly men.
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And you know, I wanted to be dancing.
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I wanted to be doing this.
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I don't know.
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I just, everything kind of just happened to me and I didn't really have much of a choice, but it's okay.
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I'm not complaining, but, but it was a lot.
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And then COVID happened and I was forced to stop.
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And that I think happened for a lot of people, but of course I felt like I was the only one that was happening to you.
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I was like, I just I just remember it was it was almost as
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if blindly doing something that I really wanted to do
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and felt like I really wanted to do and I was happy doing and then it was like just taken out, just just pulled away from me.
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And I was just like, Oh, oh my God, I haven't actually thought about anything for four years.
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And I don't know when I would have gotten to process anything that had happened to me if it weren't for that.
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And we wrote all of Happier Than Ever in that period of time.
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So it's a COVID album.
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I mean, that's what it is.
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The music was a completely different process than the reinventing of
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the look coming off of those crazy couple of years and had won those Grammys that year.
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And like, my shit did not stink.
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I don't know, I just felt good.
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But then I decided I wanted to go blonde and then I decided that I remembered that I was a girl, and I was like, wait,
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I wanna be other things and not just this one thing that I've been looked at as for all these years.
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And I remember ordering my, like a skirt off of Amazon.
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I didn't have a skirt.
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And I was like, I gotta wear a skirt.
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I don't know, I was just having a lot.
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Dude, I was 18, like I was trying to figure it out.
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You know, I'd been told that I was one thing for many years and I believed it, which was definitely a lot, but I think that I needed to do it.
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I'm an extreme person, like I need to have extreme sensation.
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And I think that that was my way of expressing myself in the way that I knew how,
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which was all, everything, all at once.
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You must have had a rough childhood.
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Did people ever call you things as a child?
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Liar, stupid, pig.
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What are you afraid of?
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Nothing.
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Are you afraid of death?
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No. Why?
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I think it was the day after I headlined Coachella.
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We were on some management call or something.
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I was talking to my managers and I remember one of them being like, there's this opportunity, but you're not gonna be available for it, so we're gonna pass.
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Are you okay with that?
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I was like, well, what is it?
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And they were like, well, it's this show that Donald Glover is working on and it's called this and it's about that.
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And I remember just being like, I'll drop anything.
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Like, that's my dream.
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What are we talking about passing on that?
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And then I was sent kind of the early on script
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and I just thought it was the coolest thing in the world.
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And then Donald called me and kind of explained what the show was about
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and explained how it was going and the things that, you know, whatever.
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And he just was like, yeah, I was thinking about you.
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And if you're interested, there's no pressure.
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But if you wanted to, you could.
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And I just, I mean, I was trying to keep it cool, but I was so, so excited.
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I mean, he knows it and I sound like a broken record, but he was like my favorite of all.
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I just love him so much.
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And I always have.
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And he's been one of my biggest idols since I was like 11.
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Acting was something that I loved doing so much as a kid.
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I just didn't do anything about it.
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I just loved it, but I didn't do anything.
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Also, like my brother acted and he would get jobs and I wouldn't, and that was annoying to me.
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Mom, can I talk about your, please?
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My mother wrote a movie about a family and it was a mom and a dad and a son.
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She starred in it and she cast her own son to play her son.
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And I was just kicked out, essentially.
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And by the way, my childhood bedroom, they took everything out of it and replaced it to be the bedroom in the movie.
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If she had had a daughter, she would have been happier.
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Right?
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Right?
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And so it would have meant a whole other thing.
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And I wasn't good.
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Also, this is the other part.
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So basically, I'm saying that was my villain origin story.
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What color was the milk?
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It was red. Did you hurt someone?
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Yes.
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Very good.
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Basically, the whole show is surrounding this character, Dre, which is Dominique Fishback, who is like filled to the brim, overflowing with talent.
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My episode is basically, she comes across this like sex cult.
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She doesn't know what the hell is going on or what it is.
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And it's kind of hard to tell.
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It's not very obvious, but that's kind of what's going on.
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And I'm like the leader of it.
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Yeah, we just like gaslight the shit out of her.
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I had so much fun.
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It was like truly like one of the best weeks of my life.
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She was also so amazing to work with.
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And so much of the scenes that we did was just the two of us.
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and that was really special.
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We shot in Atlanta, and also Donald was there the first day for the first scene that we filmed, and it was just so cool and scary.
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And they also changed the script five minutes before the scene, which was a lot, but I did it.
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I asked my mom if she would do my acting coaching for that show, and she is the reason that I did even a little bit of a good job.
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She is so good.
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I would love to do some more acting.
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I'm kind of embarrassed to say that, but I would love to.
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It was a very, very different experience compared to No Time to Die.
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It started off so casually.
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I remember Phineas just being like, would you ever be interested in doing like the Barbie, like a song for the Barbie movie?
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And I remember like that sentence, I was like, what?
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Like, huh?
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And I had no idea what that was gonna mean.
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And you know, that could go either way like, what are we talking about?
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Barbie movie, like, what does that even mean?
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And then I remember those paparazzi photos of Margot Robbie
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and Brian Gosling came out of them shooting and we were just like so excited about it.
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And then Greta, Phineas goes, hey we're gonna get on a FaceTime with Greta later.
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I was like, okay, okay.
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I had like no, we didn't even, hadn't even really talked about it.
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And we got on the phone with her and Mark Ronson, basically just told us what they had done and they were like,
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movie's basically done, it's, this is what we have so far and you know, this is what's going on, we really want you to see it, can we set up a time, like whatever.
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It was like so casual and I didn't think it was gonna really happen.
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She set up a day for us to go to Warner Brothers
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and the two of us went
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and it was just like us in this empty theater and her literally two days away from giving birth.
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And then a couple of people from her team, she showed us the work in progress movie, which is basically completely done.
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She kept being like, it's not done.
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But it, I mean, it was amazing.
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It was so good.
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I was so nervous.
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I was like, how could this possibly be good?
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Because how could anyone make a movie like this that's good?
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And it was so, so amazing.
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I remember just like moments during the movie, just looking at Phineas and being like, this is good.
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This is really good.
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And then went home, talked about it.
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And then the next day we had a whole day of writer's block.
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It was a whole day of creating stuff and just not coming up with a single goddamn idea.
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And I was like, all right, well, I guess I'm going to go because this was a waste of a day.
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And then as I was like getting up to leave, Phineas was like, do you want to try to write a Barbie song before you go?
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I was like, that's such a ridiculous, ambitious thing to do.
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Like, we're not gonna, we can't even write any other song.
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We're not gonna write a really good Barbie song right now.
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And he sat down at the piano and he immediately started playing those first chords.
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And I had the handheld mic and I was sitting on the couch and I just started.
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And then those first couple of lyrics came out and we wrote the whole song right then.
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I mean, we were just so overflowing with like inspiration from that movie and what was going on in my life.
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I had to fight so hard to not send it to her immediately, but it wasn't good.
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Like, I had the worst recording of it.
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So I waited like two weeks, and we recorded kind of a scratch vocal version of it.
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And we were really nervous, but we felt really proud of it.
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And she basically was like, I've been weeping all day.
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I hadn't heard somebody use that word like that in a long time.
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But the rest is kind of history.
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I really kind of thrive when I write from some perspective that isn't my own kind of first-person perspective.
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Like it can even be about my life, but if I think about it from just a different angle, it's a lot easier.
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And so something that Phineas and I think really, really thrive in is writing for film and TV.
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We have to like stop ourselves from saying yes to so many things when people are like, would you write a song for this movie?
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Because I'm like, I want to because I like, I love writing stories.
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It's storytelling, dude.
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I do also write songs from my own perspective
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and my own life and my own feeling but I think it's just harder to get there.
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It's more vulnerable and you can't really wear a mask.
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And both are great, so.
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The approach of making Hit Me Hard and Soft was so daunting.
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Never been more doubtful in our entire lives.
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Never one moment of like, wow, we did a really good job.
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Like we loved what we were making, but we really were terrified.
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Also, Phineas and I, honestly, you know, when you're siblings, you go through like different periods of being on the same frequency.
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And this was a period where we were pretty out of sync.
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Not to put him like tell his business, but like he was really not enjoying making music very much.
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And that was tough for me because I was the one that didn't enjoy making music for all those years.
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And I kind of finally was enjoying it.
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And then he would just be like, I have no I would rather be doing anything else like I want to be doing something else.
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And I got it because that's how I used to feel and it's, oh my God, I was so terrified.
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I was like, oh no. Phineas would remind me mostly, he'd be like, we don't have to put this out, you know.
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We can make it and not put it out.
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And I think that's important to remember is
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that not everything you make has to be amazing and perfect
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because I think part of the reason it felt so scary is the fact that we were so
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doing exactly what we wanted to do and that can be really scary.
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Being yourself is terrifying.
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You feel like, oh, they're not gonna like me if I'm myself.
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I have to kind of do this or like do this and then they'll like me.
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And you realize that it's just that you're avoiding the vulnerability of being seen and being known.
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And I think that this album is like a really good representation of that.
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And when I think about it, it's really good kind of juxtaposition of like my life,
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my friendships and my relationships and how I've been trying to really make an effort in being exactly who I am.
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I kind of been saying this for years, but never really doing it, which is like trusting my gut and like listening to my body.
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And it turns out that if you do what you want and if you are yourself, people actually like you more.
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It's really hard to accept that.
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And it's scary and it's vulnerable.
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And it means that you can have experiences that are more hurtful because it's actually you, but there's more pros than there are cons.
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I think I'm proud of myself, man.
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It's hard to process this kind of thing when it's you.
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It's really hard to see it and see it objectively
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and know what it looks like to other people because you have your own experience of it.
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I mean, when I think about my life, I get to do the coolest shit in the world.
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And I didn't see it for so long, and there's so many times that I really did not want my life.
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And honestly, I feel like for the first time maybe, I've experienced so much joy.
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you
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คำศัพท์และข้อสังเกตด้านการพูดสำหรับบทเรียนนี้
บทเรียนฝึกพูดระดับ B2 นี้ใช้วิดีโอ “Billie Eilish Breaks Down Her Career, from 'Ocean Eyes' to 'Barbie'” เป็นสื่อ วิดีโอนี้มี 355 ประโยค และ 4391 คำ สำหรับฝึกพูดตาม ช่วงที่มีเสียงพูดยาว 22:44 ผู้พูดพูดเร็ว ประมาณ 193 คำต่อนาที จึงมีการเชื่อมเสียงและลดเสียงค่อนข้างมาก 85% ของคำอยู่ใน 3,000 คำที่ใช้บ่อยที่สุดในภาษาอังกฤษ ส่วนที่เหลือควรดูไว้ก่อนเริ่มฝึก
คำศัพท์สำคัญในวิดีโอนี้
คำที่ยากที่สุด 15 คำในวิดีโอ พร้อมคำอ่านและความหมาย:
| คำศัพท์ | คำอ่าน | ความหมาย |
|---|---|---|
| skirt คำนาม | /skɚt/ | กระโปรง |
| emotion คำนาม | /ɪˈməʊ.ʃən/ | อารมณ์ |
| overflow คำกริยา | /ˌəʊvəˈfləʊ/ | ท่วม |
| ambitious คำคุณศัพท์ | /æmˈbɪʃ.əs/ | ทะเยอทะยาน, มักใหญ่ใฝ่สูง |
| teenager คำนาม | /ˈtiːnˌeɪ̯d͡ʒə/ | วัยรุ่น |
| encore คำนาม | /ˈɑnkoɹ/ | อังกอร์ |
| intimidate คำกริยา | /ɪnˈtɪmɪdeɪt/ | ขู่, ข่มขู่ |
| paparazzo คำนาม | /ˌpɑ.pəˈɹɑt.soʊ/ | ปาปารัสซี |
| spoiler คำนาม | /ˈspɔɪ.lɚ/ | สปอยเลอร์ |
| sibling คำนาม | /ˈsɪb.lɪŋ/ | พี่, น้อง |
| chord คำนาม | /kɔɹd/ | คอร์ด |
| vulnerability คำนาม | /ˌvʌln(ə)ɹəˈbɪlɪti/ | ช่องโหว่ |
| perceive คำกริยา | /pɚˈsiv/ | รับรู้, เข้าใจ |
| surround คำกริยา | /səˈɹaʊnd/ | ล้อม |
| cautious คำคุณศัพท์ | /ˈkɔːʃəs/ | ระวัง, รอบคอบ |
ประโยคที่ควรฝึกพูดซ้ำ
ประโยคสั้น ๆ ที่สมบูรณ์จากวิดีโอ ซึ่งนำไปใช้ในบทสนทนาประจำวันได้:
- Did people ever call you things as a child?
- What are you afraid of?
- Are you afraid of death?
- Are you okay with that?
- I was like, well, what is it?
ไวยากรณ์ในวิดีโอนี้
โครงสร้างที่ผู้พูดใช้บ่อยที่สุด พร้อมคำพูดจริงจากวิดีโอ:
| โครงสร้าง | ในวิดีโอ |
|---|---|
| Present perfect continuous have/has been + -ing — การกระทำที่เริ่มก่อนหน้านี้และยังดำเนินอยู่ | I've been weeping · I've been trying |
| “used to” used to + กริยา — นิสัยหรือสภาพในอดีตที่ตอนนี้ไม่เป็นแล้ว | used to come · used to feel |
| Passive voice be + กริยาช่อง 3 — เน้นสิ่งที่เกิดขึ้น ไม่ใช่ผู้กระทำ | being perceived · be seen · were sent |
| Present perfect have/has + กริยาช่อง 3 — เหตุการณ์ในอดีตที่ยังเกี่ยวข้องกับปัจจุบัน | has been · I've played · I've always had |
การออกเสียงที่ควรระวัง
ผู้พูดใช้รูปย่อและรูปลดเสียง 99 ครั้ง เช่น didn't, I'm, don't ให้พูดแบบสั้นตามที่ได้ยิน
- เสียง “sh” และ “zh”: emotion /ɪˈməʊ.ʃən/, ambitious /æmˈbɪʃ.əs/, juxtaposition /ˌd͡ʒʌk.stə.pəˈzɪʃ.ən/, casually /ˈkæʒuəli/, audition /ɑˈdɪʃən/
- คำยาว — ลงเสียงหนักให้ถูกพยางค์: collaborator /kəˈlæbəɹeɪtɚ/, intimidate /ɪnˈtɪmɪdeɪt/, juxtaposition /ˌd͡ʒʌk.stə.pəˈzɪʃ.ən/, objectively /əbˈd͡ʒɛktɪvli/, paparazzo /ˌpɑ.pəˈɹɑt.soʊ/
เสียงที่คนไทยมักออกเสียงยาก:
- เสียงท้ายคำ — ออกเสียงให้ครบ ไม่เปลี่ยนเป็นตัวสะกดแบบไทย: thrive /θɹajv/, ambitious /æmˈbɪʃ.əs/, hurtful /ˈhɜɹtfʊl/, impactful /ˈɪmpæktfəl/, doubtful /ˈdaʊtfəl/
- /v/ — ไม่ใช่ /w/ ให้ฟันบนแตะริมฝีปากล่าง: overflow /ˌəʊvəˈfləʊ/, thrive /θɹajv/, objectively /əbˈd͡ʒɛktɪvli/, reinvent /ɹiːɪnˈvɛnt/, vulnerability /ˌvʌln(ə)ɹəˈbɪlɪti/
- /z/ — เสียงก้อง ไม่ใช่ /s/: hesitant /ˈhɛzɪtənt/, juxtaposition /ˌd͡ʒʌk.stə.pəˈzɪʃ.ən/, headphones /ˈhɛdfoʊnz/
วิธีฝึกกับวิดีโอนี้
- ฟังวิดีโอให้จบหนึ่งรอบโดยยังไม่ต้องพูด แล้วจดคำที่ยังไม่รู้จัก
- เริ่มที่ความเร็ว 0.75× พูดตามทีละประโยค แล้วกลับไปใช้ความเร็วปกติเมื่อเริ่มคล่อง
- อัดเสียงตัวเองแล้วเทียบกับต้นฉบับ โดยสังเกตคำอย่าง skirt, emotion, overflow เป็นพิเศษ
เทคนิค Shadowing คืออะไร?
Shadowing เป็นเทคนิคการเรียนรู้ภาษาที่ได้รับการรับรองทางวิทยาศาสตร์ พัฒนาขึ้นสำหรับการฝึกนักแปลมืออาชีพ วิธีการนี้เรียบง่ายแต่ทรงพลัง: คุณฟังเสียงภาษาอังกฤษจากเจ้าของภาษาและพูดตามทันที — เหมือนเงาที่ตามผู้พูดด้วยช่วงเวลาห่าง 1-2 วินาที การวิจัยแสดงว่าเทคนิคนี้ปรับปรุงความแม่นยำในการออกเสียง ทำนองเสียง จังหวะ การเชื่อมเสียง การฟังเข้าใจ และความคล่องแคล่วในการพูดได้อย่างมีนัยสำคัญ