ฝึกพูดภาษาอังกฤษด้วยเทคนิค Shadowing จากวิดีโอ: Emma Stone, Mark Ruffalo & Director Yorgos Lanthimos Break Down 'Poor Things' Scenes | Vanity Fair

She was the...

Oh my God.

Stop it.

I'm Emma Stone.

I'm Yorgos Lanthimos.

And I'm still Mark Ruffalo.

And this is Notes on a Scene.

Bella, let us take the air. In our cabin.

These two are fighting and ideas are banging around in Bella's head and heart.

This scene takes place on a ship.

Yeah.

We're sailing from Lisbon to technically Athens, but we stop in Alexandria along the way.

You've been kidnapped, basically.

I've been sort of kidnapped.

Yes.

Bella, let us take the air.

This is Mark Ruffalo.

He plays Duncan Wedderburn.

This is Drunk Ormichael.

This is Santa Cingula.

This is the back of my head.

And these are just some friends we picked up along the way.

This isn't CGI.

This is an actual practical LED screen.

LED screen.

We used a lot of painted clouds and some formations from other liquids that we shot.

We put all that together in post-production.

On the day, it was actually playing behind the actors.

Which gets a little nauseating, to be honest.

The waves were actually breaking up against the ship from time to time.

Mark, that's not true.

Well, they were like...

There wasn't water.

No, but it was a representation of water that was constantly moving.

The only VFX and Hanschen that we did here was like, if you see, there's like a little bit of spray of water here that we added later in post-production.

And the only VFX that the LED screen, I think, came about up to here.

And we just filled in this in post-production, just an extension of the set.

But everything else that you see, it was actually there.

The reason we built this set, and actually the whole film is shot on sound stages,

we just wanted to build this world that represented the way Bella, the main character, sees and experiences the world.

So we thought that it would be interesting if we built every set, even exteriors or, you know,

the ship that you see here inside a studio.

And then we would control the lighting, the backgrounds, and we would manage to acquire this non-realistic feeling for the entire film.

Let us take the air in our cabin.

Duncan's, I guess what you would call a rake or a cad.

He's a bon vivant.

He's someone who loves to live life in its fullest and to totally satiate all of his senses whenever given the opportunity,

even to the point of stealing away a young, beautiful, naive woman.

His relationship with Bella is really to teach her the beauties

and the loveliness and all the sumptuous activities of the world as kind of her Pygmalion,

as her tutor of life.

These two are fighting and ideas are banging around in Bella's head and heart like lights in a storm.

Oh.

So, my approach.

That's a very good frame.

My approach to Bella.

Oh, boy.

I guess for a while I thought it was, you know, a very...

For a while, she was a very difficult character to play.

But then I realized in a way it was only because she was the

But I realized that it's because Do you have a closeable part?

OK, great.

Just go on her for a second.

Hi.

You're watching Notes on a Scene.

You're always reading now, Bella.

You're losing some of your adorable way of speaking.

I'm a changingable feast, as are all of we.

Bella, at this point in her sort of development, she has been introduced to philosophy by Martha

and she is beginning to read the books of many different philosophers

and a lot of things are being illuminated to her about, you know, different ways of approaching life and what it all means

and it's a very pivotal moment in her sort of growth that she's discovering her own sort of belief system.

In terms of the physicality, her specific kind of walk and way of speaking, and a lot of that is in the script, how it's evolving.

Apparently, according to Emerson, disagreed with by Harry.

Come, come, just come.

You were in my son.

What?

He feels like he's losing control of her in this scene.

The books are kind of a symbol of her being educated

and him feeling like she's leaving his control and possession so as she's given more books he throws them off the boat.

She's a surprise to him in every way

and it certainly peaks his arousal that he can't control her

and I think he finds that very exciting until it becomes challenging to his ego.

I think in this particular moment, she is starting to find him very annoying.

She's expanding so rapidly in so many ways, and it's becoming more and more threatening to him, and he's starting to bug her.

There was a language, a filmic language, that we developed with Robbie Ryan, the cinematographer.

We started kind of using it during the making of the Favourite.

And on this film, we just wanted to go even further.

So we remember during the Favourite, we did a lot of tests with, you know, and on this one as well.

And we remembered this fisheye lens that we used that actually created this circle.

You know, people feel like very enclosed in a kind of claustrophobic way in the frame.

And, you know, the four millimeter was just this option for us to, in certain moments, you know,

create this kind of awkward feel to the scene.

And, you know, like in this moment, he just picks up her books and throws them into the sea and just felt like the right moment to use that.

But in general we used like very wide-angle lenses

and fisheye lenses in order to be consistent with how we're building the world and make it feel even more vast.

You do a career and you're in a franchise for a long time

and people start to see you in a certain kind of role

or you have your social media and people start to see you in a certain way.

100

And in some sense, you even might start to see yourself in that way.

101

it's deadly for a creative person i think ultimately

102

but it's also very comfortable

103

and it's hard to break free the more you break free it's harder to break free the next time

104

and so playing this part came up

105

and i was like oh do people want to even see

106

me in this part can i play it you know i haven't never played anything i never played anything

107

so gregarious so cocksure

108

so narcissistic with that kind of language and that kind

109

and an accent in a period piece i've just never done anything like it

110

and so um it scared me honestly and i have such admiration for him

111

and i didn't want to let him down

112

and i didn't want to let her down and

113

so yeah i was scared i now feel kind of afraid of doing something

114

that i don't feel this way about more than anything.

115

I kind of want to have this feeling all the time, exclusively.

116

You don't always get to make choices as an actor of who you get to work with

117

and what roles you get to play.

118

And so learning about Bella, I was just totally in love with her.

119

And so I'm trying to just follow that instinct, whether it comes to a filmmaker or a story.

120

It's not, it doesn't always work necessarily, but I I kind of only want to feel that way.

121

We're probably the worst people that have ever been in this thing.

122

No, we haven't gotten started yet.

123

I think once we get going, we're going to really be great.

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Shadowing เป็นเทคนิคการเรียนรู้ภาษาที่ได้รับการรับรองทางวิทยาศาสตร์ พัฒนาขึ้นสำหรับการฝึกนักแปลมืออาชีพ วิธีการนี้เรียบง่ายแต่ทรงพลัง: คุณฟังเสียงภาษาอังกฤษจากเจ้าของภาษาและพูดตามทันที — เหมือนเงาที่ตามผู้พูดด้วยช่วงเวลาห่าง 1-2 วินาที การวิจัยแสดงว่าเทคนิคนี้ปรับปรุงความแม่นยำในการออกเสียง ทำนองเสียง จังหวะ การเชื่อมเสียง การฟังเข้าใจ และความคล่องแคล่วในการพูดได้อย่างมีนัยสำคัญ

ฝึกพูดภาษาอังกฤษด้วยเทคนิค Shadowing จากวิดีโอ: Emma Stone, Mark Ruffalo & Director Yorgos Lanthimos Break Down 'Poor Things' Scenes | Vanity Fair

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