ฝึกพูดภาษาอังกฤษด้วยเทคนิค Shadowing จากวิดีโอ: Jake Gyllenhaal Breaks Down His Most Iconic Characters | GQ
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I love the movies that I've been a part of.
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Someone asked me the other day if I have any regrets of the choices that I've made and I'm like, regrets in being able to make movies?
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I'm like, the hell kind of question is that?
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October Sky.
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It's sort of a crazy thing to be that age, to be 16 years old and be starring in a movie.
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I auditioned for it and I worked so hard to get the role.
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So it meant so much to me, you know?
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I mean, I remember having to go through like auditions
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and auditions and auditions and auditions and then proving myself in the meetings and all this stuff.
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And it was like, it meant a lot to me.
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And so that was very similar to me in the same way that the love that Homer, that character has for, you know,
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rockets and trying to get out and that kind of drive and love and ambition and trying to prove oneself,
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you know, to make something bigger than where you come from.
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All of those themes were very similar to me in my life at the time.
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And the real Homer was just such a lovely guy.
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The book he wrote was beautiful and he really took me under his wing
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and was just so kind and engaged with me.
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And I remember I worked very hard, I remember that, but I loved it so much and it's such a beautiful story.
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I think it holds up to this day, you know.
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And then you're working with Laura Dern and you're working with Chris Cooper And I've always loved watching other actors work.
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I'm mesmerized on the opposite side watching them.
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Sometimes I can't always even engage because I just love watching them.
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And to be that age and to see great acting, that's how you begin to learn.
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A specific scene where we're in a fight scene with Chris Cooper as me and he obviously plays my dad.
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And I remember being very excited for the fight scene because as an actor, particularly young actor, you guys, oh, I get to yell and scream and blah, blah.
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I remember him coming up to me after about the second take and him saying to me, you're not listening to me.
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Listen to what I'm saying to you.
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And I remember it went from me just sort of raising my voice
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and yelling and not coming from a real place to having his words that he was saying to me hit me, like hit me in the heart.
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If I went to Indianapolis, maybe I can go to college.
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Maybe I can get a job at Cape Canaveral.
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There's nothing here for me.
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The town is dying, the mind is dying.
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Everybody knows it here but you.
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If you wanna get out of here so bad then go.
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Go!
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Yeah I'll go!
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Yeah I'll go!
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Go!
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And I'll be gone forever!
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I won't even look back!
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To actually listen as an actor, as a person, everything becomes different.
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Everything becomes much more significant.
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And I just remember that.
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Him stopping and just saying, listen to me.
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And the entire scene changed.
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And a lot of the next couple of takes we used were right after he told me that.
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Johnston, who directed October Sky, directed the first Captain America.
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He really gave me my first shot and I owe him a lot that he believed in me.
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I wouldn't be here talking to you, I wouldn't have been able to make all the movies I've made
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or even make this Spider-Man movie without Joe believing in me.
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I mean, I'd like to think someone else may have, but most likely not.
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Spider- Far From Home.
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I mean, walking into the MCU and the Marvel Universe is huge.
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There's sort of a lot that's expected of you in the process of making movies and also as the character.
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And it's the same kind of feeling of someone giving you that suit and putting it on, you being like, buh, this is right for me.
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I mean, it's fun.
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I mean, it's fun knowing everything that happens.
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I mean, I knew the events of Endgame, you know, before Endgame came out.
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I love the speculation because a lot of times you'll read something or someone will say something to you and you'll realize, oh, oh yeah, that might be true.
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You know, and it was someone's sort of random idea.
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I also think a lot of them are wrong.
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And that's fun also.
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And it feels like a pressure.
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It feels like a pressure when you're making it.
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I think people love that character and it's so different from the character in the comics.
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And you know, when you're doing something as different from the comics as we did in this, I think you kind of go like.
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How was it working with Tom?
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disastrous at times.
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He's got a bland personality.
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He's basically just very boring.
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It was genuinely lovely.
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He puts everything into making Spider-Man great.
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He knows how much pressure there is on him and he knows how much people care about that character.
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And he puts everything physically, emotionally, mentally into it.
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I think it wasn't until literally a day ago when he saw the movie, finally, that he said he could relax.
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He offered me a lot of advice that I needed, and he just constantly was like, yes, this is exactly how everyone feels when they first start off in this space.
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And we just became friends that way.
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You know, I think he admires me, I admire him, both for very different reasons.
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And as much as actors in press junkets, after the fact, like to talk about how wonderful the other one was to work with,
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and who knows if it's true or not half the time.
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I really like him a lot as a human being, and I enjoy being with him outside of all this stuff.
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So that all went into the movie as well.
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Donnie Darko.
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I found Donnie Darko
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and the character of Donnie Darko very comforting at a time in my life where I was really lost
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and trying to figure out a lot of things for myself about myself, my place in the world, which is what he was going through.
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My dad says this thing where he's like, the job of art is to disturb the comfortable and to comfort the disturbed.
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And like, I think that that's very true in a lot of ways and at the time I think, I was like the world was just crazy, you know, you get thrust out into it and you're like, whoa, it's trippy, you know.
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And to know that there was a character
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that was like feeling those same feelings gave me a real outlet and made me not go mad myself.
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Donny, you're such a dick.
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And I've always looked up to my sister.
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In a lot of ways, I probably credit her with the reason why I wanted to act, why I started to act, why I got into it.
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We were both starting out, both very, you know, obviously very ambitious people.
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Like, there's a lot in the similarities between the two of them fighting at the dinner table.
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Maybe you should be the one in therapy, then Mom and Dad can pay someone $200 an hour to listen to all your thoughts.
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So we don't have to.
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Okay.
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You want to tell Mom and Dad why you stopped taking your medication?
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You're such a fuck-ass.
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What?
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Please.
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Did you just call me a fuck-ass?
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Elizabeth, that's enough.
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I have admired her since I was born, as we do our older siblings.
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Even when we despise them, we love them deeply.
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That's a sibling relationship for anyone who has one.
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Working with her was complicated for both of us.
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It's weird to put a real relationship in a fictional space.
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But I think as actors, as Ang Lee said once, I heard him say, we pretend to get closer to the truth.
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And both of us are real truth seekers in scenes.
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That's what we love to do.
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And so to be working with someone who calls you out, you know, what was that?
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Why'd you do that?
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That's weird, weird choice.
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Oh, that feels true.
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That's honest.
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That it's so present was amazing when I look back on it now.
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And that's what I desire.
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I mean, that's what I think a scene really only is fulfilling
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when you're learning something about yourself in it you put on a lot of guises and disguises,
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but truthfully where I wanna go is places where I don't have that.
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But I try all these tricks before something real happens, you know, and that is what I love about it.
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It's like, what about this?
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No, what about that?
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No, what about that?
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No, what about that?
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What about that?
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Just, you know, calm down and listen, like back to Chris Cooper every time.
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And my sister's one of those actors too.
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I mean, it's why she's extraordinary, because she's similar to Chris and all the great actors that I've had the opportunity to work with.
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They're constantly like, just be still, listen, be honest, as best as you can, if you're an actor.
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It was a long journey and continues to be a very long journey for that movie.
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I do know that Passion of the Christ was released by the same company, and they had just made an extraordinary amount of money from that movie.
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from the funds of that movie they were able to take a risk
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and say okay we'll do a theatrical release
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because you know we have some to spare
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and thank God they did I mean it just goes to
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show those things you think are sort of gonna fail
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or people are telling you they are you know life of something can be
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so many there can be
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so many different lives it's not like the one big opening weekend
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because it like the open and no one really saw it right and actually it It got found again in London.
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I remember I was doing a play on the West End and people started to just generate this energy.
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I was like, whoa, what's happening?
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And then it just came back alive again and has continued to be alive for over a decade now.
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Stronger.
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I just loved the story.
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I loved the script and I loved the story and I loved the character of Jeff Bowman.
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I think I've said often about him that he is really a superhero.
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You know, the things that he went through to get to where he is, to survive and to live today, are like of endgame proportions internally.
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His story taught me more about my career and about life than anything I've ever done.
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And when I read that, I just really wanted to be a part of it, you know?
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There was a scene where I'm like, dragged myself across the parking lot and get to a window
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and I'm banging on the window and David Gordon Green let the camera roll or, you know, roll out, really.
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And in digital world, you can roll for a very long time.
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And I was there for about like 30 minutes at this window and pushed beyond,
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I think, you know, my idea of the fictional part of the character, you know, into another space.
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And it was a beautiful thing to discover and the pain of that moment and to feel a lot of Bostonians
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who were our crew, who were so deeply affected, as the world was by the event of the marathon bombings, feel that energy and have us all feel it together.
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And I learned two things.
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I learned that a crew, like everybody working, is not only an audience, but we are all in it together.
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Even if someone is behind here you guys can't see them
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but we're all here together and that's very powerful
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and we're all kind of in it together and then I also learned
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that you can't lose your imagination that acting is like all about imagination
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and there's a lot of talk about like oh commitment
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and you know method acting and you know how far do you go
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and blah blah blah it's everybody's favorite conversation
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when you're talking to an actor or not favorite conversation
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but it is a conversation that's had a lot
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and I just believe
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so deeply in your imagination that's the fun it's like the play it's what you need
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and I had lost it in that moment and I
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and it threw me for a number of days because I went
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so far and I just realized
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that that's not acting to me anymore every movie you do
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you learn about the process of of what you do you know how far you can push it
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what techniques you want to use.
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And I've used my career because I've been lucky enough to work on a number of films.
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I was just forming my production company at the time, and we produced that movie alongside Mandeville, who produced it as well.
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My company has become more about helping other people tell their stories.
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I'm not in a lot of the movies that we produce, but I am occasionally.
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Yes, I was brought up with storytellers, and that is my real love.
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Watching stories get made is really exciting.
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Like I said before, watching an actor work is more exciting than doing the acting myself sometimes.
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And I love performing.
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But it's just the magic of stories that I want to keep trying to help.
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If I have the opportunity, people know who I am and that they know my name, then I can lend it to something to help it get made.
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End of Watch.
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What it did to my life in the five months I
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did in preparation with police officers around Los Angeles County and East LA and what I saw just changed me forever.
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To see the work that they do, to be with them, watching them do their work, to be in sometimes very dangerous situations and also beautiful situations,
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to see human behavior at its most tried sometimes, changed everything in the way I see the world.
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So I look at that as a very, very particular moment in my life and my career.
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Something I needed, you know.
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All right, this is my day job.
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Sorry, bro, I'm recording.
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This is my day job.
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Some of you might know me as Brian.
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The process of filming was cool.
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You know, I fancy myself a bit of a filmmaker, and so we were very much a part of the process of shooting that movie.
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We shot on camera, and my character has a camera that he's shooting with.
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We didn't want it to be cute.
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you know and i actually look at
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that as an extension you know end of watching the movie
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nightcrawler you know to me the movie of nightcrawler is the evolution of a cameraman
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like that was my philosophy the entire time the evolution of an artist nightcrawler
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it's just fantastic writing it is it is tried
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and true blueprint of anything
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that is great in storytelling comes from the beginning from great writing
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and that's not always true doesn't always worked that equation
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but in the case of Nightcrawler it was hands down the
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exception of a few one of the greatest screenplays I read a character
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that already had been developed profoundly by the by Dan Gilroy before it even got to me
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and so I had to do the finishing touches
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and that's the way it should be and very rarely the way it is
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when I read it I just went like oh my god he's give me thousands of avenues, so many choices.
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But I had this vision of this guy
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and he talked a lot in the script
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and the way he talked was so odd and I was always trying to wrap my head around it.
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I just had this vision of myself.
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I just thought there could be nothing physically imposing about this guy.
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It was all mind
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and from anything I know about people who are like really
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like blood up here more than anywhere else in their body is
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that oftentimes they're not thinking about like what they're gonna eat next
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or if they can't eat and
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or what they're gonna do next they have one goal
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and one goal only and that's where they're headed and I just thought I gotta make myself into that idea.
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We spent you know 20 nights shooting the movie.
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20 to shoot that movie.
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It's like nothing in movie time you know
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and I just knew we'd have to go
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and there were like three to four page monologues you know that this guy had to say.
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So there was part of the reason why the speed at which he speaks comes from that.
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It comes from just going, how do I, as an actor, make sure this incredible writing and the performance I'm going to give stays in the movie?
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You're going to have to say it fast.
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I also want to go to the next rung
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and meet your team and the station manager and the director and the anchors and start developing my own personal relationships.
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I'd like to start meeting them this morning.
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You'll take me around.
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You'll introduce me as the owner and president of video production news and remind them of some of my many other stories.
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People talk about him as like a creepy sociopath
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and there's truth to that
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and I think he is a prophetic he was a prophetic sort of symbol of capitalism
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and leadership that we have now come to become accustomed to.
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But I always looked at it like as this beautiful artist learning how to use a camera
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and the way what he was shooting was obviously sort of perverse
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and sick but at the same time he really looked at himself as an artist
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and you can watch him and that was for me
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that was a big thing that I'm most proud of in
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that movie you can watch him the style of how he shoots things change
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when he's moving bodies you know which is totally illegal
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and disgusting in the movie you know I don't know how much different
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that is from a Damien Hirst painting
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or Damien Hirst piece you know like that's what he looked
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at it as that's how my was my perspective of it
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which while I was playing that character which was fascinating and disturbing.
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Brokeback Mountain.
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I think we had been cast for our essences without really understanding what our essences were.
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And that's outside of sexuality.
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I mean we're like two straight guys cast in these roles.
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But who we are, who we were, Aang could see.
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And I don't know if I could.
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So when the movie had the response that it had, I think all of us who had been cast,
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that includes every actor but the main actors of Heath and me and Anne Hathaway and Michelle Williams.
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Like, I think, I don't think we recognized what Aang had seen in us.
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So we're sort of wandering around blind at the profundity and the echo that the movie made.
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We understood the power of the story, but I think playing a character in it, we didn't fully.
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And I don't think we ever had any idea it would have the impact that it had.
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You gonna do this again next summer?
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Well, maybe not.
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Like I said, me and Alvin's getting married in November.
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So, uh, we're trying to get something on the ranch, I guess.
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You?
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I might go up to my daddy's place and give him a hand through the winter.
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I might be back.
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The army don't get me.
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Aang does this incredible thing where he's very close to you in the pre-production process before you start filming
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and then in the filming you become this sort of painting he's watching
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and he doesn't want to touch any of it to disturb it
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and it becomes a bit cold actually I think he has to focus his heart on the objective
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while you you know do what you do in front of him I enjoy rehearsals
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and I believe that writing should should hold up to the rehearsal process
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and I think you learn a lot in the rehearsal process
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too you also just mostly break through all you know I
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mean there's some moments where it's nice to just meet somebody
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and go but I find
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if you're gonna get to a place where you really want
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to land with someone you want to be present with them it's very good particularly in emotional things
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and stuff like that you need to at least spend enough time with them
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that all that forgive me for
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but like all the bullshit of like small talk goes away and then you can get to it.
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When I say all we have is broke back and I can't quit you, you know, those lines.
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Tell you what, we could have had a good life together, fucking real good life.
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Had us a place of our own.
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But you didn't want it in us.
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So what we got now is broke back now.
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Everything's built on that.
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That's all we got, boy.
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Fucking all.
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So I hope you know that if you don't never know the rest.
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You count the damn few times that we have We've been together nearly 20 years, and you measure the short fucking lease you keep me on, and then you ask me about Mexico,
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and you tell me you kill me for needing something I don't hardly never get.
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You have no idea how bad it gets. And I'm not you.
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I can't make it on a couple of high-altitude fucks once or twice a year.
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You are too much for me, ass.
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You son of a horse bitch.
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I wish I knew how to quit you.
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We had rehearsed it.
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We had gone earlier, months earlier, when it was still snowing there.
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And I remember it was about covered in two or three feet of snow.
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We didn't even see what the ground looked like.
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At the time I had my dog, who's now passed away, jumping through the snow, I remember.
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And then the spring came and everything melted and we shot the scene.
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and there was a palpable feeling of that scene while we were doing it.
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To make a movie that even just works is a miracle.
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And when it resonates even beyond that, it's impossible.
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And it has nothing to do with you in the end.
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Just speaking of Brokeback Mountain, that's the feeling I have.
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I feel that deeply about it.
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It had nothing to do with me.
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It came to me, I was honored to be a part of it, and it is now everyone else's in a way that I can't even fathom.
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And that's why I empathize with any artist or any director or anybody doing this,
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because it's like what an audience experiences and what you experience are two totally different things.
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And oftentimes reconciling those things is the weirdest part about it.
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And you never know what people are going to respond to.
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you try your best at every turn.
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You put all your time and your heart and your belief in the thing that you're doing.
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And I think that goes for everybody and what everything they do when you care.
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And then you're just constantly surprised by what people love and what they don't.
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เกี่ยวกับบทเรียนนี้
ในบทเรียนนี้ ผู้เรียนจะได้ฝึกการออกเสียงและการฟังจากวิดีโอที่มีการพูดคุยเกี่ยวกับประสบการณ์ของ Jake Gyllenhaal ในการแสดงภาพยนตร์ที่เขาชื่นชอบ โดยเฉพาะอย่างยิ่งในเรื่อง "October Sky" ที่สะท้อนถึงความพยายามและความมุ่งมั่นของเขา ผู้เรียนจะได้เรียนรู้วิธีการใช้คำพูดและวลีที่มีความหมายลึกซึ้ง รวมถึงการปรับปรุงการออกเสียงภาษาอังกฤษของตนเองผ่านการทำ shadow speak
คำศัพท์และวลีสำคัญ
- audition - การคัดเลือกนักแสดง
- regret - ความเสียใจ
- ambition - ความทะเยอทะยาน
- listen - ฟัง
- significant - สำคัญ
- proven oneself - แสดงให้เห็นถึงคุณค่า
- beautiful story - เรื่องราวที่สวยงาม
เคล็ดลับการฝึกฝน
เมื่อทำ shadow speak จากวิดีโอนี้ ให้ฟังการพูดของ Jake Gyllenhaal อย่างตั้งใจ โดยเฉพาะในส่วนที่เขาแบ่งปันเกี่ยวกับความรู้สึกและประสบการณ์ของเขา เน้นการจับน้ำเสียงและอารมณ์ในเสียงพูดของเขา การฟังและเลียนแบบการพูดของเขาจะช่วยในการปรับปรุงการออกเสียงภาษาอังกฤษของคุณ ลองฝึกพูดตามเสียงในระดับที่ใกล้เคียงกับต้นฉบับ และให้ความสำคัญกับการฟังเพื่อให้คุณสามารถเข้าใจและตอบสนองได้ดีขึ้น การเรียนภาษาอังกฤษจากยูทูปเป็นวิธีที่ดีในการพัฒนาทักษะการพูดและการฟัง ใช้เทคนิค shadowspeak เพื่อช่วยให้คุณสามารถเรียนรู้และปรับปรุงการออกเสียงภาษาอังกฤษของคุณได้อย่างมีประสิทธิภาพ
ไวยากรณ์ในวิดีโอนี้
โครงสร้างที่ผู้พูดใช้บ่อยที่สุด พร้อมคำพูดจริงจากวิดีโอ:
| โครงสร้าง | ในวิดีโอ |
|---|---|
| Present perfect have/has + กริยาช่อง 3 — เหตุการณ์ในอดีตที่ยังเกี่ยวข้องกับปัจจุบัน | I've been · I've made · I've always loved |
| Passive voice be + กริยาช่อง 3 — เน้นสิ่งที่เกิดขึ้น ไม่ใช่ผู้กระทำ | was really lost · was born · was released |
| Relative clauses who / which + อนุประโยค — ข้อมูลเพิ่มเติมเกี่ยวกับคนหรือสิ่งของ | world, which is · anyone who has · someone who calls |
เทคนิค Shadowing คืออะไร?
Shadowing เป็นเทคนิคการเรียนรู้ภาษาที่ได้รับการรับรองทางวิทยาศาสตร์ พัฒนาขึ้นสำหรับการฝึกนักแปลมืออาชีพ วิธีการนี้เรียบง่ายแต่ทรงพลัง: คุณฟังเสียงภาษาอังกฤษจากเจ้าของภาษาและพูดตามทันที — เหมือนเงาที่ตามผู้พูดด้วยช่วงเวลาห่าง 1-2 วินาที การวิจัยแสดงว่าเทคนิคนี้ปรับปรุงความแม่นยำในการออกเสียง ทำนองเสียง จังหวะ การเชื่อมเสียง การฟังเข้าใจ และความคล่องแคล่วในการพูดได้อย่างมีนัยสำคัญ