Shadowing Practice: Becoming Michael with Jaafar Jackson - Learn English Speaking with Video
Ders oluşturuluyor...
1
Hi GQ, I'm Jafar Jackson and I'm here to talk about how I prepared for the role of Michael Jackson.
2
I believe in music, we can change the world.
3
I first heard about this project, I believe I was online and I saw an article that Graham King got the rights to tell the Michael Jackson story.
4
I heard of any news regarding the Michael biopic.
5
At that time I was creating music, I was producing a lot, so I didn't have any thoughts of, "Oh, let me play him." It was more so,
6
"That's going to be interesting.
7
I wonder where they're going to take that." I got a call from Graham King.
8
He asked if I ever acted before and I told him no. I've never acted.
9
I never wanted to.
10
But I'm a big fan of films and I more so want to do film scores.
11
One thing led to the other.
12
Next thing we're having lunch in person.
13
and he's telling me about the story of how he wants to tell Michael's story, and at this time there's no Studio attached, there was no director attached, it was very early on.
14
The script wasn't ready yet.
15
He asked, "Would you be open to acting?" "Or if I got you with a coach, would you be willing to try it?" "You might hate it, you might love it." I was like,
16
"I need to really think about it before just diving into it." I'm someone who really wants to pull something.
17
I don't want to just try it just for fun.
18
If I go into it, I really want to commit to it.
19
So I told him, "Let me think about it for a couple days." I didn't really hear back for some time.
20
note of me speaking as Michael to the best of my ability at that time and also singing a song or two.
21
I sang a Peter Pan song that Michael He never sang it officially, but it was more so off the record.
22
I sang it like a lullaby to him.
23
And also just speaking to him in Michael's speaking voice.
24
And he called me right away and said, "I'm getting you a coach tomorrow." And that was the starting point of when I really started to try out acting.
25
It was about two years.
26
Because the first year I was really just working with Angela Gibbs, the coach, on other scenes from films, plays.
27
And then eight months in, we started to work on specific scenes from the script Michael and everything was recorded so Graham can see my progression.
28
Then a year and a couple months in that's when I started working with Rich and Tone, the choreographers that were on the history tour with Michael.
29
So it was like a continuation of many moments.
30
It wasn't just one audition.
31
There was many different moments I had to really show up and pull off the performance whether it was a dance, singing a song or a scene.
32
I would say close to two years in they told me they're
33
and that put even more fire inside of me to want to work even harder, double the hours I was already putting in.
34
So I had the time to really do that and having Havenhurst, which is the home in Encino where Michael lived and where I actually grew up,
35
I went back there and set up a training camp, a way to have a place to really work as long as I want, as hard as I want, as free as I want.
36
That was a turning point for me to have that space to be able to do that.
37
really tell me how proud she was and just hug me and say how excellent I was doing.
38
That's all I needed to hear, to really give me the confidence to pursue and continue to put in the hours and really,
39
really work towards what I wanted to achieve.
40
Her opinion really was all I needed to hear.
41
That's really all I wanted to hear.
42
I just have all these ideas in my head.
43
I just gotta get them out.
44
To emulate, for me it all started with with the foundation.
45
So I study a lot of the Jackson 5 and then
46
when they became the Jacksons and just to see really focusing on Michael and how he's feeling in those moments.
47
Also creatively what he want to express and that longing for that independence and what that felt like but also
48
trading as a group and what that brought out, but in particular, it was important for me to understand the human side of Michael
49
and that individual side of him that not a lot of people were familiar with.
50
So that was very exciting for me to dive into.
51
Coming from all memories of him, there were
52
A few cherishable memories that I have that it was more
53
so the emotions that come out of them that more so than observing him with his mannerisms and things like that, but the effect he had,
54
you know, if you were to walk in a room and how palpable that was, you'd be able to feel it.
55
But for me, it was really looking into his own, his personal writings, his personal journaling,
56
and that was truly informative to allow me into his mindset of how he was feeling.
57
of what he wanted to achieve, you know, some goals he had written down and it was such a blessing for me really to have access to that.
58
And then I created this timeline room of so much information
59
that really allowed me to stay grounded in it and not get lost in the way.
60
I really needed to see it, you know, with my own eyes and that really informed me even with the script.
61
So I knew where each you know timeline was and I understood what he was feeling.
62
Also his personal notes allowed me to to do that and place it in that time.
63
Some of it was just how he thought like a marketing genius and how he went to
64
to be seen and he really studied that from other greats.
65
And I feel like he incorporated that even with his videos, how a color can draw the audience's attention just by the color of a hat
66
or a glove or showing his socks a certain amount of inches and how he was hands on with everything he created.
67
But also his ability to have
68
that sensitivity of what was going on in the world as well
69
and how he wanted to help the world through his music and continue that message. about this movie.
70
I really hope they want to have a deeper understanding of Michael
71
and a lot of the decisions and and choices he made with the music and his artistic freedom,
72
but also a deeper understanding of the family dynamics and from the Jackson 5 all the way up until the Bad Tour.
73
And what you see with that is it's a close family that had so much love in there, and while also having Joseph wanting to steer and protect his family.
74
And there were so many different voices and people wanting to come in to get in that, and Joseph really wanted to protect that as much as he could.
75
And then along What comes with that is Michael's ability or him wanting to have that creative freedom, not being stuck in a box, wanting to reinvent himself.
76
And that's something with Michael that really surprises a lot of people.
77
He would never be allowed to be put in a box.
78
He always wanted to create something that's unexpected and take the audience by surprise.
79
It's natural.
80
It's a flow.
81
All together.
82
if I had it in me to pull off the performances.
83
And I know we had about 20 days of a boot camp, basically.
84
And within those 20 days, we were breaking down the Billie Jean performance for Motown 25.
85
And I was so self -conscious at that point.
86
I was so, I guess, doubtful in the sense that I knew I couldn't get it down in that time frame.
87
I knew I needed more than 20 days.
88
But within that time, I really learned a lot about myself that, even though I wasn't pulling off a lot of the moves or knowing the meaning behind it,
89
tried it again and again over and over until I got it right
90
or if I didn't get it right I was still trying it
91
and I think once I had that
92
that time afterwards after those 20 days taking that time to Havenhurst
93
and setting up mirrors and the same dancing room Michael would train in I think
94
that really was a spiritual journey for me just to be in
95
that same energy to sit in that space
96
but also just to dance for hours and hours every day and look at it as a as a full -time job.
97
life -changing for me to have that experience, even for my body, to not be...
98
go from not dancing or having some rhythm, but then to doing full -on Michael Jackson moves, but performing.
99
And it was all for myself at the moment.
100
I had no audience, it was just me in some mirrors in a room
101
and just grinding it out until I felt like I can full fool myself in the mirror.
102
I was working on Billie Jean.
103
I'll solely focus on that, I would say, for about close to a year, because that was the most challenging for me.
104
And then I started to dance to other songs.
105
Then I started to get comfortable to try and, you know, freestyle to other songs, but in Michael's vocabulary of his movements.
106
And that became really fun.
107
And the moonwalk, I mean, as a kid, I always used to try and do it.
108
But it's different when you're doing it as a kid to
109
when you're trying to do it just like Michael and look just like him doing it.
110
The moonwalk is very challenging for many different reasons.
111
The flooring is important, the shoes you're wearing, and that was something new for me is being able to dance in loafers and getting used to that.
112
Why did he choose loafers?
113
I would say, you know, maybe Fred Astaire, Gene Kelly,
114
that style of how they were dancing and seeing that the white kind of penetrate through through that, so it allows the eye to catch the movements a little cleaner.
115
I think it had to do with that, but he wore loafers even when he wasn't dancing.
116
And I think they just go with everything.
117
But the moonwalk, I'm still figuring that one out too.
118
I would say the spin and the moonwalk are definitely the most challenging.
119
The way
120
Michael spins, you know going into I didn't think it would be
121
that hard or I knew it would be somewhat challenging
122
but not as hard as I It came out to be
123
because I'm still you know trying to figure that out I usually
124
if I were to spin I spin to my right
125
and Michael spins to his left So it was
126
so challenging to find that balance
127
and get used to spinning on the opposite side where you're naturally used to
128
and And doing it in the way that looks just like Michael or to have that speed and intensity.
129
Also being able to stop on a dime or right when
130
that snare hits or to control that timing of when you stop, and have the balance and then go into another transition of a move.
131
Yeah, the more I studied his movements and looked at footage, there was some sense of magic it felt like, or just like a phenomenon.
132
Like the certain movements and transitions, it seemed as if it was a trick, illusion in that sense.
133
And I know he was such a fan of that, of having that element of surprise or the element of magic within a performance to trick the audience to think it's
134
something unusual going on.
135
So for me that that came with just watching repeatedly over and over again certain movements to break down.
136
Okay.
137
Where's his body, where's the weight shifting on this foot and that foot to give that illusion effect?
138
And also getting a lot of backstory from Rich and Tone, the choreographers, and, 'cause they had a lot of stories to tell from the rehearsals with Michael.
139
Rich and Tone would tell me, like, if, If Michael saw move or a few dances doing something that he didn't, not that he didn't like, but that he felt could be better.
140
He would just say, "Oh, can you do that again one more time?" Or, "Can you kind of call you out to do it in front of him?"
141
And he would just observe and circle around you while he was doing it, and then he would say, "You're almost getting it." He almost got it.
142
So to kind of push you to keep striving for more, those are one of the things that comes to me.
143
The one glove.
144
It's like, for Michael, I would think that was his armor.
145
You know, he didn't feel fully ready if you didn't have some of those pieces on him to go out and perform,
146
it added that dramatic and that sense of It's time to go out and put on a show.
147
And I had some of that same
148
experience like when I was rehearsing I felt like something was missing until I started to rehearse with actual, you know, wardrobe and pieces and it really,
149
it changed the energy of the performance when I would rehearse with the glove
150
or rehearse with some of the actual jackets and fedoras.
151
It informed me a lot.
152
And I think the-- The first thing that was most difficult for for me in the movement was the pants, doing the kicks, making sure there's some stretch in there,
153
so I don't rip them when I'm kicking or doing a side kick or an extended kick.
154
That was We had to create a lot of gussets in the pants to give me some room to do those moves.
155
It's really interesting because Michael was so into the clothing of, especially the movements, and I just remember hearing stories about it.
156
When he was doing Smooth Criminal, he was
157
trying to figure out why his tie wasn't moving with the spin the way he wanted it to when he stopped.
158
So they put like a quarter in the tie to add more weight to it
159
so it had that effect when he would spin
160
or he would try on jackets to make sure
161
when he spins they kind of float up and give that effect so he was very in tune with how
162
the dance would be perceived through the clothing as well.
163
So he thought about every little nuance, which is, it's incredible.
164
And I started to learn more about that when I was studying him.
165
The most iconic costume That's hard.
166
Either thriller or The Grammy outfit.
167
I think my favorite is the Grammy outfit just because all the beating and everything is handmade with that one.
168
It was heavy putting that one on.
169
And I just love the way it looks when the light hits it.
170
It's pretty incredible.
171
Working on the body movements and mannerisms was fun for me, and that came with observing as much footage as I could on him,
172
whether it's him in interviews or on stage, but mostly moments when he's not aware he's on camera.
173
That's what I was looking for.
174
For me, it was just
175
dissecting and consuming as much of that as possible to a point where you're not consciously doing it.
176
You're doing it without knowing it and that's the place I wanted to be with that.
177
That was the most important thing is capturing the essence, not trying to copy or mimic exactly what he did, but doing it, find, you know,
178
my own truth in it that allows me to express it in that way.
179
And that came with, um, A lot of research and a lot of different things to try out and explore on my own.
180
Also time.
181
I think time was a big thing allowing me the space and freedom to explore those things, to see what worked, to see what didn't work.
182
Also that spiritual journey side of it as well.
183
So, not force anything, allow and trust things to come on its own at the same time.
184
What helped me as an actor, I would say, is some of those personal writings of Michael's, of his affirmations.
185
He would always write things to It was many different things, but a lot of the affirmations he had, they resonated with me for many different reasons.
186
But depending on the day of what we were shooting, most important for me was to really stay present and allow whatever I was feeling that day to
187
to come and if it was something I didn't want, just allow it to kind of
188
channel through me and it'll find its way out and just
189
to be an open source and not be restraint in any way.
190
So I just wanted to walk on set ready and to go in any direction, but also knowing Michael's there with me.
191
There were a few moments like that where I felt Yeah, he was definitely a present.
192
Some of the performances, a few songs when I was performing, some of the locations we were at, I definitely felt that.
193
I think some of the crew felt that as well.
194
I heard some stories, so there's a lot of love and protection and guidance on that set every day.
195
I would think he'd be most proud of, jeez, I don't know, the performances, I would say.
196
Some of the movements I was able to do, or I honestly don't know.
197
But I would hope he feels the love and care
198
that was put into it to capture his essence and his genius, really.
199
wanting to bring the world together.
200
This is such a huge starting point for me into the world of acting.
201
I definitely want to continue this and bring out other sides of me
202
that have never been explored and characters that will be very unexpected.
203
And I'm super excited about that.
204
And to collaborate with other genius creators, yeah.
205
I hope you guys enjoyed learning about my approach on playing Michael Jackson.
206
This is Shafari Jackson.
207
Thank you so much.
208
you
📺 Aynı Kanal
B11
10 Things England Captain Harry Kane Can't Live Without | GQ Sports
Business EnglishDaily ConversationUniversity Students
B11
Megan Fox & Machine Gun Kelly Take a Couples Quiz | GQ
TeensDaily ConversationHigh School Students
B21
Jason Segel's Favorite 'How I Met Your Mother' Scene
Daily ConversationUniversity StudentsWorking Adults
B11
Tom Holland Replies to Fans on the Internet | Actually Me | GQ
TeensDaily ConversationHigh School Students
B22
Bob Odenkirk Replies To Fans Online | Actually Me
B21
Andrew Garfield Replies To More Fans Online | Actually Me
Daily ConversationUniversity StudentsWorking Adults
B210 Things Joji Can't Live Without | GQ
Daily ConversationUniversity StudentsWorking Adults
B21
Casino Boss Breaks Down Gambling Scenes from Movies | GQ
Business EnglishUniversity StudentsWorking Adults
B22
Martin Scorsese Breaks Down His Most Iconic Films | GQ
Business EnglishUniversity StudentsWorking Adults
B13
10 Things Declan Rice Can’t Live Without
Daily ConversationUniversity StudentsWorking Adults
B2Mads Mikkelsen Breaks Down His Most Iconic Characters | GQ
Business EnglishUniversity StudentsWorking Adults
B23
Psychiatrist Breaks Down Mental Health Scenes From Movies & TV | GQ
Daily ConversationUniversity StudentsWorking Adults
B21
Daniel Radcliffe Breaks Down His Most Iconic Characters | GQ
Business EnglishUniversity StudentsWorking Adults
B23
Simu Liu Replies to Fans on the Internet | Actually Me | GQ
Business EnglishDaily ConversationUniversity Students
B22
10 Things Jensen Ackles Can’t Live Without | 10 Essentials
Travel EnglishDaily ConversationUniversity Students
B21
Kendrick Lamar & Rick Rubin Have an Epic Conversation | GQ
Business EnglishDaily ConversationUniversity Students
B11
The Odyssey's Zendaya & Robert Pattinson Take a Friendship Quiz
TeensDaily ConversationHigh School Students
B22
Cillian Murphy Answers Questions About Oppenheimer | GQ
Daily ConversationUniversity StudentsWorking Adults
B21
Seth MacFarlane Breaks Down His Most Iconic Characters | GQ
Business EnglishDaily ConversationUniversity Students
B22
Sal Vulcano Replies to Fans Online | Actually Me
Daily ConversationUniversity StudentsWorking Adults
✨ Video Öner
B21
95 cümleler
Michael (2026) - The Making Of A Michael Jackson Movie | Behind The Scenes
Business EnglishUniversity StudentsWorking Adults
B21
19 cümleler
Sebastian Bach on finding his authentic voice
Business EnglishUniversity StudentsWorking Adults
B21
91 cümleler
Bridgerton’s Claudia Jessie talks getting into acting & her big career turning point 🎬 | Audible UK
Business EnglishDaily ConversationUniversity Students
B21
387 cümleler
Role Model's life changed when Mac Miller discovered his EP
Business EnglishDaily ConversationUniversity Students
B23
7 cümleler
Charles Melton on Trusting Casting and Doing the Work to Deliver
Business EnglishUniversity StudentsWorking Adults
B21
223 cümleler
Michael Carrick: His Man Utd future, the academy & managing Kobbie Mainoo | The Football Interview
Business EnglishInterview EnglishUniversity Students
B21
42 cümleler
How to Create a Character with Samuel L. Jackson | Discover MasterClass | MasterClass
Business EnglishUniversity StudentsWorking Adults
B21
36 cümleler
Jake Gyllenhaal Reveals How He Uses Backstory to Prep for Roles
Business EnglishUniversity StudentsWorking Adults
B284 cümleler
Learning
Business EnglishDaily ConversationUniversity Students
B11
97 cümleler
English Shadowing | MICHAEL B.JORDAN: From Struggle to Success (lesson #51)
Business EnglishInterview EnglishUniversity Students
B21
97 cümleler
Michael B. Jordan Best Actor Press Room Speech | 98th Oscars (2026)
Business EnglishDaily ConversationUniversity Students
B22
146 cümleler
start before you’re ready
Business EnglishDaily ConversationUniversity Students
Bu dersin kelimeleri ve konuşma notları
Bu videoda gölgeleme çalışması için 208 cümle ve 3137 kelime var. Konuşma bölümü 16:13 sürüyor. Konuşmacı hızlı konuşuyor, dakikada yaklaşık 193 kelime; bu yüzden birbirine bağlanan ve zayıflayan sesler duyacaksınız. Kelimelerin %85’i İngilizcede en sık kullanılan 3.000 kelime arasında; geri kalanına başlamadan önce bakmakta fayda var.
Bu videodaki önemli kelimeler
Videodan öğrenmeye değer 15 kelime, telaffuzu ve anlamıyla:
| Kelime | Telaffuz | Anlam |
|---|---|---|
| spin fiil | /spɪn/ | dolanmak, dönmek |
| mirror isim | /ˈmiɹɚ/ | ayna, gözgü |
| script isim | /skɹɪpt/ | hat |
| genius isim | /ˈd͡ʒin.jəs/ | dâhi |
| explore fiil | /ɪkˈsploɹ/ | araştırmak |
| glove isim | /ɡlʌv/ | eldiven |
| pants isim | /pænts/ | pantolon, don |
| trick isim | /ˈtɹɪk/ | hile, numara |
| clothing isim | /ˈkloʊðɪŋ/ | giysi, giyim kuşam |
| element isim | /ˈɛləmənt/ | öğe, eleman |
| transition isim | /tɹænˈzɪʃ.ən/ | geçiş |
| capture fiil | /ˈkæp.(t)ʃɚ/ | ele geçirmek |
| spiritual sıfat | /ˈspɪɹɪt͡ʃuəl/ | spiritüel, tinsel |
| jacket isim | /ˈd͡ʒæk.ɪt/ | ceket |
| footage isim | /ˈfʊtɪd͡ʒ/ | metraj |
Duyacağınız deyimsel fiiller
| Kelime | Anlam |
|---|---|
| go out fiil | çıkmak |
| figure out fiil | açığa çıkarmak |
| grow up fiil | büyümek, yetişmek |
| show up fiil | ortaya çıkmak |
Bu videodaki dil bilgisi
Konuşmacının en çok kullandığı yapılar, videodaki sözcüklerin aynısıyla:
| Yapı | Videoda |
|---|---|
| Edilgen yapı be + fiilin üçüncü hâli — kimin yaptığı değil, ne olduğu önemli | was recorded · be seen · being stuck |
| İlgi cümlecikleri who / which + cümle — bir kişi ya da şey hakkında ek bilgi | someone who really · Havenhurst, which is · nuance, which is |
| Present perfect have/has + fiilin üçüncü hâli — geçmişte olan ama şimdi de önemli olan bir eylem | I've never acted · have never been explored |
Dikkat edilecek telaffuzlar
Konuşmacı didn't, I'm, you're gibi kısaltılmış biçimleri 45 kez kullanıyor. Bunları duyduğunuz gibi kısa söyleyin.
- “th” sesleri: clothing /ˈkloʊðɪŋ/, rhythm /ˈɹɪð.əm/, thriller /ˈθɹɪ.lə/
- “sh” ve “zh” sesleri: transition /tɹænˈzɪʃ.ən/, capture /ˈkæp.(t)ʃɚ/, illusion /ɪˈl(j)uːʒ(ə)n/, unusual /ʌnˈjuːʒ(u)əl/, shoe /ˈʃu/
- Uzun kelimeler — vurguyu doğru yere koyun: unexpected /ʌnɪkˈspɛktɪd/, naturally /ˈnæt͡ʃ.(ə.)ɹə.li/, unusual /ʌnˈjuːʒ(u)əl/, repeatedly /ɹɪˈpiːtɪdli/, intensity /ɪnˈtɛnsɪti/
Bu videoyla nasıl çalışılır
- Videonun tamamını konuşmadan bir kez dinleyin ve bilmediğiniz kelimeleri not edin.
- 0,75× hızla başlayın, cümle cümle tekrar edin ve kolaylaşınca normal hıza dönün.
- Kendinizi kaydedin ve orijinaliyle karşılaştırın; spin, mirror, script gibi kelimelere özellikle dikkat edin.
Gölgeleme Tekniği Nedir?
Gölgeleme, başlangıçta profesyonel tercüman eğitimi için geliştirilen ve çok dilli Dr. Alexander Arguelles tarafından popüler hale getirilen, bilim destekli bir dil öğrenme tekniğidir. Yöntem basit ama güçlüdür: ana dili İngilizce olan bir sesi dinler ve hemen yüksek sesle tekrar edersiniz — konuşmacıyı 1-2 saniye gecikmeyle takip eden bir gölge gibi. Pasif dinleme veya dilbilgisi alıştırmalarının aksine, gölgeleme beyninizi ve ağız kaslarınızı gerçek konuşma kalıplarını eşzamanlı olarak işlemeye ve yeniden üretmeye zorlar. Araştırmalar, telaffuz doğruluğu, tonlama, ritim, bağlı konuşma, dinleme anlama ve konuşma akıcılığını önemli ölçüde geliştirdiğini göstermektedir — bu da onu IELTS Konuşma hazırlığı ve gerçek dünya İngilizce iletişimi için en etkili yöntemlerden biri yapar.