Luyện nói tiếng Anh bằng Shadowing qua video: Portraying Marie Colvin in A Private War | Rosamund Pike on Acting

I actually sought out the role of Marie Colvin in A Private War.

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I actually sought out the role of Marie Colvin in A Private War.

I heard that they were making a film about Marie.

I read a Vanity Fair article that was written about her

maybe a year and a half after her tragic death in Syria.

And the article just struck me with the kind of commitment of this woman,

the contradictions of her, the passion with which she pursued her career,

the single-mindedness but also this person who was so effervescently

optimistic I suppose despite all the trauma that she witnessed

and I just thought this is an extraordinary person and

if the right filmmaker comes on to direct the film then it could be an extraordinary film

and when I heard

that Matthew Heinemann whose background is in documentary was going to

be the filmmaker I just really really wanted to be involved

because I thought he's going going to have an unflinching eye on this woman

and we're going to get all of her

and there's going to be a truth to the war zone depictions

which you know really matters it can't be a hollywoodisation

when you're dealing with subject matter like this um

so i tried to meet him and i

and it took me about a year to actually um to actually meet him face to face

but luckily he was working on the script for that long

so the delay didn't matter we really hit it off it was a kind of meeting of minds

and a sort of search for the same truth

and he was probably being persuaded and people were probably trying to persuade him to cast someone else but we

just sort of knew we had the same vision in mind

and that sort of trust that we established on that day

or an instinct for the trust that we could have just carried us through the movie.

Marie's great ally towards the end of her life was her

photographer Paul Connery had a reputation for ditching photographers who she became impatient with

and Paul Conroy was one of the few who kind of stayed the course.

And you know I think that was largely

because they shared this fantastic sense of humour

and they both like to kind of go against the grain and not follow the pack.

And Jamie Dornan plays Paul in our film and the interesting thing is

when I came on board the film we didn't actually have life rights to anybody apart from Marie herself.

So other characters' names were changed.

And then as people got to know Matthew Heinemann and me and we gained people's trust,

more and more people said,

okay, I think it would be great if you used my name.

So that was true of Sean Ryan,

the editor of the Sunday Times, and of Paul Conroy.

And Paul Conroy came on board, actually, as an advisor.

And he came out to visit us during our first week of filming in Jordan,

and then he never left.

I think he found a kind of,

like another family, really, in the tribe that we become

when we're making a film

and I think it had a sort of strange relationship to

the to the band of journalists on the road following conflict

and I think there was something in the experience of making a film

that he recognized and felt very comfortable with

so we benefited from his stories his experiences you know

when we were depicting a scene he was actually there

so the level of accuracy

that he could help us achieve was astonishing I think Matthew Heinemann and my greatest fear when embarking on this project was,

you know, would we be able to get as close to something that felt truthful as we wanted to?

You know, when we were depicting conflict zones, could they feel real?

Could the experience that the audience was going to get come anywhere close to the experience

that Marie had when she was in these places?

And I think the fact that Matt has,

you know, shot documentaries up to this point,

you know, he's been the cameraman,

he's taken his own sound,

he's embedded with people very much in the way

that Marie did to get to the truth of the stories

that he's telling and he followed a kind of similar instinct with our film.

So we filmed all the war zones in Jordan

but he interviewed everybody who was going to make up the background of our film.

So basically whatever conflict zone we're covering,

we went, Jordan stood in for Libya,

Iraq, Afghanistan, Sri Lanka and Syria

and Matt found refugees from all those countries currently living in Jordan

and they became the fabric of our of the war zones as we showed them in the movie

so when I'm interviewing people or coming across people

or interacting with anyone who's been you know the victim of an IED explosion

or you know people who are crowding around a mass gravesite

that Marie had an instinct about and she She hired a digger to dig up the earth.

And they did find bodies.

The people crowded around the graves.

We were in a clinic in the besieged city of Homs.

Everybody was someone who had had a very similar experience,

if not the very experience that we were describing.

So there was a level of reality that I just didn't believe could be achieved really.

And it became the kind of touchstone of our film.

It's what gives it its truth.

It's what gives it its fierceness.

It's what gives it its power.

Because again and again, you're diving into an experience through these people that doesn't just feel real.

It is real.

So, for instance, there are two women at one point tell me the stories of losing their husbands

and one tells me the story of losing her child.

And I'd never heard it until the minute it's told to me on film,

and that's the moment that's in the movie.

And it's harrowing, and it's harrowing for the audience,

it was harrowing for me.

and I think comes very close to the kind of in-depth connection-driven reporting that Marie was famous for.

I mean, I think I'm still very affected by Marie.

I think she's in me somewhere.

I think my eyes have been opened to the world as she saw it.

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You know, you inhabit someone.

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Your job as an actor is to trick your brain into believing you are the person.

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And if you trick your brain well enough,

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your body starts to respond as if you are that person.

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So situations that are not dangerous because you're an actor

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and it's a movie are read by your body as dangerous and your heart will race,

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you'll sweat, you'll have a physiological reaction that's not of your making.

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you know, and that those experiences in the body never leave you, I think.

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I mean, there is so much pressure in playing a real person,

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especially someone who was as fiercely loved and missed as Marie.

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I mean, Marie's friends are devoted.

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Her family, you know, it's a painful recent loss for them.

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Her family are fighting at the moment.

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They're bringing a court case against the Syrian regime for Marie's murder.

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They really believe and have a body of evidence to support the fact that she was targeted by the Assad regime

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when she went into Homs.

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I mean, it was an enormous pressure because in this instance,

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and I don't think it's the same with every real person you play,

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sometimes I think you can have a legitimate choice as an actor to get a feeling of the person across

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or tell the truth of their story but not,

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you know, embody them fully.

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But in this,

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I had a documentary maker as my director who is used solely to trading in the truth in real people,

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in observing real people.

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And secondly, I found Marie such an intoxicating woman when I listened to her,

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watched her, that I just thought I want to put that on screen.

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I want to be as close as I possibly can to her.

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I want to be her.

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I want to apologise for not being her,

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you know, with a documentary maker as my director.

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So I just tried to do everything I could to kind of eradicate all trace of my own instincts and behaviours.

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And once I decided to do that,

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I then realised what a momentous task it was,

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to change your voice, change your posture,

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change the way you walk,

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change the little tells, the little insecurities that you default to in an uncomfortable situation,

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learn to smoke.

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And that's just the external,

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there's a whole world of internal stuff too, of course.

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One of my heroes I ended up playing right after I played Murray Colvin,

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and that was Murray Curie.

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So I had this very extraordinary year where two very important Marie's came into my hands at the same time.

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And that was, you know,

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they definitely influenced one another in my mind,

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I think, because I was sort of thinking about them both in tandem sometimes.

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And Marie Curie was just an astonishing person.

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Again, someone who lived courageously.

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I mean, Marie Curie probably,

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I would say, lived pretty fearlessly.

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Mary Colvin, I don't think was fearless.

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You know, that's often the cliche about the war correspondent,

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is that they're fearless.

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I think she was not fearless at all.

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I think she had tremendous fear,

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but the need to tell the story was so urgent that she went past her fear.

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Apart from that, there's no one currently calling me,

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no. But give me a year.

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Hearing stillker

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Shadowing là kỹ thuật học ngôn ngữ có cơ sở khoa học, ban đầu được phát triển cho chương trình đào tạo phiên dịch viên chuyên nghiệp và được phổ biến rộng rãi bởi nhà đa ngôn ngữ học Dr. Alexander Arguelles. Nguyên lý cốt lõi đơn giản nhưng cực kỳ hiệu quả: bạn nghe tiếng Anh của người bản xứ và lặp lại to ngay lập tức — như một "cái bóng" (shadow) đuổi theo người nói với độ trễ chỉ 1–2 giây. Khác với luyện ngữ pháp hay học từ vựng bị động, Shadowing buộc não bộ và cơ miệng phải đồng thời xử lý và tái tạo ngôn ngữ thực tế. Các nghiên cứu khoa học xác nhận phương pháp này cải thiện đáng kể phát âm, ngữ điệu, nhịp điệu, nối âm, kỹ năng nghe và độ lưu loát khi nói — đặc biệt hiệu quả cho người luyện IELTS Speaking và muốn giao tiếp tiếng Anh tự nhiên như người bản ngữ.

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Luyện nói tiếng Anh bằng Shadowing qua video: Portraying Marie Colvin in A Private War | Rosamund Pike on Acting

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Luyện nói tiếng Anh bằng Shadowing qua video: Portraying Marie Colvin in A Private War | Rosamund Pike on Acting

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