Luyện nói tiếng Anh bằng Shadowing qua video: 'The Odyssey' Cast Explains How Christopher Nolan Shoots Blockbusters Like Independent Films
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The horse was next up on the schedule and so I said to Chris, you know, we were walking from one place to another, I said, hey, you know, Tuesday we're doing the horse.
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I said, how are you going to shoot that?
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No idea.
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Okay, for the table.
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Everything about watching The Odyssey feels epic.
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Was there a moment or series of moments in making this film when it felt larger than life?
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I Think visiting the set
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and watching the seizure the seizure of Troy like I have never seen anything like
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that before And I couldn't believe how quickly they could put it on fire and then just turn it off again Yeah,
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and they had these special effects I'm turning off again Yeah, I remember this tree like was completely engulfed in flames
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and then you called cut and I was like well They've
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that trees I had the same and it just went out It was literally like a tap.
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It was amazing.
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And it was so cool seeing those guys come in with their fireman hats on
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and they're on the radio talking about like F -1 -9 go down and put 10HT.
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It was amazing.
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It was very cool.
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Yeah, the fire brigade.
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The amount of coordination to make this happen and to do it all in camera.
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Even the first day walking in Esauera, walking on that beach and seeing thousands of people,
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it just it just beggared the imagination bigger than anything I've ever seen yeah
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and I have to say the first the moment
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that we opened the gates of Troy we didn't know that Agamemnon
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and an army of 750 people were on the other side
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we just thought we were taking it to the opening of the door
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and we opened the door
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and it is one of I will never forget seeing Benny in
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that in that That costume standing in the middle
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and it looked like it was Benny and 20 guys
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Because it was dark behind them and then this roar and this 500 people came running
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You gods don't speak in ways we understand Who doesn't understand pain?
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Or blood the gods told you Then I defy the gods Can I actually ask you about the music in
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that sequence because that is so stress inducing that kind of like repetitive Yeah, I don't even know how to describe it.
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Yeah, well, it's a continuous associate acceleration It's a recent rhythm, right?
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It's a thing that we
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Hans Zimmer and I actually came up with on Dunkirk was the first time we sort of embraced
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that and it's it's
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It's the rhythmic equivalent of the shepherd tone shepherd tone being a sort of continuing ascension of a note, the rhythm just goes faster and faster and faster.
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So it gives you this sort of feeling of anxiety, this kind of tension.
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It's a wonderful musical structure and Ludwig Gorenson did the music for this film.
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Yeah, fully embraced it, figured out a couple of different places in the film, including stuff I won't get into because it's spoilery towards the end,
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but Siege of Troy being one of these sequences where yeah
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you just want the audience on the edge of the seats
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and you just want to continually put them in in the
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heads of the the guys who were you know running through
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that city at night uh
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and of course the way hoita's lit it you know it's
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lit by flames as it would be you know it's it's dark
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and spooky and there's a there's a real race against time to get those get those gates open
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so i really wanted ludwig to just try and continually you know amp the tension It's super effective.
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Yeah, it makes you feel like you're being chased.
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Yeah.
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I was like writhing around.
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Oh my God.
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Yeah, no, he did an incredible job.
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And the whole school, I asked him to do it without an orchestra, because in the same way I've been saying to you guys,
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I didn't want the performances to feel like something from the Hollywood of the 50s and 60s, you know, kind of fake British accents or whatever that is,
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you know, that kind of elevated classical world thing.
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You're trying to do something more accessible, more earthy, grounded.
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Those are the terms I've been using.
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So I went to Ludwig and said, well surely that means we shouldn't have the kind of 19th century romantic tradition in music, which is so much of what movie music evolves from.
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And so he took the orchestra off the table and said, okay, well let's look at ancient instruments.
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Let's look at gongs and things made of bronze.
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It's the Bronze Age.
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And then the Aulos, this sort of dual pipe, dual flute system that he found an expert who built this,
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reproduced it and knew how to play it.
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And the Lyre, this string instrument.
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But using those instruments for his very modern purposes.
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He's an incredible producer as well as a great composer.
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Just really looking at what can you do with these sounds that you haven't heard before that will move an audience.
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in a fresh way.
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Matt and Tom, you're both no strangers to action movies.
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How if at all did things like the Bourne
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and Spider -Man franchises prepare you for the stunts and choreography of a movie like this, or are they completely different animals?
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I would say it helps to have some experience in doing it
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so you understand the kind of language of action and that choreography,
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but more than anything, what those Bourne movies taught me and what this one confirmed is that
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it's all about the dance partner that you have.
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And George Cottle, who coordinated this and who is just so great at what he does,
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gave me for that last sequence the very top level people.
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Most of them were stunt coordinators in their own right.
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And so a mediocre dancer can be made to be look good with an expert partner.
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And so I just was moving from expert to expert.
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And so I was very grateful to not only how well George choreographed it, but the people that he put me with.
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I do think you're selling yourself short a little bit because I saw you move and I was blown away.
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And I remember running up to you and going, oh my god, Matt, do you have like a background in martial arts?
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You're just like so good at this and you just went, no, I've just done a lot of fake karate.
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A lot of fake karate.
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It helps when the other person's reacting exactly the right way.
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But I mean to be fair,
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you know, I have to defer to the best among us at fake karate Tom is unbelievable at this stuff.
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I you know do the spider -man stuff I think if I jumped and landed in a deep squat in my armor, you probably would have been like what?
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Now I had a really good time with the action on this movie.
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I really enjoyed it enjoyed it I found the swords and shields a really exciting new challenge, something I've never done before.
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Like you said, George's team is the absolute best.
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And what they're so good at is they challenge you.
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They know what you can do and they push you that little bit further.
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I was really lucky that I had plenty of time to rehearse.
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So when we came to set, I don't think I've ever felt so prepared to do any of these sorts of scenes before.
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Your style of shooting those scenes is really different to what I'm used to.
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Spider -Man world, you know, you might shoot one or two beats before you cut, you watch it back, you analyze it, you do it again.
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But what I loved about the way you work is
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that you would have us run the entire fight all the way through, especially for that pre -fight.
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Because it just brings a rawness and an edginess and a dirtiness to the fight.
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It's not clean.
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It's not, it doesn't feel like it's rehearsed.
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And it feels really dangerous, even though it's not.
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That's what George is really expert at, is making it look dangerous.
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And I think of all the movies I've seen of yours, I've never felt the danger so much throughout the film.
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Yeah, well, I mean, and the training that you guys have done
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and that you already had in other movies where you're generally using your fists, what I was worried about,
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and it was really interesting to see how well you picked up that thing of was making eye contact with your partner, knowing where the choreography goes,
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because when you put a sword in your hand, that extra weight, that extra leverage, that extra two and a half feet is incredibly dangerous.
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I think the stakes are raised enormously when you get into these kind of weapons and these kind of situations.
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But you guys were so well prepared and well rehearsed.
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By the time we came to shoot the scenes, I was able to talk to you about the character and about what's going on and say, what are we trying to do narratively with it?
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And you could, with George and his guys,
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you could adapt effortlessly to make the thing work narratively for how we were going to film it.
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It was a real pleasure to shoot those scenes.
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Fight scenes, they can be really arduous to shoot, but for me on this film they were really a joy actually, just to be able to put the camera on it
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and really figure out how we wanted the audience to relate to it and see it.
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You know, Kristen, something about the way you film and direct, which is really incredible, because you want such reality.
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And you don't want any falseness.
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You don't want any fakery.
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You want things to be as real as possible, but everybody's still safe.
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But you're always at the border of danger, because that's what you see on film.
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It's so precarious, and it pulls you in as an audience.
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I think that's incredible in how all the other actors went at it and did it.
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Yeah, well, I think being in a real place...
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In the real situation, you know with the real props and the real you know, I think it just informs what we all do It informs how I see it,
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but it also I see it in form performance I see it, you know change the way you guys move and the way you want to You know get the camera,
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you know or rather get the character across
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that the camera could pick it up and everything It's just it's a very different thing to being on
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On a set in the studio After years of war
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No one could stand between my men And home
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Not even me This is for Anne and Rob.
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Did you both bond over your shared Batman experiences when you met for this movie?
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It's all we talked about. Did we?
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I don't think we talked.
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No, I feel like we bonded over dinner, over pizza.
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A lot of pizza.
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A lot of pizza.
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A lot of pizza.
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Didn't you order something very strange?
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Well, it was very normal.
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It was tuna.
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But then what came out was it didn't look like your normal tuna.
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But it didn't taste nice either.
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I thought it tasted wonderful.
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It was like a sweet and sour tuna.
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It was disgusting.
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You guys didn't even try it.
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It was very great.
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It was interesting to find, but you liked it.
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You both sat there and you just very politely just went, no, thank you.
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And then at one point you're like, I think it looks a bit like roadkill.
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And it was mind -boggling how unappealing it looked.
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I don't know if you're eating it every day.
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No, I don't, we didn't really do bonding rituals.
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I'm just trying to think, you know, I think we all just felt bonded by the fact
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that we'd been chosen and trusted and to be a part of this.
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I felt like that was kind of what I needed.
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And then the bonding was the doing of the thing.
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Yeah, I felt every free moment we had was on set.
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Yeah.
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I think getting to film in Los Angeles, which is becoming rarer and rarer, that felt really amazing.
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Oh, it's special.
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Amazing and really special.
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And also we filmed on stage 23, right?
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Yeah.
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On Sony, which is one of like the most mythic stages that we have in our country.
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And you think about the history of the movies that have been filmed there, everything from The Wizard of Oz to I'm sure there's many more that I'm not thinking of right now.
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Interstellar.
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I was going to say I want someone else to provide one before I immediately come there.
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The Wizard of Oz is the one that, yeah, when you walk onto that stage and you think about that movie and what it means in history and everything,
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to be part of that tradition feels like a really profound thing.
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And where our base camp was, we were in the parking lot just off of that and every day, one of the things I love about working on your sets is they're so regimented and at 7 a .m.,
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everybody's through the works and they're on their marks, ready to start the day.
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So that meant at like 6 .55 you had suitors
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and beggars and queens and handmaidens and everybody just like hustling down the corridor.
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Clicks up.
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Yes, to try to get to the stage, to get to their mark on time.
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And every single day I just felt like I was in the middle.
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I felt like I was in a movie before I even got on set.
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And then just you would step, and I don't know, maybe I'm just a little woo -woo, but I just, I felt the magic every time I walked through the doors onto that stage.
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It was just beautiful.
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Yeah.
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No, I was just thinking of what you were talking about earlier, like just being on set from 7am and staying on set
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and kind of being more of a repertory company than you usually have.
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It's kind of It's really nice just kind of knowing that everyone will be there for your eye line, for off -camera and stuff.
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It's so, you know, you work on so many movies where it's like
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you're getting a stand -in or you're doing it with a tennis ball
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or you're doing it with something and it's like on this It's just across the board You're doing with the real person.
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It's my my favorite.
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It's when you're dropping the ball
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That's Chris that I might take my own cue for the drop the ball
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and I don't know they're doing this The big spectacle for me was
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when I got to Morocco and I was supposed to meet with you and they brought me to this
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Sand pit with a ginormous horse And I go, where's Chris?
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And they tell me he's in there.
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With Hoyta, who's a big man, with the IMAX camera, with Matt.
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And about 25 other guys.
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And 25 other guys.
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And I'm like, oh, I don't want to disturb anything because, you know, I don't want to bother anybody because this looks crazy.
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And that was the first day, and I was like, wow, I wonder what's in store for me.
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Yeah, that was wild.
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But that's the first time I ever believed the Trojan story, because you never really believed how did they fool them?
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How did they get the guys in there?
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But this you believe that they were really in the horse and that they would have brought that horse in.
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Yeah, well, I mean, I remember, Matt, you asking me at some point, well, how are we going to do the inside of the horse?
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And one of my favorite moments.
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Well, you tell it.
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No, I was really excited because the first day in S .A .W .A .R., we went there and we saw the horse, right, which was a moment to see this thing and all of the Trojans pulling.
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It was just incredible to see.
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But as we were shooting Troy, the horse was next up on the schedule.
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And so I said to Chris, you know, we were walking from one place and he said, hey, you know, Tuesday we're doing the horse.
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I said, how are you going to shoot that?
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He goes, no idea.
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Oh, man.
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I go, what?
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And he goes, yeah, no, we're just going to get in there and figure it out.
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And it's the thing I love about working with him is it is like shooting an independent film, but at this scale that is beyond anything I've ever had a chance to do.
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But he really lets it be found and discovered.
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And then he and Hoyt to figure out a way to capture that in that format.
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And it looks like it was planned for years.
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So we got in there with the camera.
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And at some point, I don't know, I think it was at some point being in there for an hour or so.
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You're like, maybe we should get out and take a break.
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I'm like, no, no, no, no, don't.
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If one guy gets out, we barely got in here.
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This is a house of cards.
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It wasn't comfortable in there.
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If I let him get out, they're never getting back in.
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So we just need to get out of the shop.
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We stayed in there for hours.
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We got it done.
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I need everyone in this party dead.
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I can still save them.
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You're a man who needs to control his fate.
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But you cannot control this. That world is gone.
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Christopher and the table.
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Each stop on the Odyssey felt like it had a distinct tone.
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The Cyclops and Cersei felt more horror movie as opposed to the action nature of the armored giants.
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Did you feel each location within the story, including the Ithaca, represented a different kind of tone or cinematic genre within the movie?
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I mean, yeah, from my point of view, one of the attractions of taking on the Odyssey is it has that scope.
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It has all these different stories.
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So there are elements of horror and thriller and the war movie, but it's also a love story.
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It's also a coming -of -age story.
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It's got all these different genres kind of mixed together For me as a director
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that that's a fun thing to take on
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There was one of those takes where where they were shooting the beggars who were even further away
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The background artists and we were on the steps doing the scene
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and Annie was fully sobbing I said Annie there's no way they can see No, no, I have to give this for everybody.
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She goes they can feel it I go, I don't know if they know we're here.
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I didn't.
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My whole thing about it was by that point, they had been there for weeks.
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Yeah.
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They had been waiting for their close -up for weeks.
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And I was just like, we gotta go full out for them.
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They've been there for us every day.
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But I, because I'm nearsighted, I couldn't even see them.
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I'm like, I don't think they could see us.
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One of them has amazing vision, and we're here for that one.
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Have we mentioned how large stage 22 is?
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And how big that hall was that Ruth built.
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Yeah, but I remember shooting your reactions to the fight at the end
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and hearing Matt and the stunt guys behind camera hitting the ground pretty hard.
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Yeah.
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And he said, you can at least put some pads in.
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We're literally shooting the other way.
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Please save yourself.
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For the entire fight sequence, I'm like, you don't need to do it, like fall out.
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We actually got into it.
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We were having fun at a certain point.
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Yeah.
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Yeah.
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The female characters in the film felt way less villainous and way more understandable as figures.
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What creative measures were taken to strike this tone?
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How did you further make sure we felt and understood the plights of Penelope, Circe and Calypso?
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Well, I mean, for me, a lot of that honestly is casting because when you look at the Homer, you know you look at the poem
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and what it offers in terms of the female characters does
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all the characters it's actually very simple it's deceptively simple
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but each ear has really been able to to kind of reinterpret
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or interpret those characters according to the interests of the time and the values of the time.
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But I knew, you know, when we first talked about Penelope and everything, it was like, you were going to have to know everything about the reality of that character,
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not just the symbolic or iconic aspects of the character, but who she is underneath and what that underlying reality is, because we're trying to flesh out the story and make it real.
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And I think that applied to Charlize as Calypso and Lupita as Helen and everything really.
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So yeah, for me it's a lot about working with actors who, as I like to put it, have to become expert on that aspect of the story
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and their character
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and bringing in collaborators who are going to really think through the reality of the entire character in this situation, which I thought you did beautifully with Penelope.
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It's a very complex character.
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And also the scenes between the two of you.
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That relationship, I think, I just found it
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so interesting to watch you guys develop that together in terms of how complicated it is,
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particularly when you're talking about this absent figure, this absent father who your character doesn't remember,
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but has heard all of the myths about and sort of idolized it, puts on a pedestal.
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And you, who know Odysseus to be a real person, love your life, but just a man, not this mythical figure.
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And that the friction that created I thought was really interesting.
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If I were to add something.
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Yeah, I was going to say.
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No, please.
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And I hope it's okay to mention this, but someone close to me has seen the film and she had such an emotional reaction to seeing it.
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And when I was talking to her about why, she said, you know, I've always felt the women get blamed for everything in the Odyssey.
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And the thing that I loved about this movie is you were all given so much dimension.
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And I felt like each one of you it was
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so clear that you had so much more going on even the goddesses were humanized
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and so she felt like she had actually been invited into the Odyssey for the first time ever and
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And I just I love this text.
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I love Greek mythology
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And I've never really gone deep with Penelope either I kind of accepted her at face value
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and when I read your interpretation of it I realized
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that this was the moment this was the opportunity to dive deep
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and kind of see it and see her in a multi -dimensional way and maybe imagine that she wasn't just
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Maybe the way that she was described as the role
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that she had to play But that doesn't necessarily mean that
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that was all who she was
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and then I started to think about why why does she have to be
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So patient why does she why is modesty the wise choice
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because she's always known for her wisdom
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and then I thought oh my gosh She's fighting for her life This is someone people aren't perfect
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because they feel safe people try to be perfect because they're scared that one wrong we was going to get them killed.
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And that's when the character really started bubbling up and I realized, oh my gosh, she's angry.
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She is so angry about all of these things that are happening.
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They're out of her control.
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She loves that her son's growing up.
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She's terrified that her son is growing up.
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And all those other things.
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And it was just all there.
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I think I kept going up to you being like, I mean, it probably sounded insane, but maybe that just happens anyway.
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But I just kept running up to you with the script and like, Chris, it's here.
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It's all here.
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And it was.
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I think his king is coming back.
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Tom.
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What?
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Says Tom.
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All right, not for you Tom.
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Okay.
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You've called Robert your safety blanket.
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That must be you.
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Tom, you called Robert your safety blanket.
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When did this happen?
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He looked at you 70 of the day and I was like, he's my safety blanket.
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How do you mean that during the making of this movie?
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What is it about your relationship that means so much to you and why do you view him and call him that?
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Rob and I have made three movies together now.
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Oh, that's one.
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All very different.
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I've loved every minute of working with Rob, and I've always felt like I've left the set a better actor because he kind of raises the stakes of every scene.
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And I think what was really exciting for me
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and also really daunting is that we get to establish the stakes of the movie for Matt's journey right at the beginning.
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And I felt the weight of that pressure and I think
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that the kind of friction between our characters is
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so important for my entire journey and I was really nervous about trying to make sure that that felt...
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authentic
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and you know scary enough for my character to kind of make this desperate decision to go on this journey and
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I knew when I found out that you were playing
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and cinema's that I could relax because you're so good at being a dickhead
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Thank you so much the first ever EW roundtable to end with dickhead
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15 từ khó nhất trong video, kèm phiên âm và nghĩa:
| Từ | Phiên âm | Nghĩa |
|---|---|---|
| beggar danh từ | /ˈbɛɡɚ/ | ăn xin, ăn mày |
| rehearse động từ | /ɹɪˈhɝs/ | tập dượt |
| karate danh từ | /kəˈɹɑ.ti/ | không thủ đạo, karate |
| tuna danh từ | /ˈtjuː.nə/ | cá ngừ đại dương |
| blanket danh từ | /ˈblæŋ.kɪt/ | mền, chăn |
| stake danh từ | /steɪk/ | cọc |
| friction danh từ | /ˈfɹɪkʃən/ | ma sát |
| shepherd danh từ | /ˈʃɛpəɹd/ | người chăn cừu |
| armor danh từ | /ˈɑːɹ.mɚ/ | áo giáp, giáp |
| absent tính từ | /ˈæb.sn̩t/ | vắng mặt |
| orchestra danh từ | /ˈɔː.kɪs.tɹə/ | dàn nhạc |
| rhythm danh từ | /ˈɹɪð.əm/ | nhịp điệu |
| flame danh từ | /fleɪm/ | ngọn lửa |
| inform động từ | /ɪnˈfɔɹm/ | thông báo |
| embrace động từ | /ɛmˈbɹes/ | ôm |
Cụm động từ bạn sẽ nghe
| Từ | Nghĩa |
|---|---|
| come back động từ | trở lại, trở về |
| go out động từ | ra, chết |
| pick up động từ | nhặt, lượm |
| turn off động từ | tắt |
Những câu đáng luyện lại
Các câu ngắn, trọn ý trong video mà bạn có thể dùng lại khi giao tiếp hằng ngày:
- I said, how are you going to shoot that?
- Those are the terms I've been using.
- Let's look at gongs and things made of bronze.
- You don't want any fakery.
- Didn't you order something very strange?
Ngữ pháp trong video
Những cấu trúc người nói dùng nhiều nhất, kèm đúng cụm từ trong video:
| Cấu trúc | Trong video |
|---|---|
| Thì hiện tại hoàn thành tiếp diễn have/has been + -ing — việc bắt đầu từ trước và vẫn đang tiếp tục | I've been saying · I've been using |
| Thì hiện tại hoàn thành have/has + quá khứ phân từ — việc đã xảy ra nhưng còn liên quan đến hiện tại | have never seen · I've ever seen · haven't heard |
| Câu bị động be + quá khứ phân từ — nhấn vào việc xảy ra, không phải người làm | being chased · can be made · was blown |
| Mệnh đề quan hệ who / which + mệnh đề — thêm thông tin về người hoặc vật | guys who were · music, which is · direct, which is |
Phát âm cần chú ý
Người nói dùng 100 dạng rút gọn, ví dụ you're, don't, I've. Hãy nói theo dạng ngắn đúng như bạn nghe.
- Âm “th”: rhythm /ˈɹɪð.əm/, earthy /ˈɝθi/, mythic /ˈmɪθɪk/, mythical /ˈmɪθɪkəl/, mythology /mɪˈθɑ.lə.d͡ʒi/
- Âm “sh” và “zh”: friction /ˈfɹɪkʃən/, seizure /ˈsi.ʒɚ/, shepherd /ˈʃɛpəɹd/, gosh /ɡɑːʃ/, genre /ˈ(d)ʒɑnɹə/
- Từ dài — đặt trọng âm cho đúng: choreography /ˌkɔɹiˈɑɡɹəfi/, continually /kənˈtɪnjuəli/, collaborator /kəˈlæbəɹeɪtɚ/, deceptively /dɪˈsɛptɪvli/, effortlessly /ˈɛf.ɚt.ləs.li/
Những âm người Việt thường gặp khó:
- Cụm phụ âm cuối — đọc đủ từng âm, đừng nuốt âm cuối: stunt /stʌnt/, shepherd /ˈʃɛpəɹd/, inform /ɪnˈfɔɹm/, engulf /ɪŋˈɡʌlf/, evolve /ɪˈvɑlv/
- Âm /tʃ/, /dʒ/ và /ʒ/ — tiếng Việt không có, đừng đọc thành “ch” hay “gi”: seizure /ˈsi.ʒɚ/, genre /ˈ(d)ʒɑnɹə/, arduous /ˈɑɹ.d͡ʒu.əs/, ginormous /dʒaɪˈnɔɹməs/, mythology /mɪˈθɑ.lə.d͡ʒi/
- Âm /æ/ — mở miệng rộng hơn âm “e”: blanket /ˈblæŋ.kɪt/, absent /ˈæb.sn̩t/, choreograph /ˈkɔɹjəɡɹæf/, collaborator /kəˈlæbəɹeɪtɚ/, kinematic /kɪn.əˈmæt.ɪk/
Cách luyện với video này
- Nghe hết video một lần, chưa cần nói, và ghi lại những từ bạn chưa biết.
- Bắt đầu ở tốc độ 0,75×, nói đuổi từng câu, rồi quay lại tốc độ bình thường khi đã quen.
- Ghi âm giọng mình rồi so với bản gốc, chú ý các từ như beggar, rehearse, karate.
Phương Pháp Shadowing Là Gì?
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.