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1
I'll keep on making those new mistakes I'll keep on making them everyday
Tôi sẽ tiếp tục mắc những lỗi mới đó, tôi sẽ tiếp tục mắc chúng mỗi ngày.
2
Those new mistakes
3
I'm Gazelle.
4
Welcome to Zootopia.
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Excuse me?
6
Down here?
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Hi.
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O.M.
9
Goodness.
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They really did hire a bunny.
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What?!
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I gotta tell you, you are even cuter than I thought you'd be!
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Ooh, uh, you probably didn't know, but a bunny can call another bunny cute, but when other animals do it, it's a little...
14
I am so sorry.
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Me, Benjamin Klawhauser.
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The guy everyone thinks is just a flabby donut-loving cop stereotyping you.
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Oh.
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Oh, it's okay.
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Oh, you've actually got...
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There's a...
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In your neck, the fold... Where?
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Oh, where you went, you little dickens?
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I should get a roll call.
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So, which way do I...?
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Oh, bullpen's over there to the left.
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Great.
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Thank you.
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Aww.
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That poor little buddy's gonna get eaten alive.
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Oh!
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Sorry, coming through.
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Excuse me.
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Excuse me, pardon.
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Bon voyage, flatfoot!
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Ah!
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Ah!
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Oh!
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Hey!
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Stop right there!
40
Have a donut, Coppa!
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No!
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Oh my god, did you see those leopard print jeggings?
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No!
44
Oh!
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I love your hair.
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Oh, thank you!
47
Hehehehe, come to Poppa.
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Ha!
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Alright, everybody sit.
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I've got three items on the docket.
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First, we need to acknowledge the elephant in the room.
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Francine.
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Happy birthday.
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Number two.
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There are some new recruits with us I should introduce, but I'm not going to because I don't care.
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Finally, we have 14 missing mammal cases.
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All predators from a giant polar bear to a teensy little otter.
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And City Hall is right up my tail to find them.
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This is priority number one.
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Listen, I don't know what you're doing skulking around during daylight hours.
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But I don't want any trouble in here.
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So hit the road.
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I'm not looking for any trouble either, sir.
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I simply want to buy a jumbo pop for my little boy.
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You want the red or the blue, pal?
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I'm such a...
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Oh, come on, kid.
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Back up.
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Listen, buddy, what?
70
There aren't any Fox ice cream joints in your part of town?
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Uh, no, no, there are.
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There are.
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It's just, my boy, this goofy little stinker, he loves all things elephant, wants to be one when he grows up.
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Is that adorable?
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Who the heck am I to crush his little dreams, huh?
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Look, you probably can't read, Fox, but the sign says, we reserve the right to refuse service to anyone.
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So beat it.
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You're holding up the line.
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Hello?
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Excuse me.
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Hey, you're gonna have to wait your turn like everyone else, meter maid.
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Actually, I'm an officer.
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Just had a quick question.
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Are your customers aware they're getting snot and mucus with their cookies and cream?
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What are you talking about?
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Well, I don't want to cause you any trouble, but I believe scooping ice cream with an ungloved trunk is a Class 3 health code violation and...
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which is kind of a big deal.
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Of course, I could let you off with a warning if you were to glove those trunks and, I don't know, finish selling this nice dad and his son a...
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What was it?
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A jumbo pop.
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Please.
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A jumbo pop.
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Fifteen dollars.
94
Thank you so much.
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Thank you.
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Oh, no. Are you kidding me?
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I don't have my wallet.
98
I'd lose my head if it weren't attached to my neck.
99
That's the truth.
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Oh boy, I'm sorry pal.
101
Gotta be about the worst birthday ever.
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Please don't be mad at me.
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Thanks anyway.
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Keep the change.
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Officer, I can't thank you enough.
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So kind, really.
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Can I pay you back?
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Oh no, my treat.
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It's just, you know, it burns me up to see folks with such backward attitudes towards foxes.
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I just want to say you're a great dad and just a.. a real articulate fella.
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Ah, well that is high praise.
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It's rare that I find someone so non-patronizing.
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Officer...
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Hopps.
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Mr...
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Wilde.
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Nick Wilde. And you little guy.
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You want to be an elephant when you grow up?
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You be an elephant.
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Because this is Utopia.
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Anyone can be anything.
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Well, now, wait a minute.
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Polar bear fur, rap pack music, fancy cup.
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I know whose car this is.
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We gotta go.
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Why?
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Whose car is it?
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The most feared crime boss in Tundra Town.
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They call him Mr. Big, and he does not like me, so we gotta go.
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I'm not leaving.
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This is a crime scene.
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Well, it's gonna be an even bigger crime scene if Mr. Big finds me here, so we're leaving right now.
133
Oh, God!
134
Raymond!
135
And is that Kevin?
136
Long time no see.
137
And speaking of no see, how about you forget you saw me?
138
Huh?
139
For old time's sake?
140
That's enough.
141
What did you do that made Mr. Big so mad at you?
142
I, um, I may have sold him a very expensive wool rug that was made from the fur of a skunk. But.
143
Oh, sweet cheese and crackers.
144
Thank you.
145
Never let them see that they get to you.
146
So, things do get to you?
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I mean, not anymore, but I was small and emotionally unbalanced like you once.
148
Har har.
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No, it's true.
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I think I was eight or maybe nine, and all I wanted to do was join the junior ranger scouts.
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So my mom scraped together enough money to buy me a brand new uniform because, by God, I was going to fit in.
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Even if I was the only predator in the troop, the only fox, I was gonna be part of a pack.
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Ready for initiation?
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Yeah.
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Pretty much born ready.
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I was so proud.
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Okay, now raise your right paw and deliver the oath.
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I, Nicholas Wilde, promise to be brave, loyal, helpful, and trustworthy.
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Even though you're a fox, What?
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No!
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No!
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What did I do wrong, you guys?
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No!
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Please, Tony, what did I do wrong!
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What did I do?
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If you thought we would ever trust a fox without a muzzle,
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you're even dumber than you look. Are you gonna cry?
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I learned two things that day.
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One, I was never going to let anyone see that they got to me. And two?
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If the world's only going to see a fox as shifty and untrustworthy, there's no point in trying to be anything else.
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Nick, you are so much more than that.
172
The End
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Oh, thank you both so much.
174
One second.
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You're fired.
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What?
177
Why?
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Insubordination!
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Now, I'm going to open this door and you're going to tell
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that Otter you're a former meter maid with delusions of grandeur who will not be taking the case.
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I just heard Officer Hopps is taking the case.
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Assistant Mayor Bellwether.
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The mammal inclusion initiative is really starting to pay off.
184
Mayor Lionheart is just going to be so just.
185
No, no, let's not tell the mayor just yet.
186
And I sent it and it is done, so I did do that.
187
Hey everyone, it's Shakira, and I'm so happy to announce that I'm gonna be a part of the new Disney movie, Zootopia, where I'm gonna be playing Gazelle.
188
I'm letting you guys into my studio today because it is a special occasion, and I'm gonna play a small snippet of my new song that's gonna be in the movie.
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Try everything.
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Good evening, Zootopia!
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Put your paws up.
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I messed up tonight, I lost another fight Lost to myself but I'll just start again I keep falling down,
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I keep on hitting the ground But I always get up now to see what's next Birds don't just fly,
194
they fall down and get up Nobody will learn without getting it wrong
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I won't give up, no I won't give in Till I reach the end and then I'll start again
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No I won't leave, I wanna try everything I wanna try even though I could fail I won't give up,
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no I won't give in Until I reach the end and then I'll start again No,
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I won't leave I wanna try everything I wanna try even though I could fail Try everything
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Try everything I'm Gazelle.
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Welcome to Zootopia. are fiercely optimistic.
201
Hey, you ready to make the world a better place?
202
Jason Bateman plays Nick Wilde.
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Sly Fox, dumb bunny.
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This fox that I'm playing is conniving and a bit dry with his wit.
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It's called a hustle, sweetheart.
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So I guess that's why they called.
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It's so distinctively Jason, but in a whole new way.
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That's the perfect role for him.
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Well, that is high praise.
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We have Idris Elba playing Chief Bogo.
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You strike out, you resign.
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This is an opportunity to do something that's funny and to really give him some depth.
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Well, this should be good.
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We are working with Shakira on this film, and she has done a song for this movie called Try Everything that is amazing.
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Try everything.
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The Zootopia team is just fantastic.
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J.K.
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Simmons plays Mayor Leodore Lionheart.
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OK, Officer Hops, let's see those teeth.
220
There's sort of a range of your voice that you use.
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It's great to see that coming out of this fantastical character.
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I heard you, Bellwether.
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Take care of it.
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Jenny Slate as Bellwether, a really distinctive voice.
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It's a real proud day for us little guys.
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To be a character in a Disney movie, that's top of the list.
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Woo!
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Woo!
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My name is Corey Loftus, and I'm the art director of characters on Zootopia, and today we're gonna be drawing Officer Benjamin Klawhauser.
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With Klawhauser, he's this really soft,
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lovable, big-hearted guy, and almost every one of these characters starts with a circle.
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So start with a circle on his head, but he has these huge,
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fluffy cheeks, so we like to kind of describe his shape It's like a basketball sitting in a big bean bag.
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So the bean bag is his cheeks, his head is the basketball.
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You kind of see just with those two things it already starts feeling like a claw hauser.
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A claw hauser has got a really tight collared shirt
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so his neck kind of rolls up right where that shirt gets tight.
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Collared shirt.
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Now if we draw this line down the center of the basketball,
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draw one across, and draw this little V right here,
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this is where Klawhauser's eyes are going to sit, and this is where his nose sits.
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His nose kind of has this butterfly shape to it.
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Ballhauser is often surprised or often happy.
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So usually draw him with his eyebrows up like this.
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And then if you were to draw a little road right from the tips of his eyebrows down to his nose,
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this is where a lot of his spots live, right in between the eyes like this.
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His eyes, he's got a little bit of an eyelash come down to a point right where we drew those lines.
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Klauhauser is always happy so we're going to draw a big smile on him.
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Draw a line coming off his nose.
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This is the corner of his mouth.
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Usually see his bottom teeth peeking out just a little bit.
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And then he has this dark lip on the bottom.
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Just coloring the inside of his mouth dark so you know that that's the inside of his mouth. And then his ears.
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This line that we drew, his ears are going to sit pretty much from a line from his nose all the way through his eye
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and out to the side of his head.
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Drawing these fluffy ears.
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There's nothing that really says cat quite like big whiskers.
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So right here, three little spots for whiskers, three on this side.
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long whiskers.
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He's also got a few whiskers up on the top of his head.
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But he still doesn't feel quite like Klawhauser yet and that's because he doesn't have his spots.
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So if we draw a line from the corner of his mouth down to his shirt on either side,
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this whole area around the bottom of his mouth where his beard might be.
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That is the no spot zone.
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Everywhere else, it's open game for spots.
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Around his eyes is also a no spot zone.
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A little road we drew around his eyes, no spots go in there.
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And then the most noticeable spot on Clawhouser is right here on his cheek.
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That spot you may all recognize.
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And that goes right there.
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Drawing his nostrils.
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And that is how I draw Clawhauser.
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My name is Cory Loftus and I'm the art director of characters on Zootopia, and today we're going to be drawing Flash.
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So with most of our characters in Zootopia, we're going to start with a circle for Flash's head.
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Now Flash is a sloth who works at the DMV
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and he's one of the first people that Nick and Judy meet once they start working together.
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So Flash is not a whole lot more than a circle.
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If you imagine this tube coming out of the back.
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Now Flash is very, very slow.
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Extremely slow.
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So in his design, I tried to make everything about him seem slow, so his eyes are literally sliding off his face.
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So I've drawn them like eggs sliding off a plate.
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And Flash's mouth is kind of like drawing a little beak.
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It's much more like a little parrot beak than it is our mouth's.
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It comes down to a little point.
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I'll draw the corner of his mouth.
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Now sloths have like this cool bandit mask
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that goes right over their eyes and fall right off the sides of their face.
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Kind of like a raccoon.
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And that's a lot darker than the rest of their face.
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I'm going to color this in a little bit darker here around his eyes.
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his eyes, or his pupils, sit right under his lid like this.
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I like to draw him with his mouth open just a little bit, like he's about to start saying something,
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and you've caught him just as he starts talking.
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Now Flash has got hair on top of his head,
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and when I was trying to figure out what sort of hairstyle Flash would have, and Byron was talking to me about the character,
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I kept noticing our director's haircut and Flash and Byron ended up getting the same haircut.
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So it's parted in the middle, comes down on each side.
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Now sloths have really thick, coarse hair.
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It's not soft like a rabbit or even a cat
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or a bear it's really really coarse so you notice a lot of Flash's hairs more than you do on other animals.
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Drawing Flash's hair can be really fun.
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So I'm just going to go ahead and draw in all his hair.
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Something about it makes it seem more like him.
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And then the first time I drew Flash,
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I had fun imagining that he was just about to say something but people kept interrupting him.
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So he's politely held up his hand for a chance to speak.
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Sloths have these really long claws so that they can hang on to branches, don't have to worry about falling,
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so we didn't lose Flash's claws.
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Flash was a lot of fun design.
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With a lot of characters on Zootopia, you never really knew what they were going to have to do for the story.
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You didn't know if they were going to have to climb over a wall or, you know, jump from a great height
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or try to reach something on a high wall or you never knew what they were going to do.
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They might skate, they might open a door, but with Flash, I knew he wasn't going to do much, if anything.
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So I knew exactly what he needed to do
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and it made his design a lot more fun
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because I already had a plan of what he was going to have to do in the film. And there he is.
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Hi everybody, I'm Byron Howard, I'm one of the directors on Zootopia, and today we're going to learn how to draw Judy Hopps.
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When I think about Judy, I think she's very optimistic, very bright, very intelligent, very strong-willed, and so you know she has a very bright feature.
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So the first thing I do is I kind of create this kind of gumdrop shape because I love candy.
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I love food that is sugary.
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And so I create this little gumdrop shape.
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See it looks a little bit like a gumdrop.
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Here's a gumdrop for example.
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Kind of like that.
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So Judy has kind of a tall forehead like this, kind of wide cheeks like many, many rabbits.
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We looked at many real rabbits to design Judy
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and we discovered they all have adorable cheeks so we knew that had to be part of her.
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And then once you get this kind of gumdrop shape in place, I usually put the nose in there
330
because the nose is a nice anchor point that tells me which way she's going to look.
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So Judy's looking down to the right and then once I have the nose, then I can use that to kind of focus these lines that kind of determine where her eyes go.
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And her eyes, if you think about them as being a little almond shaped.
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It makes them feel like they kind of sit into her skull a little bit more, which is nice.
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These nice kind of lashes.
335
And so again, you see, again, very simple gumdrop shape, little tiny nose, nice big eyes.
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And then she has this cute little teeny tiny mouth that makes her just adorable.
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And Glen Keane, the great Glen Keane who did Ariel and the Beast and is a good friend of mine, taught me that to make a drawing of a mouth look really good,
338
you put these little dark corners that kind of makes it feel like it's tucking back and shadowing it.
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And he was right.
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Glenn was right.
341
He's always right.
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Anyway.
343
And from that point, well, rabbits don't look like rabbits unless they have ears.
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And so usually what I do with the ears is I find this flow from the back of her head.
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It feels good to, especially with Disney characters, to have that flow coming off of the cranium, which goes like this, see, this nice big, big line,
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big relaxed swoop, just coming right back off the jaw.
347
And then if you just imagine that other ear being attached back there on the other side of her head, you can kind of knock that in back there.
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You can do it nice and rough like that, there's no pressure, drawing is fun, it's relaxing.
349
It's like meditation, you just relax.
350
And then usually I do the same thing, I kind of flow off the front of her face, down into her neck, and into her collar.
351
And again, if you can kind of just find these flowing lines, finding these sort of flowing calligraphic lines, gives your drawing a nice grace and ties it all together really nicely.
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And you are welcome to shade Judy.
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She's a gray rabbit, so if you'd like to shade her, shading is also nice.
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And then she has these sort of beautiful dark ear tips right up there.
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So if you can do this at parties, you will be so popular and people will buy you things and be your friend.
356
And then, usually when you do a drawing, you have to let people know who did it.
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So I'm Byron, so I'll sign this.
358
Byron did this.
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There we go.
360
Anyway, so this is Judy Hopps.
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Just because we have it up here, you can do.
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What you're seeing here is I've got a 2D animation desk setup.
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And this is what, this is how I learned to animate.
364
This is what, the same setup here
365
was the same that they used back in the 30s
366
and the 40s when they were making the 2D films with Walt across the street.
367
And it's all the same technology, it's just these little peg holes in the bottom of this paper and it's,
368
it's always great just to sit down and start moving the character's face around.
369
It's like once you have a solid drawing of Hopps, then you can start to play around with her expressions, and you can kind of start to squash and stretch things.
370
And our CG animators do exactly the same thing.
371
They start with a solid pose of hops in the computer, and then they start building up their keys.
372
And you can figure out how to make her kind of squinch and kind of get different expressions.
373
She can look angry, happy, sad.
374
But that's the great thing is that all of what we do at Disney, whether it's CG or drawn,
375
has this great tradition of art that's been around at our studio for almost like 100 years.
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And so we love that.
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I love that tradition.
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I love the fact that every time I do another one of these films, the women and men in our animation department teach me something new.
379
And they keep getting better and better.
380
Hi everybody, I'm Byron Howard, one of the directors on Zootopia, and today I'm going to teach you how to draw Nick Wilde.
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Nicholas P.
382
Wilde.
383
Get ready, here we go.
384
So here we go.
385
Okay, so Judy has, I told you, like that kind of gumdrop head, right?
386
Like that.
387
Well, Nick, he's a fox and foxes are carnivores and they have to be a little more sleek.
388
So foxes heads are shaped a little bit more, kind of like a flattened football.
389
So where Judy is this, Nick is more like this, you know, here's Judy.
390
There we go.
391
And Nick is more like this.
392
There we go.
393
Like this kind of thing.
394
Ah, see?
395
Like sneakier already.
396
It's more streamlined, it's got a lower forehead, that sort of thing.
397
So, if we do a big Nick, here we go.
398
So we're going to do the same thing.
399
So do this nice, big, simple shape.
400
It's kind of this sort of flattened football.
401
A little more on the bottom than the top.
402
There we go.
403
And once you have that, then I usually go with Nick to the eyes the eyes
404
and we got a lot of this from Jason Bateman
405
because Jason does these little looks where he looks so sneaky but he's so nice.
406
He's a very nice nice man but he can be very sneaky.
407
And so we try to get this sort of half-lidded look on Nick a lot
408
and that gave us a lot for his expression so
409
that really was great because people say wow I look at
410
that fox and that looks just like Jason Bateman And it's true
411
because the animators will watch Jason record and they'll try to get his personality into the drawings and the animation performance.
412
And so I've got the football shape, I put my eyes in place, got this little slanty sort of almond eyes.
413
You can make them a little sneaky, a little half lidded.
414
Usually if you keep those eyelids really high, keep those eyebrows really high.
415
Because he's not mean, he's just sneaky.
416
There's a difference.
417
And then if I usually put the nose out here somewhere.
418
He's got a long snout, so that snout's gonna stick way out far.
419
It's coming at you in three quarters.
420
It's like 3D.
421
Here it comes, like, toward you.
422
And then I usually kinda just put in that mouth.
423
There it is.
424
And a lot of what I do on this mouth is from Chuck Jones.
425
Do y'all know who Chuck Jones is?
426
Chuck Jones, one of my heroes.
427
Did these amazing cartoons growing up with Wile E.
428
Coyote and the Roadrunner.
429
So we looked at lots of different foxes
430
and lots of different designs for these foxes and Robin Hood and many many cartoon designs from all around the world.
431
And as we go, you know, you can sort of build Nick's expression and you can put his ears coming off the back of his head.
432
You know, he's kind of sleek, so think of Nick like a sports car.
433
He's like a sleek, sleek sports car.
434
And every time you find a line, you can kind of bring it off of another line that you've already drawn and that'll make it feel kind of graceful.
435
And you can kind of make that flow down into his body.
436
He kind of has that kind of puffed out chest sometimes.
437
And then you can kind of drop his shoulders off the top like that.
438
Maybe cross his arms like that.
439
And again, the looser you are, the better you'll feel.
440
Because it shouldn't be pressure.
441
You should have fun.
442
You should just learn to flow with the drawings.
443
Just let it happen.
444
And not think about it too much.
445
And he also has a tie.
446
Down there.
447
I'm not great at drawing ties.
448
Let's just draw that real quick and say it's art.
449
See it's rough.
450
It's art That's fine anyway, and Nick also has this beautiful kind of orange red color
451
And you can shade him in a little bit if you just have a black pencil like I do
452
A little bit of that makes it look a little more finished That kind of thing Looks very sneaky,
453
but charming just like the real Jason Bateman and And then when you get, okay that's about as much as I want to do with Nick, then you sign it.
454
Sign your name and go show someone because they'll be very proud of you.
455
And that's how to draw Nick along.
456
In the world of Zootopia, humans never happened.
457
which makes Zootopia a modern, civilized world that is entirely animal. That is an animal.
458
Animals in Zootopia are anthropomorphic.
459
That is just a big fancy word that means they walk around on two feet.
460
They do not go to work nude.
461
Thank you.
462
Almost.
463
That's got it.
464
And they use technology.
465
Okay, there are mammals from all over the globe in Zootopia.
466
Large and small, fast and slow.
467
But the truth is, Zootopia isn't perfect.
468
And just like our world, not everyone gets along.
469
Especially natural enemies.
470
Which can create some issues.
471
But nature always gives animals special skills to survive, and while one may have amazing night vision, another may have incredible hearing.
472
And an air-powered elephant tranquilizer. So now you know.
473
Zootopia.
474
Like nothing you've seen before.
475
city where animals of all breeds predator and prey alike live together in peace and harmony.
476
Hi, I'm Judy, your new neighbor.
477
Yeah?
478
Well, we're loud.
479
Don't expect you to apologize for it.
480
ZPD's first rabbit officer, Judy Hopps.
481
You ready to make the world a better place?
482
Bad news in this city gripped by fear.
483
What can you tell us about the animals that went savage?
484
Are we safe?
485
This is priority one.
486
Ops.
487
Parking duty.
488
He-he-he-he!
489
Whoops!
490
Sir, I'm not just some token bunny.
491
You strike out, you resign.
492
Deal.
493
Hello?
494
I'm here to ask you some questions about a case.
495
Then they should have gotten a real cop to solve it.
496
You are under arrest. For what?
497
Hurting your feelings?
498
You are a key witness.
499
No, he is.
500
Hey!
501
I need you to run a plate.
502
All right, I know a guy.
503
You need something done, he's on it.
504
They're all.. slots?
505
We are in a really big hurry.
506
I am... on...
507
It?
508
Break.
509
I have 36 hours left.
510
We can only solve it together.
511
It's not about how badly you want something, it's about what you are capable of!
512
I am a real cop.
513
Never let them see that they get here, you bunnies. So emotional.
514
No, no, no, no!
515
Do not let go!
516
I'm gonna let go!
517
What?
518
We may be evolved, but deep down, we are still animals.
519
Quit it!
520
You're gonna start a howl!
521
No!
522
You are naked!
523
For sure, we're a naturalist club.
524
All the way down.
525
Oh.
526
Life's a little bit messy.
527
We all make mistakes.
528
No matter what type of animal you are, change starts with you.
529
We gotta go.
530
Whose car is it?
531
The most feared crime boss, Mr. Big.
532
Is that Mr. Big?
533
Stop talking.
534
Stop talking.
535
Huh.
536
I'm some bull.
537
Daddy!
538
What did we say?
539
No, I think anyone at my wedding.
540
I have to.
541
My wedding!
542
I have to, baby.
543
Daddy has to.
Tải Ứng Dụng
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Từ vựng và ghi chú luyện nói cho bài học này
Bài luyện nói trình độ A2 này dựa trên video “Zootopia ALL Clips + Trailers”. Video này có 543 câu và 4796 từ để luyện shadowing. Phần lời nói dài 36:13. Người nói giữ tốc độ đều, khoảng 132 từ mỗi phút, vừa sức để nói đuổi theo. 82% số từ nằm trong 3.000 từ tiếng Anh thông dụng nhất; phần còn lại nên xem trước khi luyện.
Từ vựng quan trọng trong video
15 từ đáng học trong video, kèm phiên âm và nghĩa:
| Từ | Phiên âm | Nghĩa |
|---|---|---|
| rabbit danh từ | /ˈɹæbɪt/ | thỏ |
| ear danh từ | /ˈɪə̯/ | tai |
| elephant danh từ | /ˈɛlɪfənt/ | voi |
| cheek danh từ | /t͡ʃiːk/ | má, đít |
| claw danh từ | /klɔ/ | móng, vuốt |
| animation danh từ | /ˌæn.ɪˈmeɪ.ʃən/ | hoạt hình, hoạt họa |
| shade danh từ | /ʃeɪd/ | bóng |
| collar danh từ | /ˈkɑlɚ/ | cổ áo |
| predator danh từ | /ˈpɹɛd.ə.tɚ/ | động vật ăn thịt |
| solve động từ | /sɒlv/ | giải quyết |
| priority danh từ | /pɹaɪˈɒɹɪti/ | sự ưu tiên |
| hop danh từ | /hɒp/ | hoa bia |
| daddy danh từ | /ˈdædi/ | ba, bố |
| praise động từ | /pɹeɪz/ | khen ngợi |
| slide danh từ | /ˈslaɪ̯d/ | cầu trượt, cầu tuột |
Cụm động từ bạn sẽ nghe
| Từ | Nghĩa |
|---|---|
| get up động từ | dậy |
| give up động từ | đầu hàng |
| back up động từ | lùi |
| sit down động từ | ngồi xuống, ngồi |
Những câu đáng luyện lại
Các câu ngắn, trọn ý trong video mà bạn có thể dùng lại khi giao tiếp hằng ngày:
- You want the red or the blue, pal?
- What are you talking about?
- Can I pay you back?
- Big so mad at you?
- What did I do wrong, you guys?
Ngữ pháp trong video
Những cấu trúc người nói dùng nhiều nhất, kèm đúng cụm từ trong video:
| Cấu trúc | Trong video |
|---|---|
| Câu điều kiện if + mệnh đề, will/would + động từ — điều kiện và kết quả | If you thought we would ever |
| Thì hiện tại hoàn thành have/has + quá khứ phân từ — việc đã xảy ra nhưng còn liên quan đến hiện tại | has done · I've drawn · you've caught |
| Câu bị động be + quá khứ phân từ — nhấn vào việc xảy ra, không phải người làm | weren't attached · was made · being attached |
| Động từ + -ing enjoy, keep, stop… + -ing — những động từ theo sau là dạng -ing | finish selling · keep falling · start working |
Phát âm cần chú ý
Người nói dùng 126 dạng rút gọn, ví dụ I'm, gonna, don't. Hãy nói theo dạng ngắn đúng như bạn nghe.
- Âm “th”: thick /θɪk/, oath /ˈoʊθ/, trustworthy /ˈtɹʌst.wɜː.ði/, sloth /slɔθ/, anthropomorphic /ˌænθɹəpəˈmɔɹfɪk/
- Âm “sh” và “zh”: animation /ˌæn.ɪˈmeɪ.ʃən/, shade /ʃeɪd/, occasion /əˈkeɪ̯ʒən/, initiative /ɪˈnɪʃ.ə.tɪv/, crush /kɹʌʃ/
- Từ dài — đặt trọng âm cho đúng: animation /ˌæn.ɪˈmeɪ.ʃən/, adorable /əˈdoɹ.əˌbəl/, priority /pɹaɪˈɒɹɪti/, optimistic /ˌɒptɪˈmɪstɪk/, initiative /ɪˈnɪʃ.ə.tɪv/
Những âm người Việt thường gặp khó:
- Cụm phụ âm cuối — đọc đủ từng âm, đừng nuốt âm cuối: elephant /ˈɛlɪfənt/, relax /ɹɪˈlæks/, solve /sɒlv/, almond /ˈɑ(l).mənd/, desk /dɛsk/
- Âm /tʃ/, /dʒ/ và /ʒ/ — tiếng Việt không có, đừng đọc thành “ch” hay “gi”: cheek /t͡ʃiːk/, occasion /əˈkeɪ̯ʒən/, stretch /stɹɛt͡ʃ/, intelligent /ɪnˈtɛlɪd͡ʒənt/, acknowledge /əkˈnɑ.lɪd͡ʒ/
- Âm /æ/ — mở miệng rộng hơn âm “e”: rabbit /ˈɹæbɪt/, relax /ɹɪˈlæks/, animation /ˌæn.ɪˈmeɪ.ʃən/, daddy /ˈdædi/, fancy /ˈfæn.si/
Cách luyện với video này
- Nghe hết video một lần, chưa cần nói, và ghi lại những từ bạn chưa biết.
- Nói đuổi từng câu ở tốc độ bình thường, lặp lại mỗi câu đến khi nhịp của bạn khớp với người nói.
- Ghi âm giọng mình rồi so với bản gốc, chú ý các từ như rabbit, ear, elephant.
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.