跟讀練習: Characters: Internal vs. external features - 通過影片學習英語口語
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Hi.
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I'm Christian Roman and I'm a story artist at Pixar.
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I'm your host for this second lesson on storytelling.
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which is on character development.
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and I have a few friends joining me.
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I'm Austin Madison.
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I am a story artist.
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My name is Afton Corbin, and I'm a storyboard artist.
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My name is Louise Smyth, and I am a storyboard artist.
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My name is Ronnie Del Carmen.
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I am a story person, director, designer, and all -around troublemaker around here at Pixar.
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The goal of this lesson is to explore our character development process.
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by which we go from simple character concepts, such as a robot or a fish or a girl, to complex characters people can actually care about.
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Take Wall -E.
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He's not just a robot.
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He's a lonely, curious robot who fears, thinks, and ultimately loves. or Nemo.
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He's not just a fish.
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He's a young fish who craves independence from his father.
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but endangers himself in trying to achieve it. or MERDA.
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She's a young princess who wishes to pursue her own hopes and dreams.
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rather than conform to her parents' expectations.
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We can call these characters fully developed.
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This means we've gotten to know them so well that we can imagine them in almost any situation.
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Creating a fully developed character isn't easy.
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You're basically creating a new life from scratch.
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but it's really special when you get there.
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So, How do we begin character development at Pixar?
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We can talk about characters in two ways.
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They have their external features, which is their design, their clothes, what they look like.
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And then much more interesting is the internal features.
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Are they insecure?
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Are they brave?
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Are they jealous?
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pretend like I'm having a conversation and getting to know a friend.
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and think, "Okay, well, what do they like to do?
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What are their beliefs?
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What do they enjoy?
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What do they not enjoy?" I think actually I work more externally first now that I think about it.
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You know what they're wearing, how they style their hair, and that kind of informs internally what's going on.
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You know one of my favorite Pixar characters is Syndrome.
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You look on the outside and he actually kind of looks like a superhero.
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He's got the superhero costume on, he's got a cape, he's got this dazzling hair, but inside he's totally a villain and he wants to actually do away with all the supers.
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So you kind of have that great little contrast there with that character that makes him feel really rich and really real.
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- Characters have to come from authentic human emotions and experiences.
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And that doesn't necessarily have to mean make every character you.
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It could also be draw from people you know, things from real life.
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Listen to that little voice saying, "Oh, that's just like what my mom used to do," or, "Oh, that's just like this friend I had in high school," or,
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"Oh, my little brother was like that when we were growing up." Because it's much easier to go from your
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family members or a friend when you're trying to search for a character.
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The specificity that
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people bring that you can't make up on your own is something that I
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look forward to and I enjoy when I'm trying to pinpoint down a character.
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I was working on Up, I was the story supervisor.
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Now, I'm a little invested in Carl's journey because back then my father was not well.
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He also had a full head of white hair.
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So when he gets to the Teppui, Carl actually has to be alone in his house.
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essentially looking back at the life that he had led. with Ellie.
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And he does this.
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silently.
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At that point, when I was storyboarding that sequence, my father was already in the hospital, and he was unable to speak.
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And when I actually talk to my father, he can only communicate to me through his eyes.
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and with smiles and facial movements.
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That actually helped me storyboard those moments when Carl silently thinks about his life with Ellie.
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And without dialogue, we understand the emotions that he's going through.
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And without my experience with my father, I wouldn't have been able to actually tackle that moment in the movie and storyboards credibly.
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And I told him that Dad, I'm drawing you. as Carl.
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Understanding a character, both inside and out, will help you figure out what the character really desires.
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which is what drives them through their journey.
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In this first exercise, you'll have a chance to think about the difference between internal and external character traits.
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Remember, The more you know about your character, the more real that character will feel.
同頻道
FOR YOU
推薦影片
為什麼要通過這個影片練習說話?
通過觀看和模仿這段影片,學習者可以提高自己的口語能力。參與角色發展過程的討論,讓你更能理解怎樣通過外部和內部特徵構建角色,增加語言交際中的深度和精彩。這種形式的練習能夠幫助提升英語發音,同時讓你在生活中更好地應用這些表達。在具體的語言環境中進行練習,比如通過 看YouTube學英語,不僅有趣,也能增強你的自信心,幫助你適應不同場合的表達需要。
語法與表達在語境中的運用
在影片中,演講者使用了一些關鍵的句式,讓我們更清楚地理解角色發展的複雜性。以下是幾個重要的表達結構:
- 不是簡單地 — 用於強調角色的多維度性,例如“他不僅僅是一個機器人。”
- 而是 — 這引匯出角色的真實情感或動機,比如“他實際上是一個孤獨且好奇的機器人。”
- 我們可以稱之為 — 這個短語用於定義角色的狀態,如“我們可以稱這些角色為全面發展。”
- 很難 — 表達創造角色的挑戰性,如“創造一個全面發展的角色並不容易。”
通過這樣的表達,你可以學會如何自然地在對話中應用這些結構,增強語言的流暢度。
常見的發音陷阱
在這段影片中,一些詞彙和表達可能會給學習者帶來發音上的困難。比如,“我感到孤獨”中的“孤獨”(gū dú)與“獨自”(dú zì)的發音容易混淆。此外,像“角色”(juésè)這樣的詞,在快速說話時可能被忽略清晰發音。特別是當說話者表達情緒時,音調的變化會影響理解。學習者應注意這些發音,以便通過 提高英語發音 的練習更為清晰和自然。
使用 shadow speak 技巧,模仿影片中的語音節奏以及情感表達,能有效幫助您克服這些發音障礙,提升整體口語能力。
什麼是跟讀法?
跟讀法 (Shadowing) 是一種有科學依據的語言學習技巧,最初開發用於專業口譯員的培訓,並由多語言者Alexander Arguelles博士普及。這個方法簡單而強大:您在聽英語母語原聲的同時立即大聲重複——就像是一個延遲1-2秒緊跟說話者的影子。與被動聽力或語法練習不同,跟讀法強迫您的大腦和口腔肌肉同時處理並模模擬實的講話模式。研究表明它能顯著提高發音準確性,語調,節奏,連讀,聽力理解和口語流利度——使其成為雅思口語備考和真實英語交流最有效的方法之一。






























