跟讀練習: Gracie Abrams | Audacy Check In - 通過影片學習英語口語

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The first songs that we made for this album,

we wrote two years ago.

One of them is the last track on the album,

which I wrote and recorded the day that we recorded

That's How True and the day that I wrote and recorded I Told You Things.

And so there were these little clues along the way,

but this was like the most I've ever been involved in production.

this is your odyssey check-in we are at the hard rock

hotel in the rock star suite with gracie abrams it is

so good to see you good to see you thanks for

having me of course bone to pick with you before we

get started last time we hung out like all you did was lie to me oh um i don't know

if you remember i was like oh gracie who's gonna be

any features on the album who's gonna be on the album you're like no nobody

and taylor was on the album

and then i was like oh Are you going to go down the acting path at any point?

You were like, no, I hate acting.

I'm only doing music, and now you're about to be in this movie.

So I just don't know how I could trust you.

Well, it's not a great start for us, is it?

It's not great for me.

Right, right.

Hopefully you will be more forthcoming.

You can be because, I mean,

you've announced a lot of the things.

Certainly.

Well, that was not in the cards until it was.

So that can't have been a lie.

And if I was protecting a Taylor secret, sue me.

Right, right.

You have to sign paperwork for that.

I mean, I understand.

Briefly, tell me about the A24 thing,

how it came about, and the audition process, all that.

Yeah.

Helena Raine is a brilliant artist.

She wrote the script.

She's directing the film.

I knew her in the tiniest amount.

We had met three years ago.

And didn't even stay in touch, really but she reached out to me asking if I would read the script,

which felt like the greatest gift in the world.

And I did not interpret it as read the script to potentially audition if you connect with it.

But I read the script and it made me feel like I was being electrocuted.

Like it was just so aliveness.

And she's such a force.

And yeah, and then again with the audition process,

every round was just a gift.

and I would go home at the end of the day being like,

I'm the luckiest girl in the world.

I got to just read her work to her.

And in my mind, that was the end of the road.

But for whatever reason, she's letting me attempt.

And hopefully I make her proud and do her justice.

But it's very humbling already.

And I have a lot to learn.

So I'm excited to get into it.

I love it.

Did you walk away from those auditions like,

I crushed this or were you like totally in your head?

No, I wasn't like, I wasn't,

no, I just felt like it's so much fun to play like that.

I don't know.

That's like such a corny way to put it.

But it was like, I don't know,

with music, I am so personally connected to the stories.

And I think as a reader,

I'm so excited when I find a book that feels like the inside of my head,

but also as somebody else's entire life,

you get to escape into that.

And that was my experience with Helena's script.

So then to be in a room and get the opportunity to like

actually pretend that you are the person you loved escaping into.

It just was a lot of fun.

But again, it's funny to talk about it before having stepped on set for it.

So I can only say what it felt like to be introduced to this universe she's created.

But it was exciting.

Would you, could you contribute musically to the project at all?

Like, would you do something new for it?

Or is there something from the album that, yeah.

Definitely not from the, I don't imagine this album belongs in the please world.

But maybe, I don't know.

It's up to Alina.

It's like, I am not the guardian of any of this information.

So it's funny to chat about.

But yeah.

Hit the Wall is wonderful.

Thank you um you you linked back up with aaron for

this i am for the album um what is it about you

and him

that just works like what how does he bring out what

he does from you i think his his skill set uh it blows my mind his his the fingerprint

that he leaves on everything that he makes it's

so distinct to me and also so specific to the artist who he's working with.

I think because of his history as an artist in the National,

he has got this really holistic understanding of what it feels

like to be on all sides of this industry as a touring musician and a writer and a player and a producer.

He's got the biggest heart and I think

that allows him to connect with the people that he's working with to bring out I think the best in them.

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And he and I have known each other for six years now

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and he's like family to me so there's there is a real sometimes harsh in the best way like honesty.

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So we challenge each other

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and some of my favorite experiences you know in the studio with him is

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when we disagree because it always teaches me something

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and I love him for a million reasons but i really appreciate

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that he's kind of helped instill in me

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that you don't need to make a radical change in order

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to put out a new album like it doesn't have to

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sound a hundred percent different than your last thing it can be a continuation and like a discovery of what

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made you fall in love with writing in the first place

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so this album to me um feels like a an elevated version of our process working together

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and i'm very proud of it it's so interesting

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because you you're saying like you know it doesn't have to be completely different to show growth

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and it's it's interesting because recently jack antonoff i forget what like interview it was

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or something but he was talking about you know

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because it was all this big hoopla about him not being involved in taylor's later latest project

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and he was like it's not normal for people to solely work with one person

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or one team throughout their career and i i think it's interesting because

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I imagine there's pros and cons to it because maybe if you are only working with one person,

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you could feel stagnant at some point.

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But then there's people like Billie Eilish who pretty much work with Phineas,

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but have still found ways to push themselves and go outside of the box.

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I think it's so personal.

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It's like it's like a collaborative relationship is like any other relationship,

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like friendship, romantic relationship, familial.

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It's like these are such intimate spaces.

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And I also think, you know,

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one's art reflects where they're at.

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And I think if, you know,

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any one of us feels like something's not working,

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for this particular time we're in um i think it should

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be celebrated you know the the exploration of new partners

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and in my experience like not from a success point of view

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but just from like a personal fulfillment point of view i've

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been able to like as a mentee of aaron's basically learn

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so much um under him and um with him and uh

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so speaking from my personal experience which is the only one I can reference.

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It's been a privilege to spend the past six years in the studio with Aaron.

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And yeah, he's just the greatest.

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When you are writing, do you ever have to Google the definition of a word?

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That's funny.

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That's so funny.

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Like, oh, I really want to use Slipknot here,

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but let me just double check on this.

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Well, I knew Slipknot.

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Okay.

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But there have definitely been instances,

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like I think for sure there have been times where you

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yeah like I'm trying to think of it as an example

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why can't I think of anything specific I've like absolutely opened

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the dictionary before I've been like I'm this word fits so

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so perfectly and wanting to make sure I'm like

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but can I will it make perfect sense in the way

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that it sounds correct I'm like want to make sure

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but um I tend to think my songs the the the vocabulary it's like conversational enough

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that i've never i've you know you're it's not too frequent

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at the dictionary yeah yeah yeah like you've used it before in the wild like it's something

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that you know it's also fun i i i was i read an interview a long time ago

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that rem did and they they were talking about um writing their songs

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that sometimes they would take a book

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and flip it open to a random page just put their finger on a word

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and use that as the jumping point

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that is a fun way to to i mean that's completely

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and that's just an entire pivot

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but anyway yeah thinking about opening books in the studio it's very fun

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and very inspiring sometimes dictionary or otherwise

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so how was how was this uh creative process this recording

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process on this album different from the last one would you

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say it was easier i don't know i was actually not

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i think it was we it was more intricate um as

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a whole it was more intricate i feel like we everything

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we we ran all of it through with a fine tooth comb

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and and um this was like the most i've ever been involved in production before

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and aaron and i have such a shorthand like our the way that we describe sounds or what we want,

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it's like the very exciting part of being in the studio together.

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And so to see it come to life in the way that it has with this album means a lot to me.

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But the process of getting there was not always easy.

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And I think the first songs that we made for this album we wrote two years ago.

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One of them is the last track on the album,

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which I wrote and recorded the day that we recorded That's

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So True and the day that I wrote and recorded I Told You Things.

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And so there were these little clues along the way,

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but I think what differed in this,

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this, with this process was like being off tour

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and having like five months of not being on the road to sit with all the songs

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and to let my nervous system sort of reset.

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I feel like there's a lot of,

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um, there's more patience, kind of less like manic energy in this music more,

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um, uh, yeah, more, I guess more,

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it feels more patient to me.

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It feels more thoughtful, but I think that also just comes with like age

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and time and having a bit more giving yourself and the subjects of your songs a more grace.

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And so hopefully that's felt.

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I love that.

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Awesome.

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Before we wrap up, let's do just a few random questions that I couldn't weave in seamlessly into this interview.

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So for the Met Gala,

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was there anybody you met for the first time there that you kind of had a cool,

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you know, first time experience with?

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Amanda Seyfried.

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Oh, yeah.

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My queen.

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I love her so much.

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I've loved her so much.

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I think her career arc is incredible.

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I think she's so cool.

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And we were chatting for a bit,

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and I said it to her,

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which is just how I've always felt about her

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that i think there are like some people that do public facing jobs

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and they've navigated it so well where like she seems to be

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so herself yeah yeah in the fishbowl which like is hard to do

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and um i just think she is sick

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and i got to tell her that to her face so

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that felt really nice that's awesome

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and um um who else did i meet for the it's such a blur

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and do you just like roll up

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and tap somebody on the shoulder like hey i want to meet you

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or how does that do you bump into each other

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stepping on people's trains

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and things stanley tucci accidentally stepped on my train for a split second we didn't even meet

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but he was like oh i'm so sorry i was like anything for you

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like rip it yeah yeah um no every everyone was very lovely

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and um it's a very cool thing to be in

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that museum like after hours

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when you get to walk up very close to the all the art

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and you know that was me like trying not to fall over

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but yeah yeah um have you listened to noah khan's new

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album do you have a favorite song on there i love porch light i love porch light

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and i i love all the music you know

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that i think what aaron has added to the you know noah con verse um is exciting

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and it feels so alive and so like noah's directly in your head

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and i think he's such a remarkable storyteller and so is Aaron.

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And so for them to team up just made the most sense in the world to me.

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Cool.

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And I was lucky to hear some of it before it came out.

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So I've been living with it for a while and it never disappoints.

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That's awesome.

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Yeah.

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Well, you are wonderful.

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Your music is wonderful.

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You're wonderful.

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Thank you so much.

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I appreciate it.

245

Good to see you.

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FOR YOU

關於本課

在本節課中，學習者將通過Gracie Abrams的訪談影片，練習英語聽力和口語。此影片展示了她在音樂和影視行業的經歷，使用了豐富的情感表達和自然的對話風格，特別適合通過英語影子跟讀來提高發音和口語流利度。我們將聚焦於關鍵詞彙和短語，並提供實際的跟讀技巧，幫助你在不同場景中更自信地使用英語。

關鍵詞彙與短語

electrocuted - 感到電擊般的震撼，形容強烈的驚訝或情感
gift - 禮物，這裡引申為一個機會或天賦的體現
production - 製作，尤其是指音樂或影視的製作過程
audition - 試鏡，一個演員展示自己表現的過程
features - 特別嘉賓，這裡指音樂專輯中的合作者或演出者
in touch - 保持聯絡，與某人保持溝通
story - 故事，通常用於描述事件或經歷的敘述
process - 過程，通常指一個事情發展或進行的步驟

練習技巧

在觀看和跟讀這段影片時，建議使用以下技巧來更有效地提高你的英語發音：

選擇一個短小的片段，播放一到兩次，仔細聆聽Gracie的語音語調。
模仿她的發音和節奏，力求在語調、情感和速度上儘量吻合，這有助於你掌握流暢度。
對於快速對話，可以暫停影片並重復跟讀，確保每個音節的發音正確。
嘗試將Gracie的表達融入自己的語境中，比如用shadowspeak的方式複述她的某些觀點，以增強記憶並提高口語能力。
每次練習時，都可回顧之前學過的詞彙，結合使用，幫助加深記憶。

通過這些方法，結合英語影子跟讀的技巧，你將逐步提高自己的英語口語能力，變得更加自信。

影片中的語法

說話人最常用的結構，並附上影片中的原話：

結構	影片中的用法
現在完成時 have/has + 過去分詞 — 過去發生但與現在仍有關聯的事	I've ever been involved · you've announced · have known
被動語態 be + 過去分詞 — 強調發生了什麼，而不是誰做的	been involved · being electrocuted · be introduced

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。

影子跟讀法: 閱讀完整分步指南 →

跟讀練習: Gracie Abrams | Audacy Check In - 通過影片學習英語口語

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關於本課

關鍵詞彙與短語

練習技巧

影片中的語法

什麼是跟讀法？