跟讀練習: Quentin Tarantino talks Piracy & the Hateful Eight - 通過影片學習英語口語

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They call him the hangman.

When the handbill says dead or alive, the rest of us just shoot you in the back, come up on top of a perch somewhere,

and bring you in dead over a saddle.

But when John Ruth the hangman catches you, you hang.

I love the fact that you stayed in the audience at the premiere last night and watched it with the audience.

Is that just because you're a puppet master and you like to see the characters move in front of you?

Yeah, actually, I mean, that's one of the reasons, but the other reason, but there's a few other reasons,

I mean, I make my movies to watch them with an audience, you know, and frankly, to tell you the truth,

it's the, I mean, one of the things I like about cinema is it's forever, or how long forever is.

From now on, the celluloid burns up.

Yeah, yeah, exactly.

Forever seems to be getting shorter and shorter as time goes on.

But the thing about it though is,

but as far as actually watching it with an audience that's just truly investing in it in a thing that night.

I mean, even if you watch it in a revival house 20 years later, it can be fantastic.

But it also is sort of already an artifact by that time.

Now, nothing wrong with that either.

But there is this, you know, everyone who saw it that night was seeing it for the first time.

Yes, and it has a certain energy to it it has a certain energy to it

and i almost feel

that it's like um it's the missing sound element all right

you know you make the movie then you you do the sound mix

and you add the sound uh the sounds and the crushes

and the booms and the this and the that

and then you you add this uh the music and it's

that but it's missing that

that sound of the audience reacting to the movie whether it

be the laughs with whether it be um the gaps whether

that be the legitimate appreciative of laughs whether it be the horrified laughs

I mean there was like a just as a moment

there was just there was this lovely lovely moment where um

when the character the Jennifer Jason Lee plays Domergue there's a letter in the movie written by Abraham Lincoln

and she spits on the letter

and there was a literal gasp it was yeah I think the Australians give a damn about the Lincoln letter

so when you when you're editing the film

when you're editing the film do you leave spaces kind of knowing

that people are gonna have those reactions no I don't leave spaces for it

but I'm always hearing yeah I'm always hearing you know

I'm hearing the laughs as I write the movie I I'm hearing the last

when I watch the scenes I'm hearing the last as I'm editing the scenes

and so there is this aspect that this is

when I finally get what's always been in my head

and I see how right or how wrong I am of it

but the other reason that I watched it is about the fact

that every country is going to have a slightly different audience

who's going to react to the movie in a slightly different way.

And look, I'm not going to be here for three weeks so I can just watch it randomly in about,

you know, four different cinemas and just make up my own mind about how the Aussies have taken the film.

All right.

Instead, I have that screening, you know, to watch and take away.

Which audiences around the world, and you can be totally honest year which audiences in

which country are the absolute best the most responsive well

you know you know it would have to depend on the movie yeah

it would actually depend you would have you'd have to yeah about

which of all of your films

which has got the absolute best reaction

it's a two -part question yeah go two -part answer was watching Inglourious Basterds in in the the Berlin premiere

and watching Inglourious Basterds in the Tel Aviv premiere yeah

Those were absolutely positively the strongest reactions I've ever had to watching one of my movies with an audience.

Makes total sense.

Of all of your different films, which film for you personally has been the steepest learning curve?

The movie you've learned the most lessons from?

Very good question.

I would say it would have to be the Kill Bill movies.

I had never made a movie with that kind of a, on that big of a canvas before.

I had never made a movie in another country before, i .e.

China.

Which I imagine is an incredibly easy and simple thing to do.

Yeah, well, it wasn't that hard, actually, but it did require a different,

a slightly different mindset, but that actually became quite wonderful when you did it.

You just had to get there.

Yeah.

But also, you know, I'd never, I'd done little tiny action scenes, but I'd never done gigantic set piece action scenes that were meant,

you know, the House of Blue Leaves fight was meant to be like the helicopter raid in Apocalypse Now.

It was meant to be an end -all action sequence, and it took us about eight weeks to do it.

One of the best times I've ever had in my life doing something like that.

You know, but working in that kind of, that type of level of creativity and that type of level,

I mean, if you don't like the movie, maybe it wasn't that creative, but that type of level and more

or less being able to do what I want and to get it exactly the way I wanted was a real,

real lovely thing.

And there was a learning curve from that point on.

I think up until that point in time, I held on to my amateurness a little bit more.

Almost like a badge of honor, frankly.

Like the indie film.

Yeah, indie film.

I was like, no, I don't want to join the Directors Guild because those are professionals.

I'm holding on to my amateur quality.

Holding on to my vaguely new wave cred.

After I did

Kill Bill, I said, I make blockbusters now.

I'm a professional filmmaker.

You've put so much effort into the look and the feel of the film, and watching it in 70mm last night was amazing.

The colours are so rich, the blacks are so black, and yet the film was leaked online.

And I wonder for you, personally, if you could say anything to the person, imagine they're sitting in front of you right now,

the person who uploaded that film, what would you say to them?

I appreciate you trying to give me that opportunity, but I kind of almost don't want to deal with it.

I mean, you know, it's like, I've tried to put it out of my mind.

Yeah, I appreciate that. That happened.

Oddly enough, if it had happened to any one of my other movies, I would have been more devastated.

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Why is that?

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This movie was about the movie.

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It's not really about it even being a success, and that's not me being an irresponsible jerk.

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I want the film to do as well as I possibly can, but at the end of the day,

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I think it will, the course of its lifetime do very well, all right?

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But this was about kind of the movie.

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You know, like in the case of Inglourious Basterds, it was very, very important that we had a really great opening weekend.

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In the case of Django, it was really important that we had a really great opening weekend.

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This wasn't so important.

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This was about the movie.

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You have certain actors that you return to over time.

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Obviously Samuel L.

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Jackson is one of those.

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How quickly can you tell that they're about to join the Tarantino posse?

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Do you know it from the moment you meet them, or do you have to see them on screen first?

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It's not so much singing them on the screen it's more about

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and it's really and it's really not even about even auditions

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or anything like that somebody can do a really good audition in the room

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and whatever and yeah and they could be really interesting

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and fun to work with ie going through rehearsal but

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when you're actually doing the movie with them you know how secure are they with my dialogue?

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Do they turn it into the poetry slash music slash stand -up comedy slash rap that it's supposed to be?

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Are they able to do that?

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Are they unable to do that?

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Do the words stick in their throat?

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Do they have a hard time?

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Are they lazy about learning their lines?

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Do they get the sense of humor going on do they

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get the do they get the jokes even though they're not quoted as jokes do they get all the

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and that's only a thing

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that you can really learn by by doing it with the people yeah

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when you hear it right does it is there a little tingle

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that goes up the back of your neck oh it's it's the greatest feeling in the world frankly to me

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and luckily I have you know I cast

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I cast the right people usually it's like I have those feelings many times a day all right

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and that's one of the things that makes it so joyous.

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Just lastly before I leave you, when can you tell that a movie is done and you are happy with it?

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Oh that's really interesting.

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I don't know about other directors.

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I actually think this is probably a problem that other directors have.

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I know it's a problem I have.

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In editing you usually think the movie's done

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before it's done yeah right you kind of you kind of want it to be over I mean just

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so far as like okay I did what I wanted to do boom

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and now you're moving on to the next process

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which is sound mixing by that point in time

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but usually you're pushing it a little bit you know you're not quite done yet there is there is one

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or two more passes literally to be done here you just want to be done

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But it's not done.

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Quentin Tarantino, The Hateful Eight is done and it's very good.

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Thank you so much for your time.

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What a lovely interview.

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Thank you so much.

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The pleasure was entirely wonderful.

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本課的詞彙與口語要點

這節口語課以影片“Quentin Tarantino talks Piracy & the Hateful Eight”為素材。影片中反覆出現的詞有：movie, film, audience。這段影片共有 153 個句子、1809 個單詞可供跟讀。講話部分時長為 9:39。說話人語速較快，每分鐘約 187 個詞，會出現較多連讀和弱讀。 85% 的單詞屬於英語最常用的 3,000 詞，其餘的詞建議在練習前先學一下。

影片中的重點詞彙

影片中 15 個值得學習的單詞，附發音和釋義：

單詞	發音	釋義
edit 動詞	/ˈɛdɪt/	編輯 /編輯
premiere 名詞	/pɹəˈmɪɚ/	首演, 初次的演出
litter 名詞	/ˈlɪt.ɚ/	墊料
depend 動詞	/dɪˈpɛnd/	信任, 信賴 /信賴
cinema 名詞	/ˈsɪn.ə.mə/	電影院 /電影院, 影院
curve 名詞	/kɚv/	彎子 /彎子
audition 名詞	/ɑˈdɪʃən/	試演 /試演
gap 名詞	/ɡæp/	間隙 /間隙
lesson 名詞	/ˈlɛs.ən/	課業 /課業, -課 /-課
element 名詞	/ˈɛləmənt/	要素
aspect 名詞	/ˈæspɛkt/	方面
poetry 名詞	/ˈpoʊ.ə.tɹi/	詩歌 /詩歌, 詩 /詩
lifetime 名詞	/ˈlaɪf.taɪm/	一生, 一輩子 /一輩子
sequence 名詞	/ˈsiː.kwəns/	序列, 順序 /順序
invest 動詞	/ɪnˈvɛst/	耗費 /耗費, 投資 /投資

影片中出現的短語動詞

單詞	發音	釋義
go through 動詞		通過 /通過
go up 動詞		上昇 /上升, 上去
make up 動詞	/ˌmeɪk ˈʌp/	組成 /組成
stand up 動詞		站起來 /站起來, 起來 /起來

值得反覆跟讀的句子

影片中簡短而完整的句子，可以直接用在日常對話裡：

The movie you've learned the most lessons from?
I'm holding on to my amateur quality.
I don't know about other directors.
I know it's a problem I have.

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	what's always been · have taken · I've ever had
被動語態 be + 過去分詞 — 強調發生了什麼，而不是誰做的	were meant · was meant · was leaked
定語從句 who / which + 從句 — 補充說明人或事物	everyone who saw · person who uploaded

需要注意的發音

說話人用了 37 次縮略和弱讀形式，例如 I'm, you're, don't。請按聽到的簡短形式來說。

“sh” 和 “zh” 音: audition /ɑˈdɪʃən/, crush /kɹʌʃ/, appreciative /əˈpɹi.ʃətɪv/
長單詞——注意重音位置: incredibly /ɪŋˈkɹɛdɪbli/, legitimate /lɪˈd͡ʒɪt.ɪ.mət/, helicopter /ˈheliːˌkɔptə(ɹ)/, creativity /kri.eɪˈtɪv.ᵻ.ti/, positively /ˈpɑ.zɪ.tɪv.li/

中文母語者容易讀錯的音：

/v/ — 不要讀成 /w/，上齒輕觸下唇: curve /kɚv/, invest /ɪnˈvɛst/, creativity /kri.eɪˈtɪv.ᵻ.ti/, canvas /ˈkæn.vəs/, revival /ɹɪˈvaɪ̯vəl/
詞尾子音 — 要讀清楚，後面不要加母音: edit /ˈɛdɪt/, depend /dɪˈpɛnd/, react /ɹiːˈækt/, curve /kɚv/, gap /ɡæp/
/r/ 和 /l/ 的區別: frankly /fɹæŋkli/, incredibly /ɪŋˈkɹɛdɪbli/, helicopter /ˈheliːˌkɔptə(ɹ)/, randomly /ˈɹændm̩li/, revival /ɹɪˈvaɪ̯vəl/

如何用這段影片練習

先完整聽一遍影片，不要開口，記下不認識的單詞。
先用 0.75 倍速逐句跟讀，熟練之後再回到正常速度。
錄下自己的聲音並與原聲對比，特別注意 edit, premiere, litter 這類單詞。

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: Quentin Tarantino talks Piracy & the Hateful Eight - 通過影片學習英語口語

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