跟读练习: Anora’s Mikey Madison on her strikingly nuanced portrayal of sex work - 通过视频学习英语口语

It felt like you were really fighting.

Oh, yeah.

I mean, the stunt coordinator was like, okay, so, you know, you're going to do the punch, and then she's going to grab you, pull you to the ground.

You're going to roll over this.

You're going to knock this table over, and you're going to end up over here.

Okay, go.

Tell me a little bit about how this came together.

My understanding is that the director, Sean Baker, contacts you, sees you in something else, contacts you, and before the script is even written, sits down and talks to you about it.

Do you remember that conversation?

Yeah, of course.

So Sean had seen my work when I was a teenager in Once Upon a Time in Hollywood.

And then a few years later, he went and saw a horror film I did, Scream, opening weekend, and immediately reached out a couple days later,

said he wanted to pitch me an idea for a film.

So we had a coffee with him and his wife.

And it was pretty surreal, like a weirdly easy casting experience.

I've never gotten a role that quickly before.

I was surprised that he wanted to work with me, but I was really excited because I love his work.

At the risk of sounding immodest, did he say what he saw in you?

Did he say why he wanted to work with you?

Yes, a little bit, and then since then he has, which has been nice to hear.

But at the time, I think I was still, I was kind of holding myself back from getting too excited

because I was worried about the possibility of somehow it not working out

or you know

so then you start do you are you part of the development for developing this character like i know

that his work from seeing his work before it's very collaborative it's very improvisatory

when the time comes to start working on this character like

i guess what i'm wondering is like who is she to

you i don't want you to like i'm not asking you to give me the plot synopsis but

when you think about any who is she yeah we were

we were very collaborative um i mean he wrote the script with me in mind

and so we were constantly talking

and sharing ideas I was able to really like fully form this character

and kind of present it to him in a way

but to me she's someone who is very vulnerable on the

inside she's a very like tough outer shell she's someone who's

like at all times ready to like jump into a fight like physically

or verbally and yeah she's she's a very nuanced layered character

that I tried to spend a lot of time developing so

that she would feel really real

and um yeah uh she's just very special to me I'm very protective of

that character what do you mean protective um I don't know I just I love her

so much it's like I think one of my one of

my jobs as an actor is like never to judge your character and just to like fully love them.

And so that's how I feel about her.

And it's interesting hearing other people's perspective of my character or why she does certain things.

And I still, I think in some way, I'm kind of in the mindset of her mind and what she's going through because I played her.

And so I'm still thinking about that.

And sometimes I'll kind of almost want to argue with someone about something.

And I'm like, no, no. It's from an audience perspective.

You get defensive of her.

You get protective of her.

That makes sense.

Yeah, yeah.

I think so.

Tell me about some of the research you did for this role.

My understanding is you spoke to some folks who work in sex work.

You talked to me a little bit.

You read some memoirs.

What did you do?

I read memoirs, watched documentaries, YouTube videos, like stripper night in my life videos, things like that.

I talked to some really wonderful consultants.

and I visited strip clubs, I got some dances.

I really tried to do my due diligence

so I can fully understand what that world is like

because I was coming from having basically no understanding at all to wanting to accurately portray a sex worker in modern times.

So I did really intensive dance training as well,

worked with a dancer who works in Los Angeles so that I could look like a really seasoned professional dancer,

which is not something that comes naturally to me.

Right.

I learned Russian.

You learned...

I figured you had some Russian going in.

No. Wow.

Yeah, I...

Russian is very complicated language and was one of the things that I was most scared about

or just really wanted to get right.

So yeah, that was something that required like a lot of time and dedication to just really understand what I was saying, be able to understand what the other actors were saying to me.

Yeah, and then also just like the nuances of her not being able to speak Russian perfectly.

Like she needed to still be an outsider in some way.

Like she's not a fluent Russian speaker, so she's always kind of like on the outskirts looking in, but she at times is trying to sound proficient in the language.

So it was almost like a blessing for me that that's what it needed to be.

So it didn't have to be completely perfect.

Right, right.

You got to be a learning Russian speaker in the movie.

In some ways, yeah.

Yeah.

I was really impressed with the fight scene, one of the early scenes when everything kind of crashes and everything kind of breaks.

And there's punching and biting and the furniture gets broken.

And you didn't use a body double.

It was all you.

Tell me something.

Tell me a story about filming that scene.

Yeah, we had a really awesome stunt coordinator who would sort of walk us through the scenes

and you can never really prepare for something like that.

You can sort of walk through at half speed and be like, okay, well, we'll land here and, you know, hopefully I'll be able to kick this vase or lamp over eventually and, okay, I guess we just go.

And, I mean, it's crazy

because I was actually like fighting a grown man who's incredibly strong and so there's not really much acting involved.

You're kind of just, I was just kind of like fighting for my life trying to get away from someone.

I also did a fighting scene with one of the other dancers at the club.

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Yeah.

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Which is, it's a little bit darker lit,

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but that was even more volatile and insane than just fighting Yorah because we were like really just tussling with each other.

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Really felt like you were really fighting.

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Oh, yeah.

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I mean, the stunt coordinator was like, okay, so, you know, you're going to do the punch and then she's going to grab you, pull you to the ground.

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You're going to roll over this.

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You're going to knock this table over and you're going to end up over here.

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Okay, go.

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And we looked at each other and we're like, okay, like, I guess I'm just going to do this.

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And I mean, she like busted her knee.

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Like I broke my nail off.

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I twisted my ankle.

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It was gnarly, but it was also really exhilarating.

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Yeah.

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And I think it was obviously like I felt safe doing it the whole time.

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I think those were just kind of little accidents that happened.

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But it was important for me to do all my stunts.

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I wanted to feel like what my character was going through

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and you can see my face so that it feels really real, specifically for the kind of film that we're making with Sean.

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Very, very realistic always, you know.

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Can I tell you it was a really funny film?

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Like I found myself while, but I found myself laughing at the strangest moments.

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Like I found myself laughing when you were all screaming at each other.

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I found myself laughing when you were all screaming at each other in the car.

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For people who haven't seen the movie, there's a lot of them trying to find this Russian billionaire and they're yelling at each other, trying to track them down.

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I just started laughing during that.

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Vanessa, our producer, she started laughing at a completely different part than I did.

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Did you have an awareness?

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But I assume when you're making it, it's a lot of fighting and screaming.

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And do you have any idea that it was a funny film while you were making it?

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Well, the actors I was working with are just funny people.

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And so I knew that there would, and also Sean's films, to me, there's a lot of humor within the really heavy subject matter.

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which is one of the things I love most about him is he's constantly flipping those topics on its head

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and injecting a lot of humor into it because I think

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that with pain or anger there's a lot of funny shit that happens.

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And so yeah, I think, but as an actor obviously the character doesn't think what is happening is funny.

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And I think that's how it works is because my character is like this is like life or death for her, but obviously it's a ridiculous situation.

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So from an outsider's perspective, I recognize that it is going to be funny.

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I saw you the other night at this, I think it was this party.

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I can't remember what it was.

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It was one of those Toronto Film Festival parties.

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Okay.

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And I saw you from across the room and I hadn't seen this yet.

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I hadn't seen Inora yet.

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And I said, oh, I think I recognize her from Once Upon a Time in Hollywood.

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Because she did this great scream at the end of it, and she gets hit by a can, and she gets lit on fire, and she screams.

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I remember you screaming so much.

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And then I was watching Inora, and you scream.

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There's a really powerful, deep, long scream in that as well.

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How do you get your voice ready to scream like that?

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I don't think that you can, really.

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I mean, I don't practice screaming.

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You just are like, okay, well, in this moment, my character is going through this specific thing.

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And I try to make every character I play very different, and I think they are.

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But I don't know.

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You have to just kind of let go and just let something weird or guttural come out of you.

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I wonder if it feels cathartic.

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Does it feel good?

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Does it feel, you know?

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I don't know if, I don't think it feels cathartic, actually.

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I think it, I mean, I was constantly like really exerting a lot of energy playing Annie because she's someone who's just,

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she's very different from me in every single way.

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And especially with all like the physicality and like all of the fighting scenes, also just like her as a person, she's always constantly like ready to get into a fight,

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ready to get into like a verbal altercation.

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So I felt constantly, like, exhausted, but in a good way, because I knew I was doing something right with the character.

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If me as Mikey would, like, go home and, like, collapse in bed, you know?

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And when you were finished filming, did you have a big release?

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Did you have a big, like, phew?

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No, I was, like, heartbroken that we were done.

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And also, I think I felt weird for, like, a couple weeks after.

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Why?

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I think, like, when you're making a movie, like, you become family with all of these people.

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Like you're working the weirdest hours, doing the craziest things together, like making really intimate connections really fast.

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And it's strange to all of a sudden just like pick up

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and leave it and then leave this character

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that I've like fallen in love with and have dedicated like

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so many months of my life to preparing and just like letting it go.

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It's hard.

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It's sad, you know?

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Yeah.

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Can you tell me the story of

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that audition you did for the Tarantino film for the Once Upon a Time in Hollywood?

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Sure.

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I read it.

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I'd love for you to share it, if you don't mind.

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Yeah, sure.

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Well, that's such a special movie to me.

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It was like my intro into film and sort of my first big, real movie role.

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I was 19, or I had just turned 19, I think, and I knew the casting director a little bit,

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And she invited me to come meet Quentin and do an audition.

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And they were like, you can do whatever you want.

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You can read the scene or you could do a monologue, sing a song, like just do something.

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Yeah.

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And I was like, okay, well, this is an opportunity to really just do whatever I want.

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Like this is not a classic audition.

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So I was like, okay, I'll really have fun with this.

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I created this painting in my parents.

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I was still living with my parents.

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Right in their garage, sort of like an acid trip painting of like what I thought the Manson girls might make on one of their trips.

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Yeah, I should be clear for people who haven't seen it, you play one of the Manson acolytes.

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Right, yes.

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Yeah, right, okay.

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Yeah.

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And then on the back I wrote a poem.

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I think I even sewed like a piece of my hair into it, but I really...

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That was the part that got me, is that you cut off a piece of your hair and sewed a piece of your hair into it.

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Yeah, I remember doing that too, and I cut a piece, and I was like, oh, it was like a bigger piece than I wanted to actually cut.

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But I was like, this is just an opportunity to really have fun with it.

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Like, I'm going to meet Quentin Tarantino, who's one of my heroes.

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I might as well just go all out.

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And so I did, and I think he responded to it in some way, and we sort of just creatively hit it off.

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And, yeah, I'm so grateful for that role.

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It really reinvigorated my love for acting and filmmaking.

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I mean, it must have been a big launching pad for you and all that stuff, right?

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I think that it, I really credit that role to having, like opening a lot of other doors for me.

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Yeah.

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Or sort of like creaking them open a bit.

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I think directors looked at me in maybe a little bit of a different way after that.

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Yeah, certainly I think it was one of the projects I did that Sean, that piqued Sean's interest in me.

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How was Kane?

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It was amazing.

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It was awesome.

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I had never been to a film festival before I'd always dreamed of going to one

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and I specifically can because I I think it's it's

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so iconic and represents so

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so many it's just I don't know like film history that's very special to me

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and the fact that now we're a part of it in such like such a big way

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because of the Palm is really amazing.

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Yeah, I should say the film won the Palm Door.

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What do you remember about that name?

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I feel like I'm still processing it a little bit.

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I didn't expect anything.

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I was just so honored that we were there in the main competition

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and that film lovers were going to watch our film on that giant screen with 2,000 seats.

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That was really special.

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I think Sean deserves all his flowers.

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He's a brilliant director and it's a very special movie to me.

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So I don't know.

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It's kind of like I would have been happy anyways.

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So it's kind of a cherry on top, I guess.

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What went through your mind when they announced it?

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Well, the way that they give the awards is like if you're invited to the ceremony, usually you've won something.

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And so we knew that we won something.

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We just didn't know what it was.

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Yeah.

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And so they are calling like award after award and we're like, okay, well, we didn't get this one, maybe the next one.

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So when they called the award before the palm, we're like, okay, I think we just won it.

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So it was very, you know, Sean and I looked at each other and it was kind of like unbelievable look of like, what the, what is happening right now?

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But yeah, and his speech was so beautiful and sweet.

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The poem has been a dream of his for 30 years, I think.

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So it was really cool that I was able to just watch it happen and be there for him.

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There's the Oscar buzz around you for this role.

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Does that make its way back to you at all?

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Do you hear about any of that?

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No, I don't think so.

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I am just really happy that we're able to bring our film to all these festivals

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and that people are really responding to it in some way.

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That makes me really happy.

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And also I think because of The Palm, we're able to show our film to a much broader audience. So I don't know.

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I'm happy.

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I'm grateful for everything.

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And I just feel really lucky that I am a part of this movie.

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Well, before we go, I just want to sharpen

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that gratitude a little bit because I read a quote from you coming in here that said, making a Nora, you said, had been a crazy life-changing experience.

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What was life-changing about it?

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Completely life-changing.

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I just, like, not just as, like, an actor, but also just as a person,

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I think, to experience making such a special film like that.

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And for also to be so collaborative with Sean, like no, no directors had ever wanted to know my opinion,

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like as much as he did, like he wanted it to be a true collaboration.

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And I've never been offered that opportunity before.

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So I think just because of that, that made it so special.

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but I think just in every way I made incredible friends how can you not have an experience like

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that for multiple months moving to a new place

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and playing this wild character of course it's going to change your life when you go home

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is there any parts of her that you take with you?

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no, I don't think so I know some actors will have some residual feelings left over

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but i think i mean it's been a

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while since i've played her like the only feelings i have

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i'm just um like every time someone i know is going to see the film like i just hope

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that they feel

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that i represented her in an honest way um yeah yeah

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i don't know um i think it's i think it's the it's it's definitely the best film of the

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that i've seen in a really long time i thought you

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were great in it thank you that's really nice thanks for coming in

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and this is your first this This is your first radio interview?

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Yes, yeah, it is.

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Can I tell you, you did great.

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Thank you.

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You're a great radio guest.

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I appreciate that.

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That's nice.

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Mikey Madison was my guest.

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She stars in the new film, Enora.

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It's playing the Toronto International Film Festival right now.

什么是跟读法？

跟读法 (Shadowing) 是一种有科学依据的语言学习技巧，最初开发用于专业口译员的培训，并由多语言者Alexander Arguelles博士普及。这个方法简单而强大：您在听英语母语原声的同时立即大声重复——就像是一个延迟1-2秒紧跟说话者的影子。与被动听力或语法练习不同，跟读法强迫您的大脑和口腔肌肉同时处理并模仿真实的讲话模式。研究表明它能显着提高发音准确性，语调，节奏，连读，听力理解和口语流利度——使其成为雅思口语备考和真实英语交流最有效的方法之一。

跟读练习: Anora’s Mikey Madison on her strikingly nuanced portrayal of sex work - 通过视频学习英语口语

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什么是跟读法？