跟读练习: Characters: Internal vs. external features - 通过视频学习英语口语
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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.
为什么要通过这个视频练习说话？
通过观看和模仿这段视频，学习者可以提高自己的口语能力。参与角色发展过程的讨论，让你更能理解怎样通过外部和内部特征构建角色，增加语言交际中的深度和精彩。这种形式的练习能够帮助提升英语发音，同时让你在生活中更好地应用这些表达。在具体的语言环境中进行练习，比如通过 看YouTube学英语，不仅有趣，也能增强你的自信心，帮助你适应不同场合的表达需要。
语法与表达在语境中的运用
在视频中，演讲者使用了一些关键的句式，让我们更清楚地理解角色发展的复杂性。以下是几个重要的表达结构：
- 不是简单地 — 用于强调角色的多维度性，例如“他不仅仅是一个机器人。”
- 而是 — 这引导出角色的真实情感或动机，比如“他实际上是一个孤独且好奇的机器人。”
- 我们可以称之为 — 这个短语用于定义角色的状态，如“我们可以称这些角色为全面发展。”
- 很难 — 表达创造角色的挑战性，如“创造一个全面发展的角色并不容易。”
通过这样的表达，你可以学会如何自然地在对话中应用这些结构，增强语言的流畅度。
常见的发音陷阱
在这段视频中，一些词汇和表达可能会给学习者带来发音上的困难。比如，“我感到孤独”中的“孤独”（gū dú）与“独自”（dú zì）的发音容易混淆。此外，像“角色”（juésè）这样的词，在快速说话时可能被忽略清晰发音。特别是当说话者表达情绪时，音调的变化会影响理解。学习者应注意这些发音，以便通过 提高英语发音 的练习更为清晰和自然。
使用 shadow speak 技巧，模仿视频中的语音节奏以及情感表达，能有效帮助您克服这些发音障碍，提升整体口语能力。
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。