跟读练习: Cillian Murphy Answers Questions About Oppenheimer | GQ - 通过视频学习英语口语

I never particularly know how I'm going to play a scene.

It's like us as human beings, we don't know when we walk into a room how we're going to react.

We just react in the moment, so that's what you try and do as an actor.

It's certainly what I try and do.

Hello, GQ.

This is Cillian Murphy, and I am going to answer some questions about Oppenheimer.

In a previous GQ interview, you said you felt like you weren't Bruce Wayne material.

Did you feel that way with Oppenheimer?

Yeah, I certainly wasn't Bruce Wayne material, I don't think.

Maybe I could have played Bruce Wayne, but maybe not Batman.

But that's a different story.

I always feel about parts that if it's easy or that I can do it, then I don't really want to do it.

It has to feel like a challenge.

It has to feel impossible.

It has to feel like a huge undertaking.

And certainly with Oppenheimer, he is this iconic 20th century figure and we are all living in a world that Oppenheimer created.

So it was a huge, huge part, and I recognized the scale of it.

But that's what you want as an actor.

That's what you want.

You want to be pushed.

You want to be challenged.

And so it was a huge challenge, but one that I embraced.

What was your favorite piece of your Oppenheimer wardrobe?

I mean, I should say the hat, shouldn't I?

But I didn't keep any of it.

Hated the pipe.

It took me a long time to figure out the pipe, even though that's probably technically a prop.

I loved the suits.

I loved the tailoring of the suits.

I love those high -waisted pleated pants.

They're very flattering, I think, to men, but nobody wears them anymore.

Bring them back, I say.

How did you feel about J.

Robert Oppenheimer before you started, and how did you feel when you finished the role?

I've been asked this question a lot, and the only answer that I can give

that I think makes any sense is that I felt that he was intensely human,

and I felt that despite his sort of one -in -a -million generational genius that he had,

that he was still as flawed and as contradictory and as fallible as the rest of us are as human beings.

You know, his brilliance, I treated it less like a gift

and more like a burden in order to play the humanity of him.

They won't fear it until they understand it, and they won't understand it until they've used it.

When the world learns the terrible secret of Los Alamos, our work here will ensure a peace mankind has never seen.

And the other thing is I don't really go into projects to try and learn about characters.

I try to understand them.

I never particularly know how I'm going to play a scene before I get into it.

I mean, I'll know the lines.

But, you know, it's like us as human beings, we don't know when we walk into a room how we're going to adjust to the changing dynamics.

We just react to the moment.

So that's what you try and do as an actor.

It's certainly what I try and do.

Is it true you were only eating almonds for dinner in Turing film?

No, this is apocryphal.

I think Emily was being very sympathetic to me and said, oh, Killian only had one almond a day.

I mean, I had a bit more than that.

I didn't really have enough room in my brain to be socializing with the rest of the cast

and crew at that time, because it's so much work to do and, you know, I was kind of reducing calories and all that stuff.

So just I didn't I didn't go out for dinner or any of that stuff.

But I had more than one almond a day.

Sure, I wouldn't recommend anyone exists on an almond a day.

What was it like shooting in Oppenheimer's actual Los Alamos house?

That was amazing.

The whole film was shot on location.

There was only one studio build, I think, in the whole shoot.

And many of the locations were the actual locations where the events went down historically.

I remember myself and Emily Blunt walked into it

and you can feel there's an energy in the room there's some vibrations molecularly in that space that you feel,

that you know that these actual people have lived there.

And it certainly adds something to your performance.

It can't help but do that.

And we shot in Berkeley on the campus where he would have taught.

And Chris always has tried to do that.

That scene after the bomb is dropped in Japan, he tries to give that speech.

That was shot in Los Alamos in Fuller Lodge, where the scientists used to gather.

again you feel these these waves of energy these kind of residences and I think it adds something to a performance.

I can't put my finger on what it is

but I believe energetically it does change the actors and the crew

and everybody feels the significance of the import of what we're doing.

How has your working relationship with Christopher Nolan evolved since Batman begins through Inception and Dunkirk to Oppenheimer?

Well I remember when we first started working we had no kids

and now he is four and I have two so that's one thing that's changed and evolved.

His vision has become more refined.

I think he really, really knows very clearly the sorts of stories that he wants to tell.

The way he tells the stories in terms of how he presents them in the IMAX format, I think has been refined.

and honed and is unlike any other filmmaker on the planet.

I think our relationship has deepened.

You know, I think any time you re -collaborate with someone that many times, which has been six times over 20 years,

I think, you develop this shorthand that becomes almost like telepathy.

You know, we can understand what needs to happen in a scene without talking that much.

And that's why people re -collaborate, I think, because of that.

Because you can just cut through all the getting to know you, testing the waters and just go straight to the work.

Sometimes the themes and the scenes are so large in what you're trying to tackle, and like particularly on Oppenheimer,

because it was the greatest moral dilemmas that a human being could possibly sort of begin to wrestle with or undertake.

I mean, they thought when they were going to test the bomb, there was a chance they were going to vaporize the world.

So, you know, you don't really have to discuss that.

Neutrons smash into nucleus releasing neutrons, to smash into other nuclei.

Criticality, point of no return, massive explosive force.

But this time the chain reaction doesn't stop.

It would ignite the atmosphere.

He and I have a similar taste in terms of performance, and I knew from the beginning that the performance would have to be quite interior, and I think he understood that too.

100

And he was shooting on these large form of cameras, which meant that he was treating the face kind of as a landscape

101

which he hadn't done before with them so i knew

102

that i could have this interiority with the performance and

103

and he trusted me with that so you said before

104

that christopher nolan makes big films feel like small films does

105

that apply to oppenheimer did i say

106

that you know he makes films about about human beings um but he's interested in big, big themes.

107

Makes them on a big scale.

108

But when you're shooting them, it certainly feels like, it feels like an independent film because there's just Chris,

109

there's just one camera, there's the boom -off, and there's the actors, there's no video village.

110

There's none of the sort of trappings of conventional studio huge movie that you normally expect.

111

So it feels very intimate.

112

So even when you're filming with the IMAX in your face, How did you get through?

113

Well, I've been working with Chris for so long now, I'm kind of used to them.

114

It's not really a big deal.

115

And the only thing about them is they make a tremendous racket, but then we do a sound take afterwards.

116

So, you know, you get used to the environment.

117

It feels like a laboratory when you're working at Chris Nolan's set

118

because you're free to experiment and try and make a fool of yourself.

119

And he loves actors.

120

He's incredibly curious about actors.

121

So it feels it always feels like a very small, private, safe environment.

122

What was the most difficult scene for you to shoot?

123

It was all a challenge.

124

I really liked the hearing scene at the end, which cuts backwards and forwards to when they're trying to take away his security clearance

125

and they're just humiliating him in this tiny, shitty, awful, little bureaucratic room.

126

And we shot it in the room just like that.

127

And we had the whole crew in there and the IMAX camera.

128

And to me, it felt like my days in theater where, you know, it was just this company of actors, this troupe of actors

129

and we would just go at it day after day, and there were these long, long dialogue scenes and these huge kind of one -on -ones, a tete -a -tetes with Jason Clarke,

130

and then, you know, Emily Blunt would come in and do her wonderful work.

131

It was at the end of the shoot, and we shot it for about two weeks, I think, so all these actors, these incredible actors are coming in and giving their testimony,

132

but it was also their final scene on set, so there's this emotionality to it because we'd finished, and we were all kind of saying goodbye in real life.

133

And then, of course, we did that final kind of climactic scene where you kind of feel.

134

I would have done anything I was asked to do.

135

Well then you would have killed the H -bomb too, wouldn't you?

136

I couldn't.

137

I didn't ask you that, Doctor!

138

It's almost like his whole psyche is kind of exploding in the room.

139

And of course with Chris, he did that practical, like, blew the wall out and stuff like that.

140

And all that crazy light and everything.

141

That was the segment of the shoot that I loved the most.

142

I loved being out in the desert as well, except it was fucking freezing, which is not supposed to be in a desert.

143

Was there a source material piece that you reference frequently?

144

I think with all projects, the script is your most valuable resource always, because that's what's going to end up on screen.

145

With this, we also had American Prometheus, the book, which Chris adapted for his screenplay.

146

And then there is just endless, endless amounts of reading material available on Oppenheimer and that time, and there's so much archive footage available.

147

So I sampled from all of it and used all of it.

148

And I was kind of working on two different tracks.

149

I was kind of doing the academic part, the kind of intellectual part, and then I was doing the physical part.

150

And then there was a third track, which was just the kind of instinctual part.

151

They all kind of fed into eventually what became the performance.

152

I love research and Chris loves prep, so that worked.

153

But I think when you get on set, you can't be finished.

154

Do you know what I mean?

155

The character can't be there.

156

It has to evolve over the shoot.

157

So it's always a work in progress all the time.

158

And for me, acting is always an instinctual exercise, not an intellectual one.

159

I love reading and I love absorbing all the information.

160

But ultimately, when you get on stage, it has to be emotional and truthful.

161

All the academia in the world ain't gonna help you then.

162

What are your thoughts on practical effects versus CGI?

163

Well, again, because I've worked with Chris for so long, and I'm such a fan of how he makes and presents films,

164

I really believe that the audience responds in a different way to in -camera real effects.

165

And I think we've become so sophisticated at consuming films and that horrible word content, we are much more cynical,

166

I think, about effects that don't look true and truthful.

167

And I know it isn't possible all the time, but I'm very much of the belief that when it can happen in camera, it should.

168

Certainly from a performer's point of view, when you're in the real environment and effects are happening around you, it does something to you and how you respond,

169

you know, that transfers to the camera and it kind of electrifies the performance, you know?

170

I mean, I remember on Inception, that first scene where I meet Leo in a bar and Chris wanted the water and the glass to tilt,

171

so he built the whole set on a gimbal so that the whole set would tilt like that.

172

So we all were going like this on that set, you know, and that you feel that as performers.

173

So it does something to how you perform.

174

The day you finished filming, how did you celebrate being able to step out of your Oppenheimer brain?

175

How did I do?

176

I probably had a big sandwich and a pint of Guinness or something like that.

177

It takes a while when you're deep into the work

178

and you've been playing a character like that for such a long time.

179

And I'm not talking about the method or anything like that, I'm just talking about the focus.

180

Doing it for that long with all the prep for, you know, 15, 16, 17 hours a day and there's an abrupt stop.

181

You have an awful lot of displaced energy.

182

You're neither the character or yourself, you're somewhere in the middle.

183

And yeah, it takes a minute, it takes longer than that.

184

But you know, you go on a holiday and you hang out with your family and then eventually

185

you find somewhere else to put all that kind of focused energy.

186

It's always a little heartbreaking finishing a job, but then you kind of move on.

187

We're just like, it's like a traveling circus, you know.

188

What is your favorite historical time period that you've gotten to live through in your roles?

189

Yeah, I seem to have played a lot of characters from the past.

190

I don't know, every time I was playing those characters, they seemed to be living through terrible upheaval and strife.

191

So I'm not quite sure.

192

I mean, the 20s seemed like fun, I'm sure, if you had a bit of money.

193

There was great music in the 20s.

194

I would have been into that.

195

If I could just step off the set and just go to the clubs and listen to the music, I'd be happy.

196

In the 70s or the 20s or even the 50s, I'd be just in the clubs, listen to music.

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: Cillian Murphy Answers Questions About Oppenheimer | GQ - 通过视频学习英语口语

关于本课

什么是跟读法？