跟读练习: Emma Stone, Mark Ruffalo & Director Yorgos Lanthimos Break Down 'Poor Things' Scenes | Vanity Fair - 通过视频学习英语口语
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She was the...
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Oh my God.
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Stop it.
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I'm Emma Stone.
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I'm Yorgos Lanthimos.
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And I'm still Mark Ruffalo.
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And this is Notes on a Scene.
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Bella, let us take the air. In our cabin.
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These two are fighting and ideas are banging around in Bella's head and heart.
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This scene takes place on a ship.
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Yeah.
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We're sailing from Lisbon to technically Athens, but we stop in Alexandria along the way.
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You've been kidnapped, basically.
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I've been sort of kidnapped.
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Yes.
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Bella, let us take the air.
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This is Mark Ruffalo.
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He plays Duncan Wedderburn.
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This is Drunk Ormichael.
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This is Santa Cingula.
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This is the back of my head.
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And these are just some friends we picked up along the way.
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This isn't CGI.
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This is an actual practical LED screen.
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LED screen.
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We used a lot of painted clouds and some formations from other liquids that we shot.
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We put all that together in post-production.
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On the day, it was actually playing behind the actors.
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Which gets a little nauseating, to be honest.
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The waves were actually breaking up against the ship from time to time.
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Mark, that's not true.
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Well, they were like...
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There wasn't water.
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No, but it was a representation of water that was constantly moving.
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The only VFX and Hanschen that we did here was like, if you see, there's like a little bit of spray of water here that we added later in post-production.
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And the only VFX that the LED screen, I think, came about up to here.
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And we just filled in this in post-production, just an extension of the set.
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But everything else that you see, it was actually there.
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The reason we built this set, and actually the whole film is shot on sound stages,
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we just wanted to build this world that represented the way Bella, the main character, sees and experiences the world.
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So we thought that it would be interesting if we built every set, even exteriors or, you know,
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the ship that you see here inside a studio.
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And then we would control the lighting, the backgrounds, and we would manage to acquire this non-realistic feeling for the entire film.
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Let us take the air in our cabin.
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Duncan's, I guess what you would call a rake or a cad.
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He's a bon vivant.
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He's someone who loves to live life in its fullest and to totally satiate all of his senses whenever given the opportunity,
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even to the point of stealing away a young, beautiful, naive woman.
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His relationship with Bella is really to teach her the beauties
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and the loveliness and all the sumptuous activities of the world as kind of her Pygmalion,
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as her tutor of life.
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These two are fighting and ideas are banging around in Bella's head and heart like lights in a storm.
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Oh.
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So, my approach.
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That's a very good frame.
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My approach to Bella.
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Oh, boy.
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I guess for a while I thought it was, you know, a very...
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For a while, she was a very difficult character to play.
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But then I realized in a way it was only because she was the
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But I realized that it's because Do you have a closeable part?
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OK, great.
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Just go on her for a second.
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Hi.
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You're watching Notes on a Scene.
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You're always reading now, Bella.
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You're losing some of your adorable way of speaking.
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I'm a changingable feast, as are all of we.
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Bella, at this point in her sort of development, she has been introduced to philosophy by Martha
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and she is beginning to read the books of many different philosophers
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and a lot of things are being illuminated to her about, you know, different ways of approaching life and what it all means
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and it's a very pivotal moment in her sort of growth that she's discovering her own sort of belief system.
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In terms of the physicality, her specific kind of walk and way of speaking, and a lot of that is in the script, how it's evolving.
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Apparently, according to Emerson, disagreed with by Harry.
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Come, come, just come.
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You were in my son.
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What?
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He feels like he's losing control of her in this scene.
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The books are kind of a symbol of her being educated
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and him feeling like she's leaving his control and possession so as she's given more books he throws them off the boat.
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She's a surprise to him in every way
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and it certainly peaks his arousal that he can't control her
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and I think he finds that very exciting until it becomes challenging to his ego.
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I think in this particular moment, she is starting to find him very annoying.
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She's expanding so rapidly in so many ways, and it's becoming more and more threatening to him, and he's starting to bug her.
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There was a language, a filmic language, that we developed with Robbie Ryan, the cinematographer.
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We started kind of using it during the making of the Favourite.
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And on this film, we just wanted to go even further.
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So we remember during the Favourite, we did a lot of tests with, you know, and on this one as well.
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And we remembered this fisheye lens that we used that actually created this circle.
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You know, people feel like very enclosed in a kind of claustrophobic way in the frame.
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And, you know, the four millimeter was just this option for us to, in certain moments, you know,
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create this kind of awkward feel to the scene.
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And, you know, like in this moment, he just picks up her books and throws them into the sea and just felt like the right moment to use that.
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But in general we used like very wide-angle lenses
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and fisheye lenses in order to be consistent with how we're building the world and make it feel even more vast.
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You do a career and you're in a franchise for a long time
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and people start to see you in a certain kind of role
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or you have your social media and people start to see you in a certain way.
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And in some sense, you even might start to see yourself in that way.
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it's deadly for a creative person i think ultimately
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but it's also very comfortable
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and it's hard to break free the more you break free it's harder to break free the next time
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and so playing this part came up
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and i was like oh do people want to even see
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me in this part can i play it you know i haven't never played anything i never played anything
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so gregarious so cocksure
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so narcissistic with that kind of language and that kind
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and an accent in a period piece i've just never done anything like it
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and so um it scared me honestly and i have such admiration for him
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and i didn't want to let him down
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and i didn't want to let her down and
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so yeah i was scared i now feel kind of afraid of doing something
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that i don't feel this way about more than anything.
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I kind of want to have this feeling all the time, exclusively.
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You don't always get to make choices as an actor of who you get to work with
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and what roles you get to play.
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And so learning about Bella, I was just totally in love with her.
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And so I'm trying to just follow that instinct, whether it comes to a filmmaker or a story.
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It's not, it doesn't always work necessarily, but I I kind of only want to feel that way.
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We're probably the worst people that have ever been in this thing.
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No, we haven't gotten started yet.
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I think once we get going, we're going to really be great.
为什么要通过这个视频练习口语？
在观看《Poor Things》的幕后花絮时，观众能够深入体验电影制作过程中的对话与情感。这个视频中特别强调了角色之间的动态互动，尤其是艾玛·史东和马克·鲁法罗之间的对话，提供了丰富的语言学习情境。通过模仿他们的交流，学习者不仅能提高口语表达能力，还能更好地理解情感表达和语境。这种影子跟读（英语影子跟读）练习能够帮助你在真实语境中增强自信，改善发音。在这样一个具有视觉与听觉享受的场景中，进行跟读练习将能够有效提高你的英语发音。
语法与表达在语境中的分析
- 直接引语使用: “Bella, let us take the air.” 这里展示了如何使用直接引语表达请求和建议。
- 描述性语言: “This scene takes place on a ship.” 这样的句子结构能够帮助学习者了解位置和背景的描述方式。
- 角色描绘: “He’s a bon vivant.” 口语中经常使用短语和惯用表达，这增强了角色特征的描述。
- 比较与对比: “He loves to live life in its fullest and to totally satiate all of his senses.” 这种结构有助于强调角色的性格特征，让学习者可以灵活地使用层级比较句。
常见的发音陷阱
在这个视频中，有一些可能会让英语学习者感到挑战的单词和语音，比如“Duncan”和“cabin”。特别是前者的发音可能会被误读为“Dunken”。相比之下，后者则容易被忽视其轻音部分。此外，像“sailing”这样的单词在快速对话中可能会误发音，正确的发音应该加重元音。为了提高英语发音，建议学习者在进行英语影子跟读时，多次重复这些难点词汇，并利用影子语音（shadow speech）来掌握更加自然的口音和节奏。
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。