跟读练习: Why Christopher Nolan shot "The Odyssey" on IMAX film - 通过视频学习英语口语
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107 句
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60 minutes overtime.
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Three, two, one, action!
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Director Christopher Nolan has made some of the most spectacular films of the 21st century.
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The Dark Knight, Inception, Interstellar, Dunkirk, and Oppenheimer.
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With each new film, the scale and ambition of Nolan's storytelling seems to reach new heights.
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So it's only fitting that his latest, Coming to Theaters this July, takes on a nearly 3,000-year-old Greek epic, The Odyssey.
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Let's go!
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Matt Damon plays King Odysseus in The Odyssey.
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This is his third film with Nolan.
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I think what separates him from other directors is the stories he wants to tell are incredibly ambitious
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and the way he wants to tell them is incredibly ambitious because he wants to do it all in camera.
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In this case he wanted to do it 100% in IMAX
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which had never been done and that wasn't even announced because we didn't know if we could do it.
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The Odyssey is the first feature film shot entirely with IMAX film.
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Each frame has resolution or image quality up to three times higher than digital.
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The IMAX camera has to stop and be reloaded every two and a half minutes or so.
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Because the format is so large, that's the most film the camera can hold at one time.
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Another challenge, when the cameras are rolling, they're loud.
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The heavy-duty mechanism that pulls the film past the shutter sounds like a sewing machine in a fight with a stapler.
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It's a really loud camera.
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So for intimate scenes, for instance, if we were going to shoot this scene, that would have been impossible in IMAX up until, you know, a year ago.
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Camera's too loud.
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The camera's just much too loud.
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The audio would never work.
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For the odyssey nolan inspired the imax company to engineer a soundproof enclosure for the camera it's big it's cumbersome
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but it works this giant thing is like the size of
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like a coffin basically this thing weighed i think over 300 pounds
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when it was all put together they had to build special
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steel plating on the dollies to hold it it was a lot
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and we kind of kept shooting with it and it kept working.
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You know, it kind of dawned on us
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that we were going to make it through the production
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and we were actually going to be able to shoot entirely on IMAX.
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We went to Photochem in Burbank,
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California, the only motion picture film lab in the world that still produces 70 millimeter prints.
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We watched Nolan and the staff put finishing touches on the Odyssey.
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Ron Porres, a negative assembly technician, gave us a demonstration.
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Yeah, Ron, could you show us some splicing here?
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So every time a scene changes, which can be dozens and dozens in a minute,
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that scene change was cut by hand.
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Yes, so they're cut in another room.
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These are two pieces of negative now that he's going to splice together for us.
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And every cut in the film, and there are thousands of cuts in the film, is done this way by hand.
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Makes me nervous just watching.
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Look at the splicing machine.
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It looks like it was made in the 1940s.
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It probably was.
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Glue.
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In this digital universe, it's incredible to see an artist with a glue pot sticking this negative together. And there it is.
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Oh, nice.
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Very clean.
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It takes incredible skill.
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It's a really marvelous thing to see.
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Yeah, in this age of digitization, AI, all the rest, this is a human process, an analog process.
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This strip of film, that's the highest quality imaging format that's ever been devised.
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There's nothing that competes with it.
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It's a massive negative, which when correctly exposed, correctly printed and projected onto a huge screen,
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there's an image quality there that you can't get anywhere else.
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Incredible sharpness, very little visible grain.
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The film is then color corrected using filters and test prints from the negative.
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Lance Spindler is a lab color timer at Photochem.
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And you do color correct here yes how does that work
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so what we do is we initially do the coloring on
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an analyzer to get us closest to what chris eventually wants then we come here
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and with the print that we just made
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and we fine tune it with our filters for example we
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have a cyan filter we have all six we have the primary colors
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and we have the secondary colors so i will set these on here and it adjusts for our look on the frames.
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So this one you could tell is less red than over here.
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And that would indicate how I adjust my timing lights accordingly to achieve what he wants.
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And this is the old-fashioned way.
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This is the old-fashioned way.
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But most any other film would do this on a computer.
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Yeah, the standard practice is to do this on a computer.
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We've never done that.
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We've stuck to the photochemical timing so
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that we can get the full benefit of all the information that's stored on the original negative.
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So it has analog color, which means infinite gradations of color.
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It's not broken into a series of numbers.
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What you get is the benefit of the closest sort of technological analog that's ever been created for how the eye sees.
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So film sees very much the way the eye sees, and particularly the way it sees color, the way it sees grays, blacks and whites and everything.
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It's a really good way of approximating the way our eyes see it.
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The color corrections are then applied to the final prints.
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It's slid in there where the different colored lights expose across the frame as it rolls across.
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Each shot in the film, the ins and outs of that are programmed so the valves change, those lights change, as it just did,
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as the film goes across.
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After going through a chemical bath, the prints are dried.
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These are prints?
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Yeah, these are the final release prints.
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Probably not the entire film, or is it?
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It does it one reel at a time, and they're probably running most of the reels of the film.
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And then once everything's signed off on, they just start making all the prints, reel by reel.
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We watch scenes from the Odyssey with Nolan at the Vista Theater in Los Angeles,
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One of only a few in the country that can project 70 millimeter film.
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People in the industry talk about their fear that theaters like this
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and giant screens like that are going to be part of history.
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I think theaters like this are part of history and they're part of the future as well unquestionably.
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I mean what movies do for us as a way of experience a story together with this incredible empathetic response
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that you get you know
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when you watch a comedy in a room full of laughing people
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or a tragedy where everybody's sad at the same time that's very very important
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and very unique to cinema there's always been confusion about how
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the economics of the business you know might impact what this
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is as a medium of this relationship between movies you see in the theatre
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and then how they are then sold to audiences, you know, ultimately in the home.
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And that will continue to change and evolve and always does.
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But the idea of the movie as a communal experience, as a place we come together to experience a story, I'm fully confident that's a part of our culture forever.
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本课的词汇与口语要点
这节 B2 级别的口语课以视频“Why Christopher Nolan shot "The Odyssey" on IMAX film”为素材。 视频中反复出现的词有：film, color, print, imax, odyssey。 这段视频共有 107 个句子、1264 个单词可供跟读。 讲话部分时长为 8:30。 说话人语速平稳，每分钟约 149 个词，很适合跟读。 82% 的单词属于英语最常用的 3,000 词，其余的词建议在练习前先学一下。
视频中的重点词汇
视频中最难的 15 个单词，附发音和释义：
| 单词 | 发音 | 释义 |
|---|---|---|
| odyssey 名词 | /ˈɑ.dɪ.si/ | 遠航 /远航 |
| splice 动词 | /ˈsplaɪ̯s/ | 剪接, 拼接 |
| analog 形容词 | /ˈænəlɔɡ/ | 模擬 /模拟, 類比 /类比 |
| millimetre 名词 | 毫米, 公釐 /公厘 | |
| glue 名词 | /ɡlu/ | 膠水 /胶水, 膠 /胶 |
| ambitious 形容词 | /æmˈbɪʃ.əs/ | 有雄心, 遠大 /远大 |
| expose 动词 | /ɪkˈspoʊz/ | 揭露, 暴露 |
| adjust 动词 | /əˈd͡ʒʌst/ | 調整 /调整 |
| cumbersome 形容词 | /ˈkʌmbɚsəm/ | 繁瑣 /繁琐, 繁重 |
| digitization 名词 | 數字化 /数字化, 電子化 /电子化 | |
| reload 动词 | /ɹiːˈləʊd/ | 重新加載 /重新加载 |
| shutter 名词 | /ˈʃʌtəː/ | 護窗板 /护窗板, 窗板 |
| soundproof 形容词 | 隔音 | |
| stapler 名词 | /ˈsteɪplɚ/ | 訂書機 /订书机 |
| unquestionably 副词 | /ʌnˈkwɛs.t͡ʃən.ə.bli/ | 毫無疑問 /毫无疑问 |
视频中出现的短语动词
| 单词 | 释义 |
|---|---|
| go through 动词 | 通過 /通过 |
| put together 动词 | 拼合, 組合 /组合 |
| think over 动词 | 深思熟慮 /深思熟虑, 反思 |
视频中的语法
说话人最常用的结构，并附上视频中的原话：
| 结构 | 视频中的用法 |
|---|---|
| 被动语态 be + 过去分词 — 强调发生了什么，而不是谁做的 | been done · be reloaded · was cut |
| 现在完成时 have/has + 过去分词 — 过去发生但与现在仍有关联的事 | has made · that's ever been devised · We've never done |
| 定语从句 who / which + 从句 — 补充说明人或事物 | changes, which can · color, which means |
需要注意的发音
说话人用了 10 次缩略和弱读形式，例如 they're, we've, can't。请按听到的简短形式来说。
- “sh” 和 “zh” 音: ambitious /æmˈbɪʃ.əs/, gradation /ɡɹəˈdeɪʃən/, shutter /ˈʃʌtəː/, enclosure /ɛnˈkloʊʒəɹ/, corrections /kəˈɹɛkʃənz/
- 长单词——注意重音位置: analyzer /ˈæn.əˌlaɪ.zɚ/, empathetic /ˌɛmpəˈθɛtɪk/, unquestionably /ʌnˈkwɛs.t͡ʃən.ə.bli/, approximate /əˈpɹɑk.sə.mət/, accordingly /əˈkɔɹ.dɪŋ.li/
中文母语者容易读错的音：
- /v/ — 不要读成 /w/，上齿轻触下唇: devise /dɪˈvaɪz/, marvelous /ˈmɑɹvələs/, evolve /ɪˈvɑlv/, overtime /ˈoʊ.vɚˌtaɪm/, valve /ˈvælv/
- 词尾辅音 — 要读清楚，后面不要加元音: splice /ˈsplaɪ̯s/, analog /ˈænəlɔɡ/, ambitious /æmˈbɪʃ.əs/, expose /ɪkˈspoʊz/, adjust /əˈd͡ʒʌst/
- /r/ 和 /l/ 的区别: reel /ˈɹiːl/, reload /ɹiːˈləʊd/, marvelous /ˈmɑɹvələs/, enclosure /ɛnˈkloʊʒəɹ/, accordingly /əˈkɔɹ.dɪŋ.li/
如何用这段视频练习
- 先完整听一遍视频，不要开口，记下不认识的单词。
- 用正常速度逐句跟读，每句重复到你的节奏与说话人一致为止。
- 录下自己的声音并与原声对比，特别注意 odyssey, splice, analog 这类单词。
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。