Live: Practice Shadowing a Scene | Kung Fu Panda 4

Hey, everyone. Welcome to our live lesson where we're gonna practice shadowing together. Today we're gonna practice yet another scene, because I know you love it. And the scene is going to be from Kung Fu Panda, which is an awesome movie. So, so funny. And today's scene is exceptionally funny. Uh, so I'm excited about that when we do shadowing. And I'm going to give you a little intro on what shadowing is, in case you don't know. When you do shadowing, basically, you are able to focus on so many different things. Specifically today, we're going to talk about pronunciation, connected speech, and intonation, which is. Which are the things that I love. But generally speaking, when you do any shadowing exercise, you can improve not only your pronunciation and prosody, which is intonation, rhythm, and stress, but really also your vocabulary, your grammar, syntax, all of these different things. So there's a lot of value in doing a good shadowing practice. And today you're going to do that with me, and I'm excited about it. Now, in terms of what is shadowing practice? So a shadowing practice is really you shadowing someone else. And by shadowing, I mean you repeat or you echo something that someone else says. So you don't have to create the language, which means that it doesn't solve the challenge of you thinking and speaking quickly, because for that, you need to create the language. But the shadow is like, okay, I don't have to worry about thinking, what to say, what words to use, how to structure the sentence. So you can actually let that go, which is usually what we focus on when we speak, and only focus on all the things that I don't usually think about when I communicate with people, which is intonation, rhythm, stress, connected speech, and doing this. Close listening and practice and of vocabulary and comprehension and grammar. Okay? So this is why this type of practice is really great. And also it's a lot of fun. So I highly recommend doing any type of shadowing practice. And you can do it. While there are actually two ways to do it. You can pause and repeat, which is what we're going to do, because obviously I can't echo. It's going to be hard for you guys to hear. But. But if I were you, I would try both versions. One is that you play the source, right? Like the. The scene that you're shadowing, the monologue, the podcast, the song, whatever it is, the speaker that you're echoing. And without pausing, you can maybe slow it down. You can just repeat the person. So you just. And Ideally, you should have a script in front of you so you don't. So you. You don't even have to worry about comprehension. And you just follow. And you try to be as precise as possible and imitate the person as closely as possible. Right? So one option is just like you speaking on top of the other person. This is great for driving or when you're doing things and you're not in front of your computer and you're just listening to someone and you're echoing them or shadowing them. And another way, which is what we're going to do is to listen to a sentence, ideally, then you actually have the script. You pause and repeat, and if needed, you take notes. You mark the stressed words, you mark the intonation. So this is another way that is more in depth, that allows you to put what you learn or what you notice into practice. So that is what we're going to do today with a scene from the movie Kung Fu Panda Number four. But first, let's talk about how to pronounce kung fu in English. This is how you pronounce it. You start with a K sound. Then it's the as in cup, C, C, C, which is like a straw schwa, but it's more stressed and the mouth is more open. If you know what a schwa is, great. If not, a schwa is a very neutral sound, like the smallest sound that a human mouth can make. So a cup would be so a bit more open. K, K in American English, or in all dialects of English, when the K appears before a vowel in a stressed syllable, the K is aspirated. So it has a little bit of an H right after K, K, just like the word cup. Then we have ng. Kung. That means that the back of the tongue goes up at the end. Can you hear it? But it's not. There is no G. The ng is a unique sound, and it's one sound. It's not n and g, but it's one sound that is created by bringing the back of the tongue up. Kung, Kung. And from here you go directly to the F. And then tense. Oo foo. Kung fu. Kung fu. And then panda has a P sound, another aspirated sound. So a P is also aspirated. There's a little H and. And then the as in cat pa, Then we have an n, so it's more like an S sound. Pan D, a D sound and a schwa, that neutral sound that I said. Panda. Kung Fu Panda. All right, so that is the name of the movie for not going to teach you how to pronounce the word for. But what we're going to do is we're going to watch the scene that we will shadow together, and then we will. Let me see that. You have it? Yes. We will watch it together and then we will shadow it bit by bit by bit. I'm going to share with you the script. You can. You will be able to download the script later. So let's go ahead and listen to the first scene. Ready? Go.

Inner peace. Dinner, please. Dinner with peas. Snow peas in a sesame soy glaze. Inner peace. Inner peace. This is not working at all. Maybe focus on your breathing. I'm trying, but it's kind of hard when you keep talking to me. Technically, you're talking to you if you think about it. Hey, will you two be quiet? I'm trying to concentrate here.

Wait.

If I'm pose. Inner voice, then who are you? I'm pose. Inner. Inner voice. How many voices do I have in there? You do not want to know. Dirt is itchy. What am I gonna be? Are we alone in here? You guys thought it was awesome, right?

Okay. What a cute scene. I can absolutely relate to it. Every time I try to meditate. This is me.

Look.

Literally. Okay, so let's get started again with the beginning. And then I'm going to share with you the script. So I'm going to play the first part. Listen.

Inner peace. Dinner, please. Dinner with peas. Snow peas in a sesame soy glaze.

Okay, so let's look at the text. There is like a play on the sounds here. Inner peace. That's his mantra, right? A mantra is like this sentence that you say to yourself. To step into a growth mindset or to be mindful and to meditate. So in this case, it's inner peace. So we talked about the aspirated P. We have it here. Peace. Peace. Now, I'm going to make it really, really small because it's not really an H. So. Inner peace. Can you hear it? Peace. That's a high E. Inner peace. The first I is an inner. Inner. There is no E between the N and the R. Inner. Do it with me. Inner. Inner. Inner peace. Let's say it a few times. Inner peace. Inner peace. Inner peace. And then he shifts into another phrase that rhymes. Dinner, please. Dinner, please. The difference is that here it's a Z, it's not an S. And then inner and dinner absolutely rhyme. So it's not diner and inner. It's not a high E. These are nuanced sounds. So pay attention to it and see if you can do it. Dinner. Inner. Dinner. Inner. Let's try to make it a little bigger so you guys can see it. Okay, Good, good. Inner peace. Dinner, please. Then we have dinner with peas. Dinner with peas. Let's analyze it first, and then we'll shadow it. Dinner with peas. So again, we have that little H here. Dinner with peas. Peas also ends with a Z. So a lot of times when you see an S, it's actually a D. It's actually a Z. Dinner with peas. Snow peas. Same with a Z. And then in a sesame soy glaze, rhythm changes all of a sudden. In a. In a. In a. So we want to connect it in a all. When you see a phrase, especially when I write it down for you, think of connecting all the words together. Even though there is a comma here, for example, that's connected. Dinner, please. Dinner with peas. Work on connecting all the words together in a thought group. Snow peas in the sesame soy glaze. Let's do it again in a sesame soy glaze. Okay, good. Let's practice it again.

Inner peace. Inner peace.

Inner peace. Inner peace.

Dinner, please.

Dinner, please. Now notice how he shifts in the in in terms of pitch. Inner peace. Dinner, please. Pitch changes when you introduce or add a new idea. In this case, dinner is different than inner peace. This is why it's changing. So it's kind of like. Oh, it's kind of like you're highlighting a word.

Dinner with peas.

Dinner with peas. Okay, Peas is the new idea here. So we raise the pitch again. Dinner with peas.

Snow peas.

Snow peas. Do you notice the difference? This is falling intonation versus rising intonation. So the first few phrases were with falling intonation. It's like a statement. Listen up.

Inner peace.

Inner peace.

Dinner, please.

Dinner, please. Dinner with peas sound. Snow peas. Snow peas. Have you noticed how he went up.

In a sesame soy glaze.

In a sesame soy glaze. Here, the tone of his voice also changes. Right? Like, all of a sudden, it's excited. And the sesame soy glaze. Right. Every word is stressed here. Let's continue.

Inner peace.

Okay. Going back to inner peace. He's trying to grab his focus again. Inner peace. Same intonation. Have you noticed?

Sort of glaze again. Inner peace. Inner peace.

Inner peace.

This is not working at all.

Okay, now the voice changed from like, this mindful, calm voice to this is not working at all. Okay, so let's break it down. This is not working at all. This is not working at all. Notice how he says the all. You barely hear the L. That's a dark L. You don't hear it as a regular L. It. It sounds. It's pronounced in the back of the mouth. All at all. At all. And it's like a D sound and not a t. At all. At all. At all. This is not working at all. Now these two words are reduced. This is. This is. This is. So you reduce it. It's not these, these, but this is. This is. The o sound is an open ah sound. This is not the word. Working is pronounced as were. Notice that we don't pronounce the O sound. Were. Were. Working. Working. This is not working at all. So we have the pronunciation here and we have the. The places where we stressed stress it. This is not working at all. Okay, good. Let's continue.

Focus on your breathing.

Okay, so there is the inner voice coming in. Maybe focus on your breathing. Right. Notice how the intonation changes. Let's hear it again.

I'll maybe focus on your breathing.

Okay, so let's analyze this. Let's say it again. Maybe focus on your breathing. Let's look at the text. Maybe focus on your breathing. Maybe focus on your breathing. So every time you repeat it, you want to be mindful of the sounds or something new that maybe you're not pronouncing. You know, like maybe it's a word that you are used to pronouncing it a different way and then you hear it in a different way and try to repeat it with this new pronunciation. So in the word focus, there is a long o at the beginning, and then it's a kiss sound. Focus. Maybe focus on your breathing. Notice the th here. Make sure that you stick the tongue out for the th. Maybe focus on your breathing. Maybe focus on your breathing. Say it again with me. Maybe focus on your breathing. Now that intonation is very common when you make suggestions. What about, you know, going to the beach or we could. There's like a sense of, you know, like a patronizing tone there a little bit. Maybe you should try doing your homework. Maybe you should try practicing a bit more. Maybe focus on your breathing. Right. Do you hear that intonation? I want you to play with that, and I want you to try doing it with me. Maybe focus on your breathing. Try to get that th sound and try to pronounce the word focus correctly. That's your focus. Let's do it one more time.

Hard when you.

Let's do this.

Maybe focus on your breathing.

One more time.

Working at all. Maybe focus on your breathing.

Maybe focus on your breathing. Maybe focus on your breathing. Good. Listen to the next line.

I'M trying, but it's kind of hard when you keep talking to me.

Okay, so he goes back to that voice. I'm trying, but it's kind of hard when you keep talking to me. Right, so let's look at some of the reductions here. I'm trying. So here, even though we're supposed to have ng trying, like the kung, we don't hear the G sound. So he actually doesn't pronounce it as ng. He pronounces it as an N, which is a common way for people to pronounce the ng. I'm trying. It's more like casual. Okay. But it's kind of hard. So notice how the words. The phrase kind of is pronounced. It's kind of, kind of, kind of. You don't even hear the D. But it's kind of hard. But it's kind of hard. Say it with me. But it's. But it's. But it's. Right. This is also a flap T, so we want to think of it like a very, very light D. But it's. But it's. But it's kinda. Kinda, kinda. But it's kind of hard. But it's kind of hard. But it's kind of hard when you keep talking to me. So here as well. Notice what happens talking da. It's not talking to me. Talking to. Talking to. Talking to. Talking to me. Talking to me. Okay, good. Let's go back.

Talking to you if you focus on your breathing. I'm trying, but it's kind of hard when you keep talking to me.

I'm trying, but it's kind of hard when you keep talking to me.

Technically, you're talking to you if you think about it.

Okay, another sentence. Technically, you're talking to you if you think about it.

Technically, you're talking to you if you think about it.

Right. So like, the inner voice doesn't reduce his words so much. Right? He. The, the. The. The panda says talking to me, and the inner voice says talking to you. It's kind of like. It's like the adult voice. It's more proper, so he doesn't do as many reductions. So notice it again, you're talking to.

You if you think. But it's kind of hard when you keep talking to me.

Keep talking to me.

Technically, you're talking to you if you think.

Technically you're talking to you. So let's do it like that. Technically, you're talking to you. Technically, you're talking to you. You're talking to you if you think about it. All Right. Technically. Technically. Technically, you're talking to you. If you think about it. By the way, even though the two is fully pronounced, it's not to you, but it's to you. It's still a schwa. When the two is pronounced before a consonant, like in the phrase to you or to go or to love, then the ooh sound becomes a schwa. To you. To you. To you. Okay, good. Let's continue.

Hey, will you two be quiet? I'm trying to concentrate here. Wait.

Okay, so we have another character.

Will you two be quiet? I'm trying to concentrate here.

Can you understand what he says? Let's do it again.

Got it. Hey, will you two be quiet? I'm trying to concentrate.

What is he saying? I'm gonna play it again. Write it in the chat.

Got it. Hey, will you two be quiet? I'm trying to concentrate here.

Okay, next line is. Hey, will you two be quiet? I'm trying to concentrate here. So this is a common phrase that we hear here. Trying to. Trying to. Trying to. Trying to. Trying to. Trying to say it several times. Trying to. I'm trying to concentrate here. Concentrate is a good word to practice. It starts with the oz. And Father Khan Suh Schwa conson. I lied. Concentrate. Concentrate. Concentrate here. I'm trying to concentrate here. The first phrase. Hey, will you two be quiet? Hey, will you two be quiet? Quiet. Quiet. Question going up. Hey. Will reduce you to be quiet. Say it again with me. Hey, will you be quiet? I'm trying to concentrate here. One more time. Hey, will you two be quiet? I'm trying to concentrate here. Right. This is more of a trying. Duh. Trying to.

Inner voice. Then who are you? I'm.

Okay, so the next sound. Wait. If I'm pose. Inner voice, then who are you? Let's listen to it again.

Concentrate here.

Wait.

If I'm posing her voice, then who are you?

Okay. Who are you? Who are you? Let's practice that phrase. Who are you? Notice how he says it. Who were you? Almost sounds like he's saying, who were you? But it's not because the R is your deuce. Who were you? So the whole phrase, Wait, if I'm posing her voice. We've already said that. Wait. If I'm pose in her voice, then who are you? Who are you? Who are you? One more time. Wait. If I'm pose in her voice, then who are you?

Inner voice. How many?

Voice. Okay. I'm pose. Inner. Inner voice. Remember, when we are introducing a new word or a new topic or a new idea or New information. We change the pitch. That's how we do it in English. We stress it differently. Every language does it differently. In English, it's usually a shift in pitch. Right? I'm pose. Inner. Inner voice. Pose in her voice. Pose in her inner voice. I'm hungry. Well, I'm really hungry. Right? That's a great color. That's. That's a great blue color. Right? So every time there is a phrase and then there is another phrase where you're in. You. You introduce a new word or a new idea or you add something, there is going to be a shift in pitch. You can think of it as a stressed. As adding a stress word. Okay? So here, the second word. Inner. I'm inner. Inner voice. Right.

Next, you do not want to. Inner, inner voice. How many voices do I have in there? You do not want.

Okay. How many voices do I have in there? What is the main stressed word here? I'm going to say it again the way he says it. How many voices do I have in there? How many voices do I have in there? How many voices do I have in there? And one, by the way, very good with getting the sentence right. How many voices do I have in there? So have. I don't know what just happened here, but have is a stressed word. How many voices? How many voices? That part is not that stressed. How many voices do I have in there? That is the part that is stressed. Okay. Because he's already acknowledged that he has inner voices. So it's not about, how many voices do I have there? Okay. It's about, like, how many voices do I have in there?

Inner. Inner voice. How many voices do I have in there? You do not want to know. Are we alone?

All right, so that is going to be a little hard to shadow. So let's do all those phrases. You do not want to know. What word does he stress here? This is how he says it. You do not want to know. You do not want to know. You notice you do not want to know. That is the stress word. Now, you could potentially say, you do not want to know. You do not want to know, or you don't want to know. Right? There are different ways to stress different words, right? And the way you stress a word is by using your pitch and using your melody and using your volume. And the word you choose to stress is really. It depends on the meaning, right? And it changes the meaning. You do not want to know. Okay? And let's look at all the phrases. This third is itchy. I just love kung fu. What Am I going to be? Are we alone in the universe? Anyone want a cookie? Anyone want a cookie? Good. To pronounce the word cookie, you pronounce it with a sound and then the lax, and then he Cookie. Cookie. Good. That is it for this shadowing scene. Now, I'm going to answer some questions, and I'm just going to remind you a few things. First of all, if you want to do it again, or if you're watching the replay, I'm going to post a link to download the doc that I just shared or created. I'm going to add a few more pronunciation notes here, and you'll be able to download it and practice along. And there's going to be a link to the video. Now, a good way to practice shadowing is to play a line, to pause, and to read it, where you try to take into consideration the intonation, the rhythm, the stressed words. And you focus on certain words where the pronunciation might be different than how you pronounce it. This is how you learn to change. And if you can really try to identify what is different in how you pronounce them, okay, that is how you focus on improving one thing at a time. Because if you just try to get, like, just repeat it without a specific intention, it's going to be good. But if you're more intentional about what you're trying to improve, like connected speech or the R, you're going to get a lot more for the time invested, okay? So really try to be intentional and try to be focused. And if you're on the go, it's also okay to just listen and repeat. And that helps you kind of like develop the rhythm and intonation. Good. Why does it seem like not is also stressed? First of all, not is not a word that is reduced, okay? Not is a content word. So anyway, it's going to be somewhat stressed. You're not going to reduce it. Um, you do not want to know. That's how we said it. You do not want to know. You do not want to know. So it. It is stressed. But if we think about it, if we compare it to what happens with the do, then the do is a bit more stressed. You do not want to know. But because not is always going to be an open vowel and a content word. Content words are always somewhat stressed, but there is hierarchy, okay? So within a phrase or. Or a sentence, you will find several content words. Some are going to be just regularly pronounced, never reduced, and some are going to be really highlighted. And those words are also called operative words or the the stressed word, the main stress of the sentence or the focus word. Okay, good. Oh, Gabby, that's such a beautiful comment to read. Just exactly what I needed today. I'm so glad that you have decided to become an English teacher and make a positive impact in this world. So thank you for sharing that with me and good luck with everything. Okay. Yes, you can call it a secondary stress. So if we think of the stress structure of English, you know, if we first look at the single word, let's say a word that has all three stress types, you could have just primary stress, primary and weak. And you could have primary, weak and secondary. For example, creative. The word creative. The A is the primary stress. Cree is a full vowel, is a pure vowel. So we treat it as a secondary stress. Create creative. And then the last syllable is unstressed, probably usually reduced to a schwa. Creative. Same thing in a phrase. Where also in a phrase you will find some words that are more stressed that would be the primary stress and some that are completely reduced. These are the function words and some get a secondary stress. I'm going to give you another example. This is what I was thinking about. I was like, oh, I should give you this. This example. If we take the word understand. Understand the primary stress. Can you guess the primary stress, by the way? Understand the primary stress is at the end. Understand, Stand, stand, Right? That is the one syllable that sticks out the most. It's longer, louder, you, and higher in pitch. Under, under, under, under. That is unstressed. But un is a little bit more stressed than der. Understand, Ta da, da. Now, if we take the phrase at the end. At the end. Here we also have a phrase where the word end gets the primary stress. It kind of like rhymes, rhythmically rhymes with understand, understand at the end. Understand at the end. You see? So, like, the patterns that you'll see in phrases are very similar to the patterns that you see within the single word. How do you reduce want a cake or want an apple? So want a cake. I would just reduce to wanna, Wanna. Wanta. Wanna a cake. Want a cake? Do you want a cake or do you want an apple? Here I won't say, want an apple? Maybe I would, do you want an apple? That's how I would say it. Wanna napple? Because it's an apple. Do you want an apple? Do you want an apple? Putting the tea is not a mistake. You can definitely say, do you want an apple? Do you want an apple? Want an apple? Or you can drop the T when the T appears after an n and it's unstressed, like in this case, then the T is often reduced just like in the word 20 or Internet or isn't it want it? So that is what's happening. How does the placement of stress in a sentence affect its meaning and overall clarity? Well, it has everything to do with stress and overall clarity. For example, if I were to say, why didn't you call me earlier? And I put the stress on call, why didn't you call me earlier? Then the situation suggests that you haven't called. Does that make sense? Why didn't you call me earlier? I put the stress on call. If I decide to shift the stress to the word earlier. Another content word, legit. Why didn't you call me earlier? Why didn't you call me earlier? What does that do to the meaning of the sentence? Why didn't you call me earlier? Why didn't you call me earlier? Can you hear it? Can you feel it? Let's see if people. I'm going to wait for an answer and then in the meantime, I'm going to answer this question. Teacher, wouldn't it be better to pick a clip from a movie because we can't see the position of their mouth? This is a great question and legit, but usually in clips, you won't necessarily see what they're doing with their mouth. So I think you have value in both. This really train your ears, which is a skill that we want to develop. So even if you can't see the mouth, you can hear the melody, you can feel the rhythm, you can guess the words. You train your listening skills and right, you like, you really train yourself to hear it and to understand what you're hearing to. To listen closely. So that's a great exercise to do even with just audios or with cartoons or you know, like movies where you can't see the. The mouth and lips. However, if you do shadow a real scene, then there is value in that too. And you can see their mouth and the. The mouth movements. And of course there are things that you can do when you see it. You can imitate how they use their mouth that you can't do when you're just listening. So I would do both. I think both have a lot of values. Value, no answers. Okay, so let me answer it. Why didn't you call me earlier? Versus why didn't you call me earlier? In the first one, the person hasn't called. In the second sentence, the person called but too late. A huge difference in the circumstances, in the situation. Why didn't you call me Earlier. You haven't called. Why didn't you call me earlier? You called, but too late. Okay. Oh, get the red jacket. Just grab it from the chair. Get the red jacket. There are two jackets on the chair. One is red, one is blue. You need to get the red, see the difference. So usually it's really intuitive, like you would get it without realizing that you get it. But sometimes when we speak, we focus so much on just getting through and just making sure that we pronounce things correctly or we bring our own intonation and rhythm. And as a result of what happens is that we don't speak with nuance or we don't put the stress on the right words that will convey the meaning that you want to convey. Okay, Let's see if we have any other questions. Oh, Elizabeth answered. Yes. Great. Thank you, Elizabeth. I haven't seen it. I think that came in like, there is a quite a delay, so well done. That's a good answer. Is it correct to practice over over and again, over and over again with a short video or a long video? How many times? I'm a fan of quality over quantity, right? And I'm also a fan of shadowing something that you enjoy. So choose something that you enjoy or a specific scene or a speaker that you really like and then whatever length it is, that's great, but I wouldn't overdo it. You know, it took us 30 minutes to do like a 40 second clip. Now of course I repeat it and it's a lot more. But if you just take something and you focus, you're intentional about what you're trying to improve and you actually feel that you're changing every time that you repeat. I, I say do more repetitions and see the change than just going through the whole thing once and not even realizing that you're changing anything. I mean, again, there's value in that too. But if you want in depth work to change pronunciation habits, then repetition is more important. And then I would choose a shorter clip that you like and do like quality work rather, rather than quantity work. And if you have a long clip that you like, just break it down into small exercises. In general, I think that you need to be mindful about your practice time to not exceed it and not overdo it because then there might be resistance later on for practicing. If it takes you too long to practice one day and then you're like, ah, the next day, I don't have time to do it. Good. The meme. Yes, exactly. So we get some answers here. How to get used to business vocabulary. I would treat business vocabulary just like any other vocabulary that you'd like to add or to enhance, right? Because when we think about it, there is like the words that are easily available to you, that's the active vocabulary and there is passive vocabulary words that you know. So if you were to hear it at work or at a movies, in a movie, then you would know what they are saying. But it's not going to be available. You won't be able to use it spontaneously when speaking. And the idea is to increase your active vocabulary. So to switch from just like knowing these words to knowing and using them regularly. To do that you need to be aware of what are those words that you're trying to improve. So for example, if you're at work and you're in a meeting and you hear someone saying a word and like you want to be very inquisitive, like very curious, you take your post its or a notepad and you write down the words that you hear that you know, but you recognize that you don't use them regularly. And then you. My method for improving vocabulary is once you know that there is a word that you need to use it more consistently, maybe you didn't even know it or maybe it's not available to you, then first of all repeat it many, many times and be sure that you're pronouncing it correctly because that could also get in the way. And you say it again and again and again and again and again, like 10, 20, 30 times. Right? And that could be either a word agenda or that could be a phrase like let's call it, let's call it a day, right? So it could be a phrase that you hear or a specific word that you hear and you say it again and again and again and again. Then you want to see it in context if you're not exactly sure what it means. For that you can use Google, you can use ChatGPT and you can use YouGlish where you actually get videos. I don't know if you know you glish, but you get videos, clips of a specific word or phrase that you're looking for and then you repeat it and then you create your own sentences using that phrase. And then in the next meeting what I would recommend for you to do is to really write that word that you want to use more regularly on a post it note and put it in front of you. This is how you pick your really focus. You're being really intentional about what you're trying to improve. Specific business related words or words used in business, but you don't memorize lists because that is less effective. But you actually take from your own experience in your own life and the situations that you're in, and then you expand it. But also listen to podcasts and watch movies or TV shows where, you know, the scene happens in, you know, like in. In the corporate world or at the office so that you can kind of like immerse yourself in a content that you might want to. To use more consistently. Okay, good. A question about the W and the V. How do you use. How do you pronounce the W and the V, especially when you mix them up? So first of all, you need to know when you confuse any pair of words, right? Whether it's M and N or S and Z or B and V or W and V. Any pair at all. It's important that you know the difference what your mouth is doing. So for the W, you want to round your lips. W, W, W. And there is no contact. Okay? W, Y. Where we. Why where we. So your lips round as if for a kiss, not touching anything. For a V, the bottom lip touches the top teeth. V. Very vicious. So the. The. The sound that is created when the air passes between the bottom lip and top teeth is the V sound. For people who confuse the W and the V, usually the reason is because they bring their lips too close together and that creates vibrations. V, V, V. So be. Be aware of it, because you might think, oh, I'm not pronouncing a V sound. It's still sounds like a V though. That's the reason. V. So let's look at the three pronunciations. A proper W, V. A proper V. The A sound in between that exists in a lot of languages that confuses you. Okay, so we don't want to pronounce this sound in English, either this or that. These are the two sounds that exist. Thankfully, it's pretty consistent with the spelling. When there is a W, it's a W. When sometimes the W is silent. But you know what? Where I'm getting. And the. The V is always a V. And then a good way to do it is to practice minimal pairs like y or we and V, wheel and veal, and then just W, V, W, V. Say it many, many times until you're like you are syncing your brain with your mouth. And then you try phrases like very well or over the world. That could be tricky because the W and the V are within the same phrase. Let's try together. Very well. Very well. What was that phrase? Around the world. No, I said it everywhere. That's another good phrase. Everywhere. Everywhere. Good. How many kinds of stresses there are, how many kinds of stresses there are and what are they? So I explained it earlier in the video. You can watch the replay. There is always the primary stress. I also have a video about it. Casual cat is the primary stress. And then the rest of the syllables are either a weak stress, which is a schwa, or a secondary stress. Okay, good. Any other questions? How to pronounce visualize or visualization? Visualize. Let's practice the word visualize first. Visualize. Visualize. Stress is on the first syllable in the word visualization. The stress shifts to they. Visualization. So when you have the shun suffix, the stress is always one syllable before visualization. Visualize. Da da da da. Visualization. That's the difference. Could you share as the movie script? Yes, I can. After this live is going to end. I'm going to upload a link. So come back here. I'm going to upload a link where you can download the scripts. Okay, Elizabeth is asking, and that is going to be the last question for today. So how do you suggest to manage a conversation where isn't there is a new word for me and I don't want to interrupt the person talking. That is such a great question, really. And I think a lot of people struggle with it. I would recommend two things. One, you don't need to understand every single word to understand the meeting. I'm going to tell you even more than that. People really pay attention to what you're saying about like 40% of the time because their, their brain is like thinking their thoughts and they're looking at what happens there and they're checking their phone and there are all these things that happen. And usually we don't always process a hundred percent of what we hear or what we see. Right. The brain is very selective. So sometimes you understand a lot in your native language. For example, even if you don't hear every single word, your brain is able to connect things together. However, as non native speakers, we get stuck on a word that we don't know. Especially when we get to a, like a good level where you're like, oh, I know all of these things. And they're like, oh, I don't know this. What should I do? Because you're, you're kind of like, we're in control. And you want to be like, I don't, I don't know why I don't know this at this point. And then we get hung up on this word, and then we stop listening. And then when we stop listening, then we don't pay attention to the rest of the phrase or the rest of the sentence, and then we lose track of what the person was saying, and it affects our comprehension. I would recommend to train yourself every time you hear a word that you don't know, to just skip and continue hearing the rest of the sentence and make sense of what was said. If by the end of the person, by the end, that of the sentence, or when the person stopped speaking, you still really don't understand, you would just have to ask the person to repeat. Or if you remember the word, you could say, can you remind me what means? Or do you mind explaining like, I think I didn't get that word that you said. What was it? Continuous. Right. Like, can you. Can you. Right. Once you say that, people will explain it right away. So you can just ask for specific clarification or just to ask them to repeat the whole phrase. But I would encourage you not to get hung up on it and just listen to everything and see if you can understand it. I believe that you will be able to understand it. And doing a lot of listening practice, like listening to audio books or, or videos or, you know, podcasts. I think that could really, really help with understanding or training yourself to keep on listening even if you don't understand everything. Okay, one more question and then I'm really going to end. Is stressing words come with practicing the language in general unconsciously, or do you have to practice stressing words? I feel like it's hard. This is a really, really good question, Abdallah. The words you choose to stress in English might be different than the word you may choose to stress in your first language. And that has to do with prosody. It's not even the attitude of the person or what they're saying. It's just like what is commonly stressed in a language and the rhythm of that language and the stress patterns of that language. When I teach, for example, in my course, I teach pronunciation, but I also teach prosody. And in that I definitely teach how to stress and what words to stress. So if you were to ask me, I think, yes, it's important to learn it because sometimes we hear it, but we don't get it. So. So sometimes you need to break it down and understand the logic behind it and the theory behind it, and then to practice it bit by bit. It's kind of like you dismantle all the pieces, you practice each part separately, and then you Put it all together, it's a lot easier. And then it's also a lot easier for you to hear it, to recognize it. And then if you can hear it, you can make it. If you can't hear it or your brain is not processing why these stress are words versus others, then. Then you won't be able to make it. And it's going to be hard. And you might just do, like, these repetitions, but you won't know what you're doing. So I do recommend learning it. And I have a lot of videos about intonation and words, word stress and shadowing, where I talk a lot about stress. And I think this is a good way to learn. But if you feel that it's hard, I want you to know that you're not alone. It is. It's like, it's a valid experience. It is hard for someone who doesn't. Who wasn't born into English. And you're like, is there a rule here? I don't know. And also, let's not take. Forget that there are a lot of reductions, right? Like, what do you want? What are you going to do? Right, where you. Like, you're used to seeing words and reading words, and all of a sudden it's just like this big, mushy phrase that you don't understand. It's not your fault, right? Like, you just haven't learned the right way or you haven't learned in a way that allows you to understand it properly. And that's what happens when you start with reading and writing and not with listening or understanding sounds. Okay. All right, my loves, thank you so, so much. I wish you all the best. There are all these other great questions as well, but I'm going to answer them next time. I hope you enjoyed the shadowing practice and the Q and A session. Have a beautiful, beautiful day and I'll see you next time. Bye.