Shadowing in French : Speak french like Camille Cottin

Hello and welcome to a new shadowing video. I hope you are doing well and that you are ready today to work on your pronunciation in my company and in the company of the great Camille Cotin. Today we are going to do shadowing to improve your oral comprehension and your oral expression using interviews with Camille Cotin. If it's an actress you like or maybe you like her in some of her movies, then it's perfect for you because you will have the opportunity to imitate her and get closer to her way of speaking. Hello, my name is Marion and if you don't know me yet, I am a French language teacher. My goal is to help you learn and feel more comfortable with the French language thanks to movies and series because it's really my passion, movies and series. You will discover it on this channel. And today I'm taking you to do a shadowing session to improve your oral comprehension and your oral expression when you speak French. Shadowing is great because it will allow you to trust yourself when you speak French and improve your accent, your way of pronouncing the language. If you don't know this technique yet, I invite you to watch the other shadowing videos on this channel and don't hesitate to sign up for the French Club newsletter because I am preparing a special shadowing training to give you all the keys, all the basics to create your own shadowing sessions. It's coming soon so don't hesitate to stay informed by signing up for the newsletter. Today we are going to do shadowing with Camille Cotin. I selected excerpts from interviews with Camille Cotin so that we can train together to pronounce French like Camille Cotin. I have a hard time imagining that you don't know Camille Cotin but if you don't know her, she is the actress of 10% who plays Andrea and then she played in a lot of movies and even in the United States. You may have seen her recently for example in House of Gucci in which she still plays alongside Lady Gaga and Adam Driver. So she is a person to know absolutely. And so let's go for this new shadowing session. Today I have chosen several excerpts from interviews with Camille Cotin and we are going to start with an interview in a TV show format that I like a lot called Hot Ones which is inspired by an American show in which the guests taste spicy sauces and answer questions. This show is animated by Khan Khojandi and we find Camille Cotin there. You will find the links to the full interview if you are interested in the description. So let's listen to the first excerpt for the first time and you have here the original transcription and then we are going to make a few small changes to get closer to the pronunciation when we speak a little fast. How do you do when you're shy to bother people? In fact, you have to be in a character, that's what was complicated at first. Ok, so we're still going to use Kian's question which is interesting and then we see that we have a lot of changes here at the level of the pronouns. So he says How do you do when you're shy to bother people? In fact, you have to be in a character. So he says how do you do. So be careful here, you don't have a link between how and we. So it's how do you do. It's not that easy. How do you do. And here we find our link in T which we already talked about in the previous video on Camille Cotin and 10% and the Cannes festival. I'll put the link somewhere up here. So how do you do when you're born. I'm going to put it like this. When you're shy to go. So to go, you have that in one word, to go bother people. To go bother people. Going to bother people. So how do you do when you're shy to bother people? It's okay so far. What is a little difficult here is above all not to make links and to listen carefully to the vowel sequences. Then we have That's what was put to bother people. In fact, you have to be in a character. In fact, you have to be. So we have in fact, you have to be. In fact, you have to be in one. So you have the link here. In fact, you have to be in a character. You have to be in a character. That's what was complicated at first. That's what was. Who was, you hear well. It's not who was, but who was complicated at first. That's what was complicated at first. We can put it like this. Who was complicated at first. That's what was complicated at first. I'll put it back to you once and I'll let you pronounce it just after them. How do you do when you're shy to go bother people? Notice the rhythm of the way he approaches the question since it's in a natural way. So it's quite interesting. How do you do when you're shy to go bother people? He insists a little on bothering people here since that's the important part of this question. How do you do, we already have a first question, when you're shy to go bother people? You see, we have pauses. How do you do when you're shy to go bother people? In fact, you have to be in a character. That's what was complicated at first. So here we have an E which is a little longer since that's how she thinks about her answer, of course. In fact, you have to be in a character. That's what was complicated at first. Oops, so we're going to swap these two. Sorry, I worked on the transcription. It doesn't matter. There you go. Let's move on to the next excerpt. As you can see, these excerpts are quite short today and you can find the links below to practice. Let's listen to this one. In fact... Sorry, there's the when I play. I'm still less shy. I'll play it again. So here it's interesting. Ohno, we still have the offette. If you listen closely, it sounds almost like an offette. When I play... It will sound like When I play... I'm still less shy. Wait, let me try again. When I play I'm still less shy. I'm still... When I play I'm still less shy. I'm still... still... On a souvent tendance ce quand même, comme on l'utilise beaucoup, c'est vraiment un mot qu'on utilise énormément dans le français parlé, on a tendance à le réduire énormément. En fait quand je joue, je suis quand même moins timide. Quand même. J'entends un quand même, quand même. Quand même. Je suis quand même moins timide, je suis quand même moins timide, je suis quand même moins timide. On peut garder le m aussi. Je suis quand même. Parfois vous entendrez aussi des gens prononcer que même. Que même moins timide. Ici c'est un peu à votre choix. En fait quand je joue, je suis quand même moins timide. En tout cas on a le chu ici bien sûr, moins timide. Celle-là, elle est assez facile. Encore une fois, prenez votre téléphone, enregistrez-vous, essayez de la refaire et réécoutez-vous. Je vous la remets une fois pour que vous puissiez vous entraîner. En fait quand je joue, je suis quand même moins timide. On a presque pas le O ici, ça fait plus fait. Quand je joue, je suis quand même moins timide. Allez, on continue. Donc ça parle de timidité. C'est aussi intéressant en termes de contenu. C'est plus difficile pour moi d'aller faire un discours ou de prendre la parole à un mariage ou je ne sais pas quoi. En tant que toi-même. En tant que moi-même, je suis plus inhibée. C'est plus difficile qu'avec les mots des autres. Donc c'est Camille Quetain qui parle de son expérience avec Connasse qui était une sorte de caméra cachée où elle disait des trucs horribles aux gens dans la rue. Et donc ça a été assez, j'imagine, une expérience assez forte quand même quand on doit dire ce genre de choses à des vraies personnes. Je vous recommande Connasse, c'est assez drôle. Alors allons-y. On réécoute cette première phrase. Donc c'est plus difficile pour moi d'aller faire un discours. Donc on a le discours ou on ne voit rien, mais il n'y a pas beaucoup de changements ici. Un discours ou de prendre la parole à un mariage ou on a ici le je ne sais pas quoi. Je ne sais pas quoi. Ou je ne sais pas quoi. C'est plus difficile pour moi d'aller faire un discours. On a pas vraiment un c'est plus, on a un c'est plus difficile pour moi, c'est plus difficile pour moi d'aller faire un discours ou de prendre la parole, un mariage ou je sais pas quoi. En tant que toi-même. En tant que moi, un mariage ou je sais pas quoi. Ici c'est très intéressant aussi, c'est plus difficile pour moi d'aller faire un discours ou on s'arrête, de prendre la parole, un mariage ou je sais pas quoi. Donc on a à chaque fois, elle a pas fini sa phrase, donc le ton ne descend pas, ça continue de monter ou en tout cas ça a un mariage ou je sais pas quoi. On va prendre la parole, on va allonger cette dernière syllabe parce qu'on a pas encore fini notre phrase. On prend la parole, un mariage ou je sais pas quoi. Parce qu'ici, elle cherche ces mots. C'est plus difficile pour moi d'aller faire un discours ou de prendre la parole, un mariage ou je sais pas quoi. En tant que toi-même. En tant que mariage, je sais pas quoi. En tant que toi-même, en tant que toi-même, en tant que toi-même, ça c'est assez facile. Et écoutons la réponse de Camille Petain. En tant que toi-même. En tant que moi-même, je suis plus inhibée. Donc vous avez bien le Z. Et ici, c'est ZIN-I-B. OK ? ZIN-I-B Pas ZIN, hein. ZIN. ZIN-I-B On peut enlever le H. ZIN-I-B Y'a pas vraiment de E. Faisons comme ça, pardon. ZIN-I-B Exactement ça. Je suis plus inhibée. C'est plus difficile. Et c'est plus difficile qu'avec les mots des autres. Je suis plus inhibée. C'est plus difficile qu'avec les mots des autres. ZOTRES Ça va ? Assez facile, hein, jusqu'à maintenant. Vous avez vu, c'est des extraits assez courts. Donc ça, c'était les extraits de Hot Ones, que je vous conseille de voir l'interview complète. Et ici, c'est une interview qui parle d'un film qui s'appelle Tony Infamy, qui est un superbe film que je vous recommande, et sur lequel je vais bientôt faire un épisode de podcast. Je vous tiendrai au courant. Et qui a été réalisé par ce jeune homme ici. Donc très jeune, mais sur un sujet vraiment très profond. Donc c'est assez joli. Allez, on écoute Camille. Donc, on va assez vite. Reprenons ici le début. Ce qui est drôle. Donc on n'a pas ce qui est drôle, mais on a presque un ce qui est drôle, ce qui est comme ça. Ce qui est drôle, par exemple. Et on n'a pas non plus le ... Il n'y a pas vraiment de pause. Ce qui est drôle, par exemple, c'est que moi ... Donc ici, on n'aura pas un il y a, mais un Il y a des choses. What's funny, for example, is that there are things in my personal life in my personal life that could echo the scenario So here, we're going pretty fast because it's not very interesting well, in any case, it's not the heart of what she wants to say so she's going pretty fast on this part so she's really shortening the syllables so we end up with What's funny, for example, is that there are things in my personal life that could echo the scenario and here we slow down a little bit because the words are a little more important so here we have an echo scenario that could echo the scenario I encourage you to listen to it again, of course and to do it again on your own Another part of this interview is the rest of the sentence Whether it's my mom who took her studies very late so she's 20 years older than Tony or the fact that I have a big sister I was the eldest Ok, so let's listen again My mom who took her studies Instead of Kia, it would be My mom who took her studies We're going to remove the R here It's going to be a car pri Listen carefully, it's going to be like this Whether it's my mom who took her studies who took her studies very late so she's 20 years older than so she's So it's not quite it's so she's 20 years older than Tony 20 years so we have a 20 years older 20 years older than Tony Let's listen again Or the fact that I have a big sister What could be a bit tricky is the sister or the fact that I have a big sister Super exercise for your R, by the way Or the fact that I have a big sister So she's 20 years older than Tony or the fact that I have a big sister where there are small links between the words, once again to go faster. And the last interview of Camille Cotin that you will be able to shadow at home, is the one that takes place in Cannes, which is very recent, and in which we talk to her about the episode of 10% that we studied on this channel, in which we see Camille Cotin accompanied by Juliette Binoche at the Cannes Festival. Let's listen! Yes, it's quite dizzying, I remember very well the episode written by Fanny Herrero. Ok, so yes, it's quite dizzying, I remember, so here, interesting, we have a I remember very well, I remember very well the episode written by Fanny Herrero. Good evening! It was crazy, by the way, because in this episode... It was crazy, by the way, because... So here we have the because instead of the because, because... Because in this episode, Fanny Herrero, it was well before the Weinstein affair, had written this moment where I said, you have to go on the boat of this press magna, because otherwise it will be complicated to get on your ship. So it was crazy, by the way, because in this episode, Fanny Herrero, it was well before the Weinstein affair, had written this moment where I said, we have here a where I said, where I said, where I said, you have to go... Wait, let's put it back. A good example of subjunctive here. Weinstein had written this moment where I said, you have to go on the boat of this press magna. You have to go, OK? We have, you have to go. You have to go. A bit like, really, go. You have to go. You have to go on the boat of this press magna. Of this press magna. Because otherwise it will be really complicated to get on your ship. Recline. Precisely, had written this moment where I said, you have to go on the boat of this press magna, Because otherwise it will be... So we have a... It will be... It will be complicated to get on your film. Listen carefully. It will be complicated to get on your film, etc. It will be complicated to get on your film. OK? It will be complicated to get on your film. We remove the E and hang it to the word before. As usual, we do it quite often. Let's listen to the speech again. Yes, it's quite dizzying. I remember very well the episode written by Fanny Herrero. Good evening. It was crazy, by the way, because in this episode, Fanny Herrero, it was well before the Weinstein affair, had written this moment where I said, you have to go on the boat of this magnate of the press, because otherwise it will be complicated to edit your film, etc. Be careful here, with, written, there is no link, so it's going to be a with and with, with, precisely with. And that's it, it's over. I hope you enjoyed this shadowing session. Do not hesitate to do it again endlessly, to train yourself, to register yourself and to listen to yourself. I insist on this point, it's really important to listen to yourself when you do shadowing sessions to improve yourself. It's something that takes time. I have someone who left me a comment on this channel a while ago saying that working his accent in French is like working on a musical instrument. And I totally agree with that. Thank you, Wesley. And I think it's really a piece of advice to follow. Take your time and keep working regularly. It will come. If you want to practice with other videos, you will find in the links here, the Shadowing Tech, which is the place where I stored all these shadowing sessions that are available here on my YouTube channel. And you can find the documents that I use here on Notion, as you saw in the video. It allows you to train yourself at your own pace with the extracts and the little transcriptions and the transcriptions adapted to pronounce better. That's it. I wish you a very good continuation with your French. Lots of success. And I'll see you very soon on this YouTube channel.