Today you're transforming
your spoken English by setting the scene for the movie Mission Impossible Fallout with me. We can't get enough of Tom Cruise, can we? He was in our first video in the series Top Gun: Maverick as well. When you study the scene, the way we're going to in this video, you'll be able to understand
American movies and TV effortlessly without subtitles. The best part is, not only do you get to learn
and study with the video, you get to train with the
training section in this video, so you can start to make
all of these reductions and so on a habit. And where did Sloane
get this information? We're going to be doing this all summer, June through August. Stick with me every Tuesday. They're all great scenes, and there's going to be so much to learn that can transform the way you
speak and understand English. And as always, if you like this video or you learn something, please like and subscribe
with notifications. (whistling) You're going to watch the clip, then we're going to do a full pronunciation analysis together. This is going to help so much with your listening comprehension when it comes to watching
english movies and TV. But there's going to
be a training section. You're going to take
what you've just learned and practice repeating it, doing a reduction, flapping a t, just like you learned in the analysis. Okay, here's the scene. And where did Sloane
get this information? She didn't say. She did however, grant me the
opportunity to bring you in on the condition that I
terminate this mission and hand over Solomon Lane personally. Sir you can't do that. Hunt. No I know lane, and he has
no intention of going back. That's why we're taking him back. Which means that's exactly
what he wants us to do. And now the analysis. And where did Sloane
get this information? And where, we have a little stress there on our question word. And where did Sloane get this information? I would say these two words
have more of a scoop up because the intonation is going up. And where did Sloane
get this information? And where did Sloane get this information? And where did Sloane get this information? This is not a yes, no question. And yes, no questions
tend to go up in pitch. And other questions tend to go down. But in this particular case, And where did Sloane get this information? He's making it go up. And where did Sloane
get this information? And where did Sloane get this information? And where did this Sloane
get this information? What about the word and? Does he say and? And where-- And where- Definitely no D. The word sounds kind of like 'in' doesn't it? and where, and where, and where and where did Sloane get this? And where-- And where did you get this information? Get this, a stop T
here it's not released. That would be get this, gets this, but it's get this, get this, get this, get stopping the air in my throat, my tongue is actually
in position for the th, get this and then when I'm ready to release my tongue is already there. Get this-- And everything is very smooth isn't it? And where did Sloane get this information? And where did Sloane
get this information? And where did Sloan get this information? And where did Sloane get this information? No skips in pitch, all smooth. In-for-may-tion, four syllable word with
third syllable stress. T-I-O-N ending here, is S-H schwa and Shin Shin. And where did Sloane get this information? This infer ending S
links right into the I. So it's almost as if this word is 'sinformation', 'sinformation'. That's what linking does 'sinformation'? Sinformation?-- Sloane and be careful there, that's O diphthong as in no followed by N. O O, make sure you do round
your lips a little bit for that. Oww. If you don't make that rounding motion, it probably won't sound right, Sloane. And then the tongue lifts for the N. But before that we really
want the O diphthong to not have any nasal quality. 'Sloa' O. We don't want that. The N comes separately. The nasal consonant is totally
separate from the diphthong. 'Sloa', 'Sloa'. It's just like this word, slow. And then you say an N. Slow, Slow, Sloane, Sloane. Sloane-- Get this information? She didn't say. She didn't, didn't, she didn't say. Most of our stress on the word say, his pitch is a little bit high here, she didn't say, she didn't say. They're in a tunnel, he's trying to be very clearly understood. She didn't say. She didn't say. She didn't say. She didn't say. It's a little bit higher
than conversational pitch, I would say, in conversation, it would probably be more
like, "She didn't say, "she didn't say," but instead it's, "She didn't say." She didn't say-- What's happening with our N
apostrophe T contraction here? She didn't say,-- She didn't say, she didn't say, I'm hearing very quick D,
I'm definitely hearing the N. I think the T is dropped. I'm hearing the N going right into the S. She didn't say, 'didn s', 'didn s', 'didn say', no feeling of a stop there. She didn't say. She didn't say. Now the whole time
we're hearing this phrase, we're seeing this guy. He looks pretty guilty. I think it might have been him. She didn't say, she did, however-- She did, she did, she did however, a little break before the word however, and after the word however, just separating it a little bit from the rest of the sentence making it its own little thought group. She did, she did, she did, she did. She did, -- Did more stress there, the D is not released
that would be did, did. D,d,d. She did, she did. Tongue goes into position for the D, the vocal cords vibrate,
but it's not released. She did, She did, She did, however, She did however, she did however, she did however-- However, how-ever middle syllable stress there, however, However, -- grant me the opportunity to bring you in on the condition that I terminate this mission. Then we have a pretty
long thought group, Grant me the opportunity to
bring you in on the condition that I terminate this mission. Grant me the opportunity to
bring you in on the condition that I terminate this mission. Grant me the opportunity to
bring you in on the condition that I terminate this mission. Let's just look at the first
part of this thought group. Grant me the opportunity, Grant me the opportunity. So he stresses me quite a bit. Grant me, Grant me, now here NT
ending it was dropped earlier, but here I'm hearing it as a stop. Grant me, Grant, Grant, Grant me. Grant me,-- Without a stop, it
would sound like this, "Gran me, Gran me." I definitely don't hear that. I definitely hear a
little stop a little lift to my ears that makes a T sound. Native speakers here these little stops as T's or P's or K's depending on the word. Grant me, Grant me,
grant me the opportunity. Grant me the opportunity. Grant me the opportunity. Grant me the opportunity. Me with the E vowel and then
the word V with the E vowel. Now the word 'The' can
either be the with E or it can be the with the schwa. The rule is when the next word begins with a vowel or diphthong, this pronunciation is E. However, I've noticed Americans don't actually follow that rule all that much, though he is here. The opportunity. Opportu-- Grant me the opportunity. Grant me the opportunity. Grant me the opportunity. Stress on the third syllable
of this five syllable word, opportunity, opportunity. As you practice that word,
practice it right now, and really feel that middle syllable stress. Tadadadada, like the
whole word goes up to that and then comes away from that. Opportunity, opportunity. Opportunity, If you make that your
focus doesn't let you simplify the rest of the word. Maybe you also notice
the T pronunciations, we have a true T here starting
the stressed syllable. Opportunity, then we have a Flap T, because it's not starting
a stress syllable and it comes between two
vowel or diphthong sounds. Opportunity, opportunity. Opportunity-- to bring you in. Opportunity to bring you in, Uhuh. bring you in. You and to unstressed,
bring and in stressed with that shape Ah. Now how is the word to pronounced? Lets listen to opportunity to bring. Opportunity to bring, opportunity to bring. Opportunity to, opportunity to. It's a flap isn't it? It's a flap in the schwa. It's not to it's a 'da' 'da' 'da'. Opportunity 'da'. Try that word just linking
on to the word before. Opportunity 'da', opportunity 'da'. Opportunity to, Opportunity to bring you in. The opportunity to bring you in, the opportunity to bring you in, Opportunity to bring
you in on the condition-- Bring you in on the condition-- Our next stress syllable
is 'di' condition. T-I-O-N here, SH scwha N. Condition, our stressed
syllable has the I vowel, and I wanna point out C-O-N, that's 'Kan'. That first syllable has
the schwa, and so we don't need to feel like
there's any vowel in it, 'cause the end absorbs the schwa. So it's just 'kan' 'kan'
condition, condition. Condition, Bring you in on the condition. Now I wanna talk a
little bit about linking. We have that JU diphthong, and then we have the I
as in sit vowel in in. Now when we have a word
that ends in this sound, and the next word begins
with a vowel or diphthong, it can sound like we connect them with the glide consonant W. So I'm gonna cut it here, with just the very end of this
word linking into the word in in on the condition and
listen to how it sounds like. It's 'win', 'win' on the condition because of the linking,
'win' on the condition. 'Win' on the condition,
' 'win' on the condition. Do you hear that? I love that about linking. So smooth one sound right into the next. No true definition often between words. Bring you in on the condition. That's when stress becomes so important. When we have the stress
that gives us our anchor rather than all These words separations. Bring you in on the condition. Bring you in on the condition, bring you in on the condition, bring you in on the condition
that I terminate this mission. That I terminate, that I
'ter' stressed syllable there, that I terminate this mission. That I terminate this mission, that I terminate this mission, that I terminate this mission. Pitch goes up, because he is not done he's going to put a break here, but his pitch going up shows that he's going to continue his thought, and because of that, the
stressed syllable of 'mi', rather than being up down is
more like a down up mission. Mission, That and I unstressed, they
link together with a Flap T, that I, that I, that I. That I, terminate this mission. That I terminate, this is a true T, because just like in opportunity, it's a T starting a stressed syllable. 'Tunity,' terminate, terminate this. Stop T at the end of terminate, because the next word
begins with a consonant. Terminate this mission. Terminate this mission, terminate this mission. Mission, mission. Here the double S I-O-N, is the SH sound schwa N. Mission, Shin, Shin. Mission, And hand over Solomon Lane personally. Our stress here in, hand over Solomon Lane personally. And hand over Solomon Lane personally. And hand over Solomon Lane personally. And hand over Solomon Lane personally. Hand Sol and Lane, per are our
most stressed syllables there. The word and not fully pronounced. How does he pronounce it? Does it sound like in? In hand, Yeah, pretty much does doesn't it? So it's not and but it's an 'in'. Unstressed, said very quickly, I would write that with a schwa n, but I know it helps people to think of it as being the word in said
very fast. In,in,in,in. In hand over. The D here, very light. In hand over, hand over,
links into the next word, which begins with the O diphthong. In hand over Solomon. So we have three O's here, but they have different pronunciations. The first one is the ah
as in father 'sahla', then we have a schwa 'sahlamn'. Then we have a schwa again, but when the schwa is followed by n, we don't really hear it, mn, mn, mn. It's right from m into
n min, min, min, min, Solomon, Solomon. Solomon, Solomon Lane. Solomon Lane, personally. Personally, now the vowel
in that stress syllable is the 'er' vowel, which is like the r
acting like a vowel per. So don't try to make a
vowel between p and r. Puh, er, per per. Just give that r the shape
and length of the vowel per, personally, person. Here we have another schwa N,
so it's not person, person, It's Person, person, personally. Personally. Sir you can't do that. Okay, now his next sentence
is all sort of low in energy a little bit quieter. Sir you can't do that. Sir you, sir you, not much jaw drop there it's
not sir it's Sir Sir quiet, mysterious, intense. Sir You can't do that. Sir you can't do that, sir you can't do that. You, I don't hear that
as you I hear that is ya. Surya, Surya, do you hear that reduction? Sir you-- can't do that. Sir you can't do that. I'm hearing this as a stop
t certainly not released. Can't do, but can't do,
can't do, can't do that. And then I do hear him
actually releasing that t. So he doesn't make it
a stop, he releases it. Do that, that, that. Do that. Hunt. Hunt, hunt. Hunt. Up down fully releases that clear true T. Hunt, hunt. Hunt, No I know Lane. He puts a pause after
Lane breaking it up into its own thought group over here. What is the stress of these four words? Let's listen to the melody. No I know Lane, Tadatada. No I know Lane. No, I know Lane. No has stress. (laughs) The other word no has stress these two words sound the same don't they? N consonant O diphthong, even though they're two different words and they're spelled differently, they are homophones they sound the same. No, no, I know. No I know, The I diphthong just links
really smoothly into here. No I. When we link the O diphthong
into a word that begins with a vowel or diphthong it can feel like you're going through a W Why? Why?
Instead of I. No why, No, no, I know Lane. No I know lane, Actually, he makes a little
tiny bit of a lift here. No, I know Lane, no, I
know Lane, no, I know Lane. But you can definitely I think it's close enough it's linked enough that you
can think of this W to help you smooth that transition. We don't want no I, no I, no I, we don't want that kind of lift. No I, no I, no I. No I, know Lane and he has no intention of going back. And he has no intention and he has no intention of going back. No and 'ten' have our most stress there. And he has no intention of going back and he has no intention of going back and he has no intention of going back. What about our first three
words here, and, he, has. How are those pronounced? And he has, All three of these words reduced, and becomes an an, he becomes 'i', as becomes is, is, in he has, in he has, in he
has, in he has, in he has. And he has, You should be able to say that without moving your lips or your jaw at all your mouth should feel totally relaxed, and he has, and he has,
and he has, and he has. It's flatter, doesn't have
the energy that no or 'ten'. And he has no, and he has no. It's all really low and flat
building up to and he has no, that stressed syllable
with the up-down shape. And he has no, and he has no intention. And he has no intention, and he has no intention. The T-I-O-N ending here if you look it up in the dictionary, it will say 'sh' schwa n Shin Shin. But actually when the SH
sound comes right after an N, we put a T in it and so then
instead of SH it becomes CH. 'chun', 'chun', 'chun', intention, intention. chchch. So ch instead of sh
because of that n before. Intention, intention. The T in ten is a true t because it starts a
stress syllable intention. Intention, of going back. No intention of going, of going back, a little bit of an up down
shape on those two syllables, go and back. The word of reduces of, of,
of, of going, of going back. Of going back, When you hear just of going back, it's really crazy how fast and almost not there that word of is. We reduce it, we make it so short to give the good contrast between unstressed and stressed syllables. Of going back, Of, of, of, of, of, of going back, of going back. It's crazy how different
that is than going and back. It's not of of going back, It's 'ev' 'ev' 'ev' going back. 'ev' going back. When we reduce things like that, I think it helps us to
connect things more. Of going back, of going back. Of going back, And he does release the K sound. That's another stop consonant. And sometimes we don't release it at the end of a thought group. But he does here. Of going back. Of going back, That's why we're taking him back. That's why we're, he's
speaking with authority here with more volume. That's why we're taking him back. That has a little bit of up down shape, but then I don't really
hear the K sound at the end, taking him back. That's why we're taking him back. That's why we're taking him. That's why we're taking him back. That's why we're taking,
true T there in taking, because it begins a stressed syllable. That's why we're taking him. The word him unstressed, he could have dropped the H
that is a common reduction, but I do still hear a light H, even though the word is unstressed. That's why we're taking him. That's why we're taking him. That's why we're taking him. You know what, I'm even
going to give some stress to that's and why, that's why, Oh, sorry. That's an we're, that's why we're take, that's why we're taking him back. By doing a little bit more of the length and a little bit more of up
down shape on every word there, It really brings stress and
authority to what he's saying. That's why we're taking him back. That's why we're taking him back. That's why we're taking him back. That's why we're taking him back. Which means that's exactly
what he wants us to do. Okay, now Tom Cruise's character, really does the same thing. He stresses more words than normally he puts in more gaps, breaks
it into more thought groups, so that he can stress the
importance of what he's saying. Which means that's exactly
what he wants us to do. Which means that's exactly
what he wants us to do. Which means that's exactly
what he wants us to do. Which means, which means
both of those have shape of stress. Which means and then he puts a little thought group in here
breaking it up, which means. It's not, which means, which,
which, which, which means. Where which would be unstressed,
but it's which means. Which means. Which means, which means that's exactly
what he wants us to do. That's exactly, and a
little feeling of a stop of a break here, breaking
up the thought group. That's exactly, and the stressed syllable here of exactly has a scoop up rather than up down, because his pitch is going up. That's exactly. That's exactly, Let's talk about the word 'exactly'. We have an unstressed syllable. IH as in SIT, G, then stressed syllable starts with z. So g and z are the two sounds that we get out of the letter X. It's interesting, the letter X makes two sounds and there's even considered a
syllable break between them. 'Ig', 'Ig', 'Ig', exactly. So then we have the AA as in BAT vowel, k, t, and then an unstressed
syllable 'Ly' exact, Exactly. Now, if we didn't have the Ly ending, and I was just gonna say the word exact, I would definitely 'kt', 'kt',
make both of those sounds. But when The T comes between
two consonants like this, it's very common to drop it, and that's what he does. 'Exac' 'ly'. So no T sound at all. Exactly, exactly, Let's
listen to him do it. Exactly, Exactly, no T. Exactly. Exactly, what he wants us to do. What he wants, what he wants. We have a stop t. What he, because the next
word begins with a consonant, he didn't drop it. What he wants. What he wants, us to do. Wants us to do, wants us to do. A lot of stressed words here. The word 'to' not stressed,
does have a true T though, True T and schwa, us to do. So, if the sound before the
letter T and the word to is unvoiced like here, S is an unvoiced sound S, then the T will probably be a true T. Us to do, wants us to do. Wants us to do, So even in a phrase
here where the character is stressing every word
putting in more brakes to bring extra stress, even in that case, probably not going to fully pronounce 'to'. It's just such a common comfortable reduction in American English. It would sound a little
strange, "Wants us to do." It would just be a whole
nother level of emphasis. Wants us to do, still
with the to reduction. Wants us to do, Okay let's listen to
this whole conversation one more time. And where did Sloane
get this information? She didn't say. She did, however, grant me the
opportunity to bring you in on the condition that I
terminate this mission, and hand over Solomon Lane Personally. Sir you can't do that. Hunt. No, I know Lane, and he has
no intention of going back. That's why we're taking him back. Which means that's exactly
what he wants us to do. Now for the fun part, you'll look at the notes we took together, and you'll hear a part of the conversation on a loop three times. Then there's a space for you to repeat. For example, you'll hear this, Maybe so sir, Then you'll repeat it. Maybe so sir. Try to imitate everything
about this exactly. So when you see this, then you'll repeat it. Maybe so sir. That's from Top Gun Maverick, which was the first movie we
studied in this summer series. You'll also have the
opportunity to listen and repeat in slow motion. This will be important for you
if you're more of a beginner, or if you're having a
hard time focusing on linking or the melody. Maybe you'll want to do it both ways. But the important thing is, here is your opportunity
to take what you learned, and put it into your
body and your own habits. That's what's going to
transform your speaking. You might do well to work with the audio section of this
video every day for a week, imitating the rhythm and the
simplifications will get easier each time you do it. If you can't keep up
with the native speaker, do this slow motion imitation. Okay, here's our audio training section. Don't forget to come back and do this audio again tomorrow and the next day. You want to build habits here, so you don't need to
think about it so much when you're speaking in conversation. You can focus on the words and not the expression or pronunciation. Don't forget, this is part
of a series all summer long. 13 videos 13 scenes from movies. Check out each one learn
something new each time. I make new videos on the
English language every Tuesday, and I'd love to have you back here again, please subscribe with notifications and continue your studies
right now with this video. And if you love this video,
share it with a friend. That's it guys and
thanks so much for using Rachel's English.
