when you study the way we're going to today.

We're going to study English with the movie Venom, and look at all the things that make spoken English difficult.

Linking, reductions, changing the sounds of a word.

When you study these things and you know them,

you're going to be so much more comfortable and confident speaking English.

Study like this and you're going to be able to understand American movies and TV without subtitles.

You're a good person, Annie.

We're doing this all summer, we started in June, and we're going 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 understand and speak English.

And as always, if you like this video, or you learned something new,

please like and subscribe with notifications.

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 in 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.

You're in luck, I've decided to work pro bono.

I'm joining the public defender's office.

You're a good person, Annie.

What about you? What are you going to do?

Uh, the network asked me to bring the show back. Uh, they want to start with a piece on Drake.

Oh, when? Really? So-what did you say?

Uh, I'm not, I'm not into it.

I want to concentrate on the written word.

And now, the analysis.

You're in luck, I've decided to work pro bono.

You're in luck-- You're in luck-- So if the melody starts lower, you're in luck--

it goes up for in, and comes back down as she finishes the word luck.

You're in luck-- you're in luck-- And everything links together, doesn't it?

There are no breaks, so we have this smooth change in pitch, this up down shape.

See if you can imitate that. We want a lot of smoothness in American English.

You're in luck--

You're in luck--

You're in luck--

This word 'you are' is not pronounced you're, but it's: yer yer, she reduces it.

That's the common pronunciation.

You can try to make it with no vowel: you're, you're, just a Y sound and an R sound:

you're, you're, you're, you're in luck, you're in luck.

You're in luck, you're in luck.

You're in luck, I've decided to work pro bono.

Luck, I've-- luck, I've-- ki've-- ki've-- ki've--

The K sound links right into the next word: I've with the AI diphthong, luck I've-- luck I've-

Luck, I've--

decided to work pro bono.

That word is unstressed. I've decided-- we have some of that up down shape there.

I've decided to work pro-- pro bono.

So some stress on pro, and also on bo, on pro, pro, it's going up, pro bono.

So we have three letters o there: pro bono, and they're all pronounced with the OH diphthong, oh, oh.

One mistake my students make sometimes is they'll say: oh, and they don't change the lip position,

oh, oh, we do need the change in the position, we go from more relaxed in the first sound,

to more rounded in the second sound, and that change is important. Pro bono. Pro bono.

I've decided to work pro bono.

I've decided to work pro bono.

I've decided to work pro bono.

I've decided to work- decided-- decided-- decided--

So the first syllable, said very quickly, de, de, and the last syllable said very quickly, ed, ed.

Decided. Decided. Decided. Uhhhh. The stress is really on that middle syllable. I've decided. I've decided.

I've decided--

Decide. So right from the D into a true T sound.

She wouldn't have to do that. It's common to drop it when the first sound is a D, the sound before is a D,

decided to--, decided to-- and just make it a schwa. But she does make a true T and then a schwa.

Decided to, decided to, decided to.

The important thing is that the vowel here is the schwa, and it's said very quickly.

It is unstressed. Decided to. I've decided to.

I've decided to--

to work pro bono.

Decided to work pro bono. Work also said pretty quickly. To work, to work, to work, to work.

This is a tricky word because it has the R vowel in it. Work.

One thing that can mess up my students is when they try to put a vowel in work, something like that.

It's just W consonant, think of there being no vowel, R sound, work, work,

you don't need much jaw drop for that. Work. Work.

See what happens for you if you take the vowel out. Work. Work.

Work--

pro bono.

I'm joining the public defender's office.

What are her most stressed syllables in this next sentence?

I'm joining the public defender's office.

I'm joining the public defender's office.

I'm joining the public defender's office.

I'm joining-- I'm joining the public defender's office.

So: join, pu--, fen, and ah--, all have the most stress.

The word I'm, I'm, AI diphthong, M. It's not fully pronounced here, I don't think. What do you think?

I'm joining--

I don't really hear the diphthong. I just hear the M consonant before the J.

I'm joining, mmmm, I'm joining, I'm joining.

It's a fairly common reduction. I'm joining. I'm joining.

I'm joining--

public defender's office.

So we have our stressed syllable join, then two unstressed syllables.

Ing the, ing the, ing the, ing the. I'm joining the public—

I'm joining the public—

I'm joining the public—

I'm joining the public—

Does it feel unnatural for you to make the pitch go up and down like this?

It might feel very strange to do that depending on your native language.

But that really helps with the native speakers understanding you because we're so used to that.

It might feel silly to you, but it's how we use the language. So don't be afraid to really change your pitch.

Joining the public. And joining the public. And joining the public.

That's what makes English clear to us. So challenge yourself to do that even if it feels silly.

I'm joining the public—

I'm joining the public—

I'm joining the public defender's office.

Public de-- So this ends in a K sound.

I don't hear it released. I don't hear: public, public, public defenders.

I hear public de-- So the sound stops. She puts her tongue up into position for the K.

Public de-- but then rather than just releasing a puff of air, she goes right into the D sound.

Public defender's office.

Public defender's office.

Public defender's office.

Public defender's office.

This here, apostrophe S showing possession, the office of the defender, of the public defender, is a Z sound.

Defender's office. And it links right into the vowel.

Defender's office.

Defender's office.

Defender's office.

Vowel can either be the AW as in law vowel or the AH as in father vowel. Defender's office.

Defender's office.

Defender's office.

Defender's office.

You're a good person, Annie.

How does he stress this? What words seem the most clear to you?

You're a good person, Annie.

You're a good person, Annie.

You're a good person, Annie.

Good, per--, ann-- that's what I hear. You're a good person, Annie.

You're a good person, Annie.

You're a good person, Annie.

You're a good person, Annie.

Good person, Annie.

You're and a, both said very quickly.

You're a-- you're a-- you're a-- you're a—not: you're a-- you're a-- you're a-- you're a—

Very relaxed face. Very little jaw drop. You're a-- you're a-- you're a-- you're a--

I can do that without moving my jaw or my lips or my cheeks at all. It's just the tongue.

You're a-- you're a-- you're a-- you're a-- you're a—

See if you can do that. That kind of simplification of mouth movement is really important

to help you make these unstressed syllables very fast, to give them an unstressed feeling.

You're a-- you're a-- you're a good person.

You're a good person.

You're a good person.

You're a good person.

Good, good, good, good person. You know, even though I wrote this as stressed,

and I do think it has a bit of a stressed feel, it's actually pretty short, isn't it? Good, good, good, good, good.

There's not much of a vowel there.

This is the push vowel, uh, sugar, good,

but it's not good, it's good, good, good, good, good person, good person.

Good person--

Annie.

Good person, Annie. Nannie. The ending N links right onto the vowel AH.

This is what we want, we want this kind of linking. Good per--

these two sounds with no break in between.

You're a-- linked together: you're a good person, Annie.

Everything links together so smoothly.

You're a good person, Annie.

You're a good person, Annie.

You're a good person, Annie.

With this word, person, person, make sure you don't put a OH sound in there. That's the schwa.

Schwa N. When those two go together, you don't really try to make a vowel at all.

Person, son, son. Right from S into N. Person. Person, Annie.

Person, Annie.

Person, Annie.

Person, Annie.

What about you? What are you going to do?

So these are two different questions but she doesn't put any break in between. They link together.

What are our stressed words here?

What about you? What are you going to do?

What about you? What are you going to do?