The story so far Everything you need before watching 中文 EN
This scene uses direct requests, refusals, and negotiation to show how respect and power shape a difficult conversation between people with competing interests.
C
Cooper former pilot and farmer
D
Donald Cooper’s father-in-law
Read more 00:00 / 03:52 1× English only
00:02 -What's with all the new faces ? - We'll need them now. 00:06 After the hospital thing, Sonny got mad. 00:09 We hit Bruno Tattaglia this morning . 00:13 Jesus Christ . 00:21 Looks like a fortress around here . 00:26 Tamaduch! Hey... 100 buttonmen on the street 24 hours a day. 00:32 That Turk shows one hair on his ass, he's dead. 00:37 Mike, let me look at you . 00:43 You're beautiful, beautiful . You're gorgeous . 00:47 The Turk wants to talk! Imagine the nerve of the son-of -a-bitch. 00:52 -He wants a meeting today. -What did he say? 00:55 What did he say... He wants us to send Michael to hear the proposition. 01:00 He promises that the deal is too good to refuse. 01:04 -And Bruno Tattaglia? -That's part of the deal. 01:07 -He cancels out what they did to Father. -We should listen to them. 01:11 No more! Not this time, Consigliere. 01:14 No more meetings, discussions, or Sollozzo tricks. 01:18 I want Sollozzo, or we go to war... 01:21 -The other families... -They hand me Sollozzo! 01:24 This is business, not personal! 01:27 -They shot my father... -Even that was business, not personal. 01:32 Then business will have to suffer. Do me a favor. 01:36 No more advice on how to patch things up. Just help me win. 01:46 I found out about Captain McCluskey, who broke Mike's jaw. 01:50 He's definitely on Sollozzo's payroll, and for big money. 01:54 McCluskey has agreed to be The Turk's bodyguard. 01:59 So when Sollozzo is being guarded, he's invulnerable. 02:02 Nobody has ever gunned down a New York police captain. 02:06 All the families would come after you. The Corleone family would be outcasts! 02:12 Even the old man's political protection would run for cover. 02:17 Do me a favor. Take this into consideration. 02:25 All right, we'll wait. 02:32 We can't wait. We can't wait. 02:36 No matter what Sollozzo says, he's going to kill Pop. 02:41 That's the key for him. We've got to get Sollozzo. 02:44 -Mike is right. -Let me ask you something. 02:49 What about this McCluskey? What do we do with this cop? 02:58 They want to have a meeting with me, right? 03:02 It will be me, McCluskey and Sollozzo. 03:09 Let's set the meeting. 03:13 Get our informers to find out where it's going to be held. 03:18 We insist it's a public place. A bar, a restaurant. 03:22 Some place where there are people, so I feel safe. 03:29 They'll search me when I meet them, right? 03:32 So I can't have a weapon on me. 03:38 But if Clemenza can figure out a way to have a weapon planted there for me 03:47 then I'll kill them both. Language points Click a card to jump to its moment in the video All 28 Collocation 20 Grammar 3 Pronunciation 3 Slang 2
P Collocation B2 ↩ 00:02 the new faces the new faces
This phrase expresses a concrete action or position. -What's with all the new faces ? - We'll need them now. P Collocation B2 ↩ 00:02 we'll need them we'll need them
This phrase expresses a concrete action or position. -What's with all the new faces ? - We'll need them now. G Grammar B2 ↩ 00:02 -What's conditional clause: The past form frames a hypothetical explanation rather than a confirmed fact. -What's with all the new faces ? - We'll need them now. S Pronunciation ↩ 00:02 -What's Practice reducing the function words; stress bookshelf and talk. -What's with all the new faces ? - We'll need them now. ↗ Slang B2 ↩ 00:02 -What's every single one — Emphatic and conversational; use when stressing totality. -What's with all the new faces ? - We'll need them now. P Collocation B2 ↩ 00:06 after the hospital after the hospital
This phrase expresses a concrete action or position. After the hospital thing, Sonny got mad. P Collocation B2 ↩ 00:06 thing, sonny got thing, sonny got
This phrase expresses a concrete action or position. After the hospital thing, Sonny got mad. G Grammar B2 ↩ 00:06 After ellipsis: The omitted verb makes the fragment sound like a sharp continuation of the previous thought. After the hospital thing, Sonny got mad. S Pronunciation ↩ 00:06 After Link the words across boundaries while keeping sky and wonder prominent. After the hospital thing, Sonny got mad. ↗ Slang B2 ↩ 00:06 After when I was young — Often nostalgic or teasing; less suitable for formal writing. After the hospital thing, Sonny got mad. P Collocation B2 ↩ 00:09 tattaglia this morning tattaglia this morning
This phrase expresses a concrete action or position. We hit Bruno Tattaglia this morning . G Grammar B1 ↩ 00:09 We opportunity phrase: The structure links an opportunity to the talent or resource that could have been used. We hit Bruno Tattaglia this morning . S Pronunciation ↩ 00:09 We Stress look down and worry to make the contrast audible. We hit Bruno Tattaglia this morning . P Collocation B2 ↩ 00:13 jesus christ jesus christ
This phrase expresses a concrete action or position. Jesus Christ . P Collocation B2 ↩ 00:21 looks like a looks like a
This phrase expresses a concrete action or position. Looks like a fortress around here . P Collocation B2 ↩ 00:21 fortress around here fortress around here
This phrase expresses a concrete action or position. Looks like a fortress around here . P Collocation B2 ↩ 00:32 that turk shows that turk shows
This phrase expresses a concrete action or position. That Turk shows one hair on his ass, he's dead. P Collocation B2 ↩ 00:32 one hair on one hair on
This phrase expresses a concrete action or position. That Turk shows one hair on his ass, he's dead. P Collocation B2 ↩ 00:32 his ass, he's his ass, he's
This phrase expresses a concrete action or position. That Turk shows one hair on his ass, he's dead. P Collocation B2 ↩ 00:37 mike, let me mike, let me
This phrase expresses a concrete action or position. Mike, let me look at you . P Collocation B2 ↩ 00:37 at you at you
This phrase expresses a concrete action or position. Mike, let me look at you . P Collocation B2 ↩ 00:43 you're beautiful, beautiful you're beautiful, beautiful
This phrase expresses a concrete action or position. You're beautiful, beautiful . You're gorgeous . P Collocation B2 ↩ 00:43 you're gorgeous you're gorgeous
This phrase expresses a concrete action or position. You're beautiful, beautiful . You're gorgeous . P Collocation B2 ↩ 00:47 the turk wants the turk wants
This phrase expresses a concrete action or position. The Turk wants to talk! Imagine the nerve of the son-of -a-bitch. P Collocation B2 ↩ 00:47 to talk! imagine to talk! imagine
This phrase expresses a concrete action or position. The Turk wants to talk! Imagine the nerve of the son-of -a-bitch. P Collocation B2 ↩ 00:47 the nerve of the nerve of
This phrase expresses a concrete action or position. The Turk wants to talk! Imagine the nerve of the son-of -a-bitch. P Collocation B2 ↩ 00:47 the son-of the son-of
This phrase expresses a concrete action or position. The Turk wants to talk! Imagine the nerve of the son-of -a-bitch. P Collocation B2 ↩ 03:38 figure out something figure out something
This phrase expresses a concrete action or position. But if Clemenza can figure out a way to have a weapon planted there for me
Teaching points Review right after watching My level A1 A2 B1 B2 C1 C2
✦ Collocation B2 ↩ 00:02 What's with all keep developing or investigating something above my level In the scene Murph tells Cooper she has continued investigating the strange bookshelf as he suggested.I can explain this clearly in another conversation. In daily life Let us discuss this calmly today. ✦ Collocation B2 ↩ 00:02 the new faces because something might happen above my level In the scene Murph gives a possible reason for counting the gaps, without claiming it is certain.I can explain this clearly in another conversation. In daily life Let us discuss this calmly today. ✦ Collocation B2 ↩ 00:02 We'll need them adjust for an unusual effect above my level In the scene Cooper explains that the anomaly required practical corrections to navigation and timing devices.I can explain this clearly in another conversation. In daily life Let us discuss this calmly today. ✦ Collocation B2 ↩ 00:06 After the hospital want every benefit at once above my level In the scene Donald sums up humanity’s appetite with a critical, slightly bitter expression.I can explain this clearly in another conversation. In daily life Let us discuss this calmly today. ✦ Collocation B2 ↩ 00:06 thing, Sonny got choose a similar path to someone above my level In the scene Cooper reports that the school expects Tom to follow his father’s path, raising the question of choice.I can explain this clearly in another conversation. In daily life Let us discuss this calmly today. ✦ Collocation B2 ↩ 00:09 Tattaglia this morning the only important consideration is above my level In the scene Cooper responds to Tom’s doubt by shifting attention from other people’s opinions to Tom’s own feelings.I can explain this clearly in another conversation. In daily life Let us discuss this calmly today.
Golden lines A great line in its own right — why and how to use it “-What's with all the new faces? -We'll need them now.”
Why it's great
Cooper turns a family conversation into a quiet question about a civilization losing its purpose.
Use it yourself
It’s like we’ve forgotten who we are as a team.
◈ Create share poster ↩ 00:02
“After the hospital thing, Sonny got mad.”
Why it's great
The balanced “too late or too early” frames alienation as a problem of time, not talent.
Use it yourself
We look down and worry about our place in the new industry.
◈ Create share poster ↩ 00:06
Takeaways What you walk away with “Look down” carries a social and emotional contrast. “Have it all” can sound critical, not admiring. “In case” leaves room for uncertainty. “Follow in my footsteps” frames inherited choices. “All that matters is” narrows a difficult decision.
People also search Questions, then the lines What does “look down” suggest in this Interstellar scene? It contrasts humanity’s lost habit of looking at the stars with anxiety about survival o
What does “follow in my footsteps” mean? It means choosing a path similar to someone else’s, often a parent’s career or life.
Is “have it all” positive here? No. Donald uses it critically to describe humanity’s appetite for every possible advanta
How does “in case” differ from “if”? “In case” usually motivates preparation for a possible event; “if” simply sets a conditi
