quote:

---

"Come play for us"

"Something you will never hear".


Smasht.

---

quote:

---

I would give my left nut if the closed fist/hush move worked on my wife and kids.

---

quote:

---

Fletcher was passionate about wanting to produce the next great musician as Neyman was passionate about becoming the next great drummer. Fletcher is seen as a villain and to a degree that is true but the end sequence proves that his radical nature could breed success. You can't fault him for wanting the best and there is no doubt that he understood the price of being great and the consequences of his strategy given the suicide of his former player in Sean Casey. It's easy to not like the guy. However, watching Neyman's drive was truly inspirational. Some of you criticize the car wreck but that scene was not there to for drama, it was there to show that Neyman would not be denied. It was there to show just how determined he was to be great.

The final sequence when Neyman returned to the stage was all of the drama coming to a climax. He was going to prove that he was the best to the instructor he felt thought he was a failure. He knew that Fletcher set him up to fail, but went back to settle the score. As for the conflict between the two, they had technically wronged eachother in Fletcher kicking Neyman out of the band and Neyman getting Fletcher fired. Once the scene was set the two were able to realize what was happening and humble enough to execute greatness. I was happy for them both and the results could not have been any better.

---

quote:

---

I've rewatched the final scene several times and I think the coolest part is his dad's face as he's watching form back stage. His son is tearing off the incredible accomplishment of a drum solo, which is seemingly all his son has ever wanted and you can tell he's more concerned than proud. He knows he's pretty much lost him.

---

quote:

---

Finally got to watch this movie on a 17 hour flight to Sydney. Amazing movie. Super intense throughout with an amazing climax. I watched it, slept for 8 hours woke up and watched it again.

I think the teacher and the student both got what they wanted. The price of greatness is high. So high that very few are willing to pay it. This was not just about music but about excellence in anything. To be one of "the greats", you will go through a crucible that hardens your skill while burning away almost every part of your life. The breakup talk with the girl, the fathers reaction during the solo, and the blood sweat and tears it took to be great show the price of greatness.

Really an amazing movie and the kid sold it because he can actually play. The wide shots of him playing made all the difference. If it was typical Hollywood closeup cuts throughout it would have been less effective.

---

quote:

---

I've read that Miles Teller did almost all of his own drumming, that he was a drummer already, but didn't know anything about jazz drumming, and you and other people had to teach him that for the film. Did you have to visually cheat around anything in terms of his ability?

Chazelle: Much less than I thought. Certainly, one thing I should clarifyhe did pretty much all of the visual drumming onscreen, but the audio of the drum solo at the end is mostly not Miles. He's not actually the greatest drummer on planet Earth. [Laughs.] But he learned how to seem like he was the greatest drummer on Earth. It's all about visual tricks. It's about doing stuff that looks difficult, but isn't that difficult. As a drummer myself, I knew what those things are. Piano's the same thing. It's really easy for pianists to do fast arpeggios, and people look at it and go "Wow," but it's still actually easy. As a drummer, it's pretty easy to do fast stick work, and spin around, and do stuff that's really fast, or do over/underarm stuff. There are just certain kinds of things you can do that look impressive.Ironically, some of the hardest stuff Miles had to do in this movie was just some of the beats. Not even the drum solos. Just the beat to "Whiplash" is really hard. That's a beat that actually sounds easier than it is, because it's in a weird time signature, and it's just ****ed-up. We did a few weeks with him at the drum set, just crash-course training on specifically what he would have to play in the movie. And he was so good on set that we almost never had to use a double. There's a couple of things here and there where there's a close-up on his hands, or the top of his head, where it's a double. But even stuff where you normally would use a double, like really wide shots, or shots of his back, or quick pan shots where we could get away with a double if we needed to, it's actually Miles. I was pretty impressed on set. He really brought it. Even a good 40 percent or so of what you hear on the soundtrack is live audio from him playing on set. He did a good job.

---

quote:

---

quote:

---

I've read that Miles Teller did almost all of his own drumming, that he was a drummer already, but didn't know anything about jazz drumming, and you and other people had to teach him that for the film. Did you have to visually cheat around anything in terms of his ability?

Chazelle: Much less than I thought. Certainly, one thing I should clarifyhe did pretty much all of the visual drumming onscreen, but the audio of the drum solo at the end is mostly not Miles. He's not actually the greatest drummer on planet Earth. [Laughs.] But he learned how to seem like he was the greatest drummer on Earth. It's all about visual tricks. It's about doing stuff that looks difficult, but isn't that difficult. As a drummer myself, I knew what those things are. Piano's the same thing. It's really easy for pianists to do fast arpeggios, and people look at it and go "Wow," but it's still actually easy. As a drummer, it's pretty easy to do fast stick work, and spin around, and do stuff that's really fast, or do over/underarm stuff. There are just certain kinds of things you can do that look impressive.Ironically, some of the hardest stuff Miles had to do in this movie was just some of the beats. Not even the drum solos. Just the beat to "Whiplash" is really hard. That's a beat that actually sounds easier than it is, because it's in a weird time signature, and it's just ****ed-up. We did a few weeks with him at the drum set, just crash-course training on specifically what he would have to play in the movie. And he was so good on set that we almost never had to use a double. There's a couple of things here and there where there's a close-up on his hands, or the top of his head, where it's a double. But even stuff where you normally would use a double, like really wide shots, or shots of his back, or quick pan shots where we could get away with a double if we needed to, it's actually Miles. I was pretty impressed on set. He really brought it. Even a good 40 percent or so of what you hear on the soundtrack is live audio from him playing on set. He did a good job.

---

man...the director must not have been paying attention to the film

---

quote:

---

There's a great moment on this past weeks episode of Comedians In Cars Getting Coffee. Stephen Colbert is the guest. Jerry asks him if he likes Whiplash and he hesitates and Jerry basically says "We can't be friends anymore." And Stephen says something like:

"No. No. It's just that I've had so many jazz musician friends tell me. You know, that's NOT how you get good at jazz. And I tell them... Well, I'm pretty sure that that's not how you get good at boxing either, but I still loved Rocky!"

---

quote:

---

Finally watched it.

****** kinda spoiler*********








Other than the unrealistic scenario of him just happening upon a bar that mean teacher was playing at. I thought it was perfectly done.

---

quote:

---

It's just that I've had so many jazz musician friends tell me. You know, that's NOT how you get good at jazz.

---