Quotes by: Damien Chazelle
If you're an artist, you want to draw from real life; you want to draw from experiences, emotion, and it's something that a lot of musicians juggle with. I've always found it so fascinating.
I do truly believe that the smallest stories can wind up being the biggest because it's through the specific that a writer can best access the universal.
The greatest thing has been that projects that were pipe dreams before 'Whiplash' are now feeling more realistic.
The end result of my personal story is that I became a really good drummer, and I know myself well enough to know that I wouldn't have without this really tough conductor and this really cutthroat hostile environment I was in.
Going back to my film education, I always have that voice in my head that's always screaming, 'Sell out!' And that's good: you want that, because it keeps you on your toes, and it's important to remember what's actually important.
I didn't have traditional stage fright. If there was 500 people in the audience or three people in the audience, it didn't really make a difference. What made a difference was the conductor. Everything that I was scared about as a drummer was him.
First time that I cried at a work of art was at a drum solo that I saw. A drummer named Winard Harper, part of the Billy Taylor Trio, gave back in - I would have been in high school - 2005 or something.
When you're trying to paint a portrait of a very specific world, you're trying to show what makes the world different. So, sometimes it means exaggerating certain kind of aspects, but I don't think it's that important or it's that much of an issue as long as you get an emotional truth across.
There's something very particular about the kind of rage you feel when you're alone in a practice room by yourself, unable to master a simple thing like a rudiment.
I like the idea of working my way up. I don't feel impatient to immediately jump into something that could literally bring down a studio if I don't do it well.
I remember when I first met Jason Reitman with the 'Whiplash' script; he quickly became a mentor figure who guided me through the process and also protected me and made sure that when it came time to actually make 'Whiplash,' I was able to make exactly the movie I wanted to make.
There are a few musicians that I know who seem on the outside like very asocial or somewhat unemotional people, people who aren't capable of emotions, and people think they're very cold inside.
I think, especially living in L.A., it's very easy to get wrapped up in weekend announcements and the trades and the whole social life of the city, and to get divorced from what actually matters.
It's interesting when you wind up distilling all your ambitions and your goals and dreams into one single person. It's giving that person a lot of power.
I like movies that are specific. Movies that home in on a very specific subculture, a specific discipline, a specific world.
By the end of high school, I had this fork-in-the-road moment where part of me considered going to vocational music school to really pursue it.
What's great about musicals is their energy and go-for-brokeness - stopping the story to sing and dance. How can you not love that?
If you look at 'West Side Story,' a lot of those numbers are actually pretty cutty, but the cuts are always musically motivated.
People like Art Blakey and Buddy Rich, you look at them playing music, and it's just like looking at a heavy metal drummer. I mean, they're playing with the same amount of ferocity. It's not to say all jazz is like that.
I remember being inspired myself when smaller films, whether it's 'Beasts' or 'Winter's Bone,' wound up in the Oscars lineup.
I didn't feel the kind of joy every day playing drums that I thought you were supposed to feel.
I don't like the idea the viewer can kind of sit there and go, 'Make me like this person.' People aren't inherently sympathetic.