All language subtitles for Module 28

And now

let's look at the feature film
version of Whiplash and examine

how the feature is different
from the short.

Quite a few

things are the same and quite a few
things are different.

Damien.

Really learned a lot about

the look that he wanted.

He learned a lot
about how he wanted to do things

by working on by working on the short.

So what used to be a look

that was kind of cold.

And antiseptic,

just even the production design, the cold
look of of the photography,

he realized, was not what he wanted
for the story.

He realized he wanted more of these browns
and these ochers.

He wanted it to look more like

like The Godfather.

But he wouldn't have known
that if he hadn't done the short.

So a lot
of the changes that we implemented

from his script to the short,
the things we did for the short

he implemented
for the feature version of this.

And I touched on this a little bit
before where

Damian makes storyboards
for every scene of his movie.

He had a rough animatics for every scene.

That would be my reference,
my starting point for this section.

He told me to use the short
film as my text book,

as my map, and to follow it.

Exactly.

And that's what I did
for my first cut of this section.

And when I did that,

what we found
was that the cut didn't work.

I tried to follow it.

Cut for a cut and.

Fletcher wasn't scary.

It didn't feel like.

It didn't feel

like the character of Andrew was afraid.

Something about it just felt mechanical.

I was following this plan,
but it didn't really it didn't really

it didn't work.

So what we found was and in a way,

once I mention it will seem obvious.

But we didn't think of it this way.

We didn't really understand.

We had to custom cut.

This version based on the performances,

the new revised performances
that we were given.

We couldn't use the exact plan
we had before.

We could use it for some things,
but it just didn't work for other things.

You'll notice some similar looking shots

because we stole some insert
shots from the short film.

They were colored differently
and we use them in the feature film.

And of course.

A couple of the actors like His Enemy,
a character named Tanner.

That's the same actor.

And as much as we could,
we did try to follow

the same cutting pattern and you'll see
the same of pattern at different places.

Some of the insert shots, again, are. Are

stolen or cheated from the short film,

but they're colored differently
to match the new color scheme.

Again.

We tried to follow.

The fragmented introduction of J.K.

Simmons.

But we found that we like this.

This shot of J.K.
Simmons hanging up the coat.

There was this business of the coat,
the way he so delicately does it.

It felt good for his character.

It felt like it said something about him,
and it created anticipation.

This shot is from the short film.

This shot we flop the screen direction

and what we the interesting thing we found
and I may have touched on this

when you flop actors faces
sometimes you don't really notice.

Other times they look a little bit
grotesque and strange.

We thought that was good with J.K.

Simmons. The more grotesque
you look, the better.

Not that
that was the only reason we did it.

We did it because we wanted to direct
the audience's eye a certain way.

We wanted the continuity
to match a certain way.

But the the consequence of that
making J.K.

Simmons look a little strange.

We didn't mind that.

What we found to help make J.K.

Simmons his character more intimidating,
we found that

we actually had to rely more on
some of the faces of the musicians.

Certainly rely

on Miles Teller as much as we could,
but we also realized

that we had to really rely
on the other musicians as well.

And some of these shots,

like the short film,
it was important to keep them.

Very, very short. Extremely short.

There was a nervous energy to it.

Where?

There.

Extremely fast in a way that
if you watch the film several times over,

we didn't want the audience to be able
to get used to the speed

of those inserts.

And there were some shots

that Damien really tried to

reproduce.

The moving shots, the shots

that that really linger.

Screen direction flopped.

Cheated to match that actor.

Shots stolen from the short film.

So again, the goal was really to

do something
that we thought would be very easy,

which would be just a match
cut for cut the short film.

And as much as we could, we tried,

but there were a lot of things
that we found were different.

Most of the actors were different.

They were replaced with real musicians
this time.

Some exception, the exception being.

The character of Metz, who was kicked

out of the class.

Shots stolen from the short film.

And by this point again.

Damian revised his script

to match the changes
that we had made in the short film.

So the other characters in the hallway

that was no longer in the story.

And again, getting into performance.

And this we pretty much could match.

But again,
all based on all based on performances

custom cut to the performance
we couldn't literally match line for line

how was cut in the short film

and here for example, we felt it stronger
because of Miles's performance.

He played the arrogance so well.

Just stay on that.

In the short film,
we cut out to the wide shot

to punctuate the scene
and then go on to the next one here.

We didn't even bother because we just
like staying with the face.

And this is something Miles Teller plays
so well,

the swagger.

And again, a similar plan, cutting plan.

When J.K.

Simmons comes in.

But again,
we found that we really had to be open to

deviating from some of the concepts
that we thought we had worked out

so perfectly in the short film.

And in fact.

The whole business was the chair
with with the chair

was different.

Wide shot.

It's a body double.

And the shot.

The shot of the chair
landing was different.

We didn't like it as much as in the short
film, so we had to cut to a reaction

of the other musicians to help sell
how hard the hit was.

That's different from the short.

But it's different because the dailies
for this were different.

And this moment with the slapping.

The moment that we the Damien
and I really love

that thought was powerful
and we stayed in this two shot.

We stayed in the two shot
for all the slapping that did not play out

the same way
with the dailies for the feature.

The slaps did not feel as as violent
as they did in the short film.

So we had to help them editorially
help them.

So Damien shot
coverage to two cameras for these slaps

and between taking frames out

to make the impact faster.

Between speeding up
some of the hits to make it feel harder.

And between smash
cutting to reverse angles to disorient.

That's something.

Those are all things we had to do in order
to sell the impact, in order to sell

and surprise the audience.

What we
could do with just one shot in the short.

We had to cut up into a bunch
of different pieces for the feature film.

I have a full organic look in there.

One, two, three, four.

One, two, three, four.

Want to know,
was I rushing or was I dragging?

And again.

One, two, three.

One, two, three. One, two, three.

Russia for dragging Russia.

So you do know the difference.

So you do know the difference.

Audio performance
stolen from the short film.

Some of those pieces
we stole audio as well.

Stole from the short film
because Damian and I liked J.K.

Simmons, his performance
more from the short film.

In fact, there was a line of dialog

in the script.

J.K. Simmons Threatens to gut.

And you're like a pig. And.

When we were shooting the short film, J.K.

Simmons made a mistake
and he said the line wrong.

He said, I will fuck you like a pig.

And we thought that sounded more grotesque
and more sinister.

We didn't really know what it meant.

Why would he say this?
But it just sounded terrible.

So we put that in the short film.

Well, when it came
time to shoot the feature film version.

Damian Because what we had done,
the short rewrote his script.

So then he had the line, If you don't
do this, I'm going to fuck you like a pig.

And J.K.

Simmons on set said, I'm not saying that.

I'm not saying that. Come on.

And he didn't say it.
We didn't have the take.

So we took the audio from the short film
and used it in the feature film.

If you deliberately

sabotage my band, I woke up
you like a pig.

Now, are you a rusher or are you a drinker

or are you going to be on my walking time?

On my fucking time.

Audio Take just a portion of that
stolen from the short film.

Again, it's all about performance.

And we were very
we were in a very unique position

in that
we actually had an alternate performance

that we could rely on in terms of pieces

on your time.

What does that say?

Quarter equals 215 to 15.

One, two, three, four. One, two, three.

Keeping this fucking quiet.

I didn't know
they allowed retards into shape.

Am I to understand that you cannot read
tempo?

Can you even fucking read music?

What is that? Yes. What is that? 16

slightly better.

1010.

What a fucking acapella
group played a goddamn kick.

Now, now, answer my question.

Where are you rushing
or were you dragging?

You. She.

So this moment coming up here

when he says answer and J.K.

Simmons notices
that Andrew is starting to cry

is a moment that Myles played extremely

subtly , basically in the exchange.

The back and forth.

We didn't have a take of Myles crying.

He just didn't get to that place.

And it was one of the hardest things that

it's one of the hardest parts
of this section to deal with.

No matter how we cut it,

it just never seemed to reach
the emotional place that we needed it to.

What we ended up doing is stealing a tear

a moment
from a different part of the performance.

We stole it from a different part

of the performance
and placed it where we needed it.

So on the right side of the frame,
we actually have a split screen.

So Miles Teller,
this piece of his performance is actually

from a later part of the scene
where he is actually starting to cry.

We combined.

Two different parts of the take

to line up the pieces
that we needed in order to make this work.

So this tier is not from this moment

in the scene, it's
from a different moment.

Are you one of those single few people

with fucking rainbow do.

So that tear that rolls down
did not happen.

During that part of the scene,

he wouldn't be upset up.

And this is what I'm talking about

when you want editing to be invisible.

There are times
where you want to feel the cuts.

But then there are other times which
which are many moments in in whiplash,

many moments
in this section, in the scene.

But there are other times
where you don't want to feel the cuts.

You don't want to feel manipulation.

Even though everything we do
is manipulation.

But you don't want to feel it

because that takes the audience
out of the scene and out of the moment.

Pull back on your.

I'm upset about her.

I'm upset.

I said,
you are a worthless, brainless fagot.

Little piece of shit.

Who's Mommy left? Daddy.

This is the tier that we used earlier.

Damian shot Miles Teller with two cameras.

And we were able to steal this tear.

This is recycled, used twice.

So this is the same tier
you saw earlier in this little section.