All language subtitles for Module 24

And now let's talk about the

use of insert shots in insert
shot is a close up detail of something.

It could be a close up of a wristwatch.

When a character looks at his watch,
it could be a close up of drumsticks

hitting a drum.
Or in the case of Taxi Driver.

It could be a close up of a meter
on the dashboard of the taxi.

And these close up
details are always there

to add richness to the scene.

But they're not necessarily
from any particular point of view,

but they're always there to serve
the story.

I'm just going to run.

Something that Damian I talked about.

I'm going to run a clip for Martin
Scorsese.

Taxi Driver.
It's a very simple scene, but.

It has a very

key cut in it, which actually.

Illustrates some of what Damien
Chazelle was going for.

It's a very simple back and forth between.

Consider Robert De Niro
and the passengers in the back of the car.

And somewhere in the middle

there's an insert shot of a beta looking

and something I found and digging in
and I found really interesting

is that an insert shot

is not nearly anyone's point of view.

It's not doesn't seem to be Robert
De Niro's point of view.

It doesn't seem to be the passenger's
point of view.

The insert itself free.

It's kind a rhythm.

It's a character unto itself anyway.

And that's something

that really interested me in
something really interesting, you know.

And the reason is that Damien

always felt like

he wanted a lot of the element of whiplash
to almost see his own

character in certain scenes, maybe not
the whole movie, but certain scenes.

He wanted Whiplash to feel like at times

it was being edited by the character
of Fletcher himself.

So that meant that there would be times
where it would be sass

and serious, it would be impatient,
it would be sometimes rushing,

sometimes it could be dragging,
but it would have a character of its own.

Okay.

So we've seen lots of.

Cutaways of close up shots in the sequence
you just showed us.

And it's not from any character's
point of view from the film.

And I personally feel like because

I have some commercial projects, too,
so I personally feels like

it's something some skills that we use,

we usually use in commercial projects
because you want your audience

to be surprised, to feel like it's pom pom

very like powerful and just quite.

So my question is,
do you guys get the idea

of cutting a film
in the commercial projects way?

Thank you.

Very good question. Very good question.

Now, as I mentioned, I do come
from a commercial background, but.

I think mainly

I think, again,
Damien really gets most of his ideas

from watching feature films and

and also from being a musician.

I think Damien has his own rhythm.

He's very rhythmic.

But again, I think it's from
I think it's from other movies and also

Damien's knowledge that, um, that

you can

tell,
you can use editing to tell your story.

Sometimes you want it to be invisible,
but sometimes you want it to have impact.

And I think that that's
why he was really inspired

by Raging Bull, by Taxi Driver,

by the Social Network.

David Fincher's The Social Network,
because there's cutting

in those movies
that you feel it's controversial.

Some editors say that

film editing,

good film editing is invisible.

I don't always agree.

Sometimes you do want it to be invisible.

But there are some sometimes, like in
all that jazz in United 93 or The Bourne

Ultimatum, there's some times
where you want to feel the cuts.

The cuts give it power.

Damien wanted to use the editing to to
to make it feel violent.

That was what he wanted to get across
with these rehearsal scenes

because a lot of the insert shots
really feel like

they're not from someone's
point of view, literally,

but that they're another force at work
and they're another character,

which is something that that Damien and I
liked about Taxi Driver

and in Raging Bull.

And so what's so great about Damien is

it's one thing to appreciate

editing, it's one thing to appreciate
certain movies and their styles.

I think it's another thing to be able to

capture that in-camera, to know the pieces
that you're going to need.

And that's why
I think Damien is really amazing.

And he he makes he makes me look good

because he thinks like an editor
and he gets all the pieces

that he knows that he's going to need
for the style he wants to use.

All those little page turns and all the
all the drum drumsticks coming in.

All that stuff was just stuff
that to another

movie might seem unimportant or secondary.

You always often
think about the photography

with the actors being the most important,
and usually it is.

But in the case of the story
he wanted to tell with the style,

those little pieces were almost
just as important, you know?

And he knew that, that stylistically,
if he didn't have those pieces,

it would be very thin.

One reason he wanted to have
those pieces was really to get the detail

and to get to give his world
is this world of jazz

drummers texture and richness
so it would feel real.

But also he knew that these little pieces
we could use rhythmically

to create rhythm.