All language subtitles for Module 29

And next,

let's talk
about how we set the tone in whiplash.

There were times where he really wanted

the transitions to feel like the film.

That was a big reference,

which was a film
I mentioned at the beginning of yesterday

when we first came in, which is Raging
Bull, Martin Scorsese, Raging Bull.

And there are transitions
and moments in that film

which are very powerful, very muscular.

That's something
Damian wanted to transpose onto his story.

And, and that's, I think, what

from for in my opinion,

what made this script
and his concept interesting?

He was taking elements from another genre,
a sports

movie, a boxing movie,
and he was transposing that.

He was taking that and putting that
on top of this different milieu,

this different situation.

He was putting that on jazz, man.

He was he was basically he wanted to cut.

Music, playing

jazz, practicing,
cut it like it was a brutal action movie,

like a sports movie, like like a character
was training for a sport.

I think that his approach.

Gets a lot of its power

by the juxtaposition
to this different genre.

If this was being done in a sports movie,
I think you would feel it less.

It would be less effective because
it would be more of what you expect.

With this movie, it is different.

It's it's not what you expect.

And I think that is
is how it's very powerful

in some ways.

I'm sorry.

I'm sorry. No, stay.

Mm hmm.

As I mentioned to Hinch as well, uh.

Really likes to start his movies off
with a bang.

He again, he he wants his first scene

to be the second best scene
if the last scene is the best. So

a little bit like first

man, he wanted to start
with a little bit of mystery.

So you hear the drums.

There's no picture.

But, you know, that's something I think
Damien is is really interesting with

he he's not afraid to commit to something.

And so when he had this idea,
he really wanted to stay on black

and hear these drums
building and building and building

until it sounds like a machine gun
and then cut in with a big bang.

And so this actually is execution wise.

How he's pretty much how he scripted it.

But again, we start with this shot.

We don't really know.

Whose is this?

Someone's P.O.V..

To Damien.

This was a very evocative shot,
moving in on our lone drummer.

A great way to introduce him.

Miles Teller.

Playing the drums.

A lot of what we hear is actually Miles
Teller's practicing is playing

Miles Teller train to.

He already knew how to drum a little bit.

He was a rock drummer.

He did rock music, but Damian and

another tutor tried to train him

to be a jazz drummer.

I'm sorry.

Sorry. No mistake.

And something that's really important
about this opening scene

that was important to
Damien was to really set up

the relationship between
these two characters in a microcosm.

Set it all up in the first scene
so you really know

the two people you're dealing with.

What you have here is a miniature version

of the entire movie
of their entire relationship.

You see the dynamic.

Done economically, very simply,

nothing very elaborate.

Did I ask you to start putting and.

So I decided to stop playing
a newer version of that in terms

why you're looking so good.

And as we cut this.

We tried to cut into J.K.

Simmons in the middle of his dialog
in the middle of an action,

because it felt like we are just missing
a piece of what he was saying.

It was harder to keep up with him.

So as he was clapping,

you cut in just for a tiny little piece
because you want to start to feel

that it's actually hard
to keep up with this character's rhythm.

And in fact.

There is a way that you can overcome this
at some point

when we did a pass through the whole movie
to really fine cut.

We overcut the scene.

We cut it and pushed it too much.

We made it very, very fast.

And we did that
at the expense of the performances.

And we realized that we made a mistake
and we pulled it back a little bit.

It has to be fast,
but not so fast that you actually.

Get in the way of the performances.

In this scene.

This establishing of New York.

Was important to us because the film

was made almost entirely in Los Angeles.

And the story in the script
takes place in New York,

but we could only afford to film
in Los Angeles. So

Damian was lucky enough to get his actors
for one day to be able to go to New York

just to pick up these pieces,
just to pick up enough shots to sell

that it was in New York.

We didn't need much because
most of the movie takes place indoors.

But you needed some material to help
sell the space.

And this was the part of the story
being outside showing Andrew walking in

in Manhattan, in New York City
that we felt was important to show.

Well, the way this was originally designed
and and the way I edited

this was actually very brooding
and moody and slow.

I would linger on

shots of

like this of

Andrew walking through places in New York.

And it was it was very moody.

And there was different music, moody

music in it, dark.

And when we watched the cut of it,
we realized that

it really felt like a different style
and that we were missing out on

on something unique
that was our own style.

And so we recut this scene.

And set it to this jazz music,

which was alive and fast.

So you could really feel

the flavor that we eventually came

to use the style, the, the, the mood.

And that was something that we had
to play around with in the other room.

We, we the original plan,
the original intention

was just different.

And so what was really interesting,
fun in some ways, but also challenging

was to take the material
that was shot for something else is New

York City footage shot with the intention
of being slow and actually.

Cut it to different music.

Cut it faster.

Cut it with a certain amount of rhythm.

Hit the cuts, hit the music certain way,
and create a whole different feeling.

And so that was something that.

Again, something fun to do, but also something that we had no idea we'd have to do.