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These are the user uploaded subtitles that are being translated: 1 00:00:16,640 --> 00:00:17,600 And now 2 00:00:17,600 --> 00:00:19,800 let's take a look at the dinner scene from Whiplash. 3 00:00:21,080 --> 00:00:22,680 I'll start playing in competitions. 4 00:00:22,680 --> 00:00:26,320 And actually, I just I found out I'm the youngest person in the entire band. 5 00:00:27,000 --> 00:00:29,160 How do you know when you're in a music competition? 6 00:00:29,160 --> 00:00:31,200 Isn't it subjective? 7 00:00:31,360 --> 00:00:33,400 No. Does the studio get you job? 8 00:00:34,000 --> 00:00:35,480 No. It's not an actual studio. 9 00:00:35,480 --> 00:00:36,760 It's just the name of the ensemble. 10 00:00:36,760 --> 00:00:38,320 But yeah, it's a big step forward in my career. 11 00:00:38,320 --> 00:00:40,160 Well, I'm so glad you figured it out. 12 00:00:40,160 --> 00:00:42,200 It's a nasty business, I am sure. 13 00:00:42,200 --> 00:00:45,160 Oh, hey, are you going to tell me about your game this week? 14 00:00:45,160 --> 00:00:46,800 How about your title? 15 00:00:46,800 --> 00:00:49,200 What about the score of 93 year old school record? 16 00:00:49,200 --> 00:00:50,440 School records 17 00:00:51,040 --> 00:00:53,720 that it's Division three. 18 00:00:57,280 --> 00:00:59,360 It's Carlton Football Assignment Division two. 19 00:00:59,360 --> 00:00:59,960 Division three. 20 00:01:02,000 --> 00:01:04,240 Got any friends, Andy? No. 21 00:01:04,240 --> 00:01:05,200 Oh, why's that? 22 00:01:05,200 --> 00:01:07,200 I don't know. I just never really saw the use. 23 00:01:07,200 --> 00:01:09,160 Oh, who are you going to play with otherwise? 24 00:01:09,160 --> 00:01:11,520 Lennon and McCartney. They were school buddies. Am I right? 25 00:01:11,560 --> 00:01:14,960 Charlie Parker didn't know anybody until Joe Jones threw a symbol out, he said. 26 00:01:15,000 --> 00:01:16,600 So that's your idea of success? 27 00:01:16,600 --> 00:01:18,000 I think being the greatest musician 28 00:01:18,000 --> 00:01:20,240 of the 20th century is anybody's idea of success. 29 00:01:20,280 --> 00:01:24,200 Dying, broken, drunk and full of heroin at the age of 34 30 00:01:24,200 --> 00:01:25,440 is not exactly my idea of success. 31 00:01:25,440 --> 00:01:26,440 I'd rather die drunk. 32 00:01:26,440 --> 00:01:29,440 Brogan, 34, and have people at a dinner table talk about me than live 33 00:01:29,440 --> 00:01:33,160 to be rich and sober at 90 and nobody remember who I was. 34 00:01:34,040 --> 00:01:36,760 We wanted to introduce 35 00:01:36,760 --> 00:01:39,760 some of the more jarring cutting. 36 00:01:40,120 --> 00:01:43,840 Not as much as with Fletcher, but we wanted to introduce a certain 37 00:01:43,840 --> 00:01:48,600 amount of speed with the scenes, with his father and with his family. 38 00:01:48,800 --> 00:01:52,760 So you start to get the idea that Andrew is, 39 00:01:52,760 --> 00:01:56,320 in his own way, becoming a miniature version of Fletcher. 40 00:01:56,640 --> 00:01:58,480 You can see the influence. 41 00:01:58,480 --> 00:01:59,920 You can see the. The. The 42 00:02:01,040 --> 00:02:02,680 attacking. 43 00:02:02,680 --> 00:02:05,680 You can start to feel that his philosophy, 44 00:02:05,920 --> 00:02:09,280 his way of looking at the world is actually starting to mirror Fletcher. 45 00:02:09,480 --> 00:02:12,640 And so we wanted to start doing that in subtle ways 46 00:02:13,000 --> 00:02:15,040 in scenes with his father and with his family. 47 00:02:15,760 --> 00:02:18,840 It's covered classically, traditionally, 48 00:02:19,280 --> 00:02:24,640 and we wanted to adhere to classical geography around the table. 49 00:02:24,640 --> 00:02:28,080 So in other words, we didn't want to cut to disorient. 50 00:02:28,120 --> 00:02:30,280 We wanted this to be fairly classical. 51 00:02:30,480 --> 00:02:33,680 But toward the end of the scene, we started to speed up the rhythms 52 00:02:33,960 --> 00:02:38,080 so that we would actually in editing, we would we would speed up 53 00:02:39,080 --> 00:02:42,320 performances by removing the air, moving pauses, 54 00:02:42,680 --> 00:02:45,440 really having one line 55 00:02:45,440 --> 00:02:49,720 hit another line to start creating a faster rhythm. 56 00:02:49,720 --> 00:02:52,840 So you'd feel that. 57 00:02:52,960 --> 00:02:56,320 They're really starting to spar and attack each other with words 58 00:02:57,240 --> 00:03:01,520 and all the while being very careful 59 00:03:02,160 --> 00:03:04,880 about the looks between 60 00:03:05,600 --> 00:03:08,280 Miles Teller and the looks between his father. 61 00:03:08,640 --> 00:03:12,800 Certainly we play off the looks between his cousins, 62 00:03:13,280 --> 00:03:15,880 but it was really important to play up 63 00:03:16,960 --> 00:03:19,080 the looks between. 64 00:03:19,760 --> 00:03:22,240 The father and Andrew. 65 00:03:30,960 --> 00:03:32,960 And this scene, Damien, was very inspired 66 00:03:32,960 --> 00:03:36,600 by the David Fincher movie The Social Network, which. 67 00:03:38,320 --> 00:03:40,800 Has a lot of fast cut dialog. 68 00:03:40,800 --> 00:03:43,520 And part of the point was. 69 00:03:45,000 --> 00:03:47,240 A certain sort of redundancy back and forth 70 00:03:47,440 --> 00:03:50,560 where, again, you really feel the speed of the cuts. 71 00:04:00,520 --> 00:04:03,680 Again the looks between the two. 72 00:04:04,680 --> 00:04:07,520 Amanda's done, and the transition was very important. 73 00:04:07,520 --> 00:04:08,840 The transition to the next scene 74 00:04:08,840 --> 00:04:13,440 we let lowered the ambient track, the sound of the room tone. 75 00:04:13,440 --> 00:04:17,800 We lowered it so we could tee up what came next, which was 76 00:04:18,920 --> 00:04:20,640 intended to be a smash cut. 77 00:04:20,640 --> 00:04:23,040 It's tended to be violent. 78 00:04:23,040 --> 00:04:24,760 It's supposed to have impact. 79 00:04:24,760 --> 00:04:28,320 And in that way, Damien really thought of Raging Bull, 80 00:04:28,320 --> 00:04:31,240 wanted to try to capture something that was very 81 00:04:31,480 --> 00:04:34,920 almost like a punch to the gut, because what he wanted to express 82 00:04:35,160 --> 00:04:40,280 in the incoming scene, just when you come in, is the drumming and 83 00:04:41,320 --> 00:04:43,920 the drums almost as 84 00:04:43,920 --> 00:04:46,600 as Andrew's weapon, his weapon of choice. 85 00:05:00,120 --> 00:05:02,800 And we linger on this overhead shot. 86 00:05:02,800 --> 00:05:05,440 We add a zoom and the Avid we push on this 87 00:05:06,240 --> 00:05:09,400 to really give it emphasis, to really make it feel ominous. 88 00:05:09,400 --> 00:05:14,040 There's something about these drums moving in on it, emphasizing it again, 89 00:05:14,200 --> 00:05:16,760 because this is this is like his weapon of choice. 90 00:05:16,760 --> 00:05:18,160 This is this tool. 91 00:05:18,160 --> 00:05:21,040 And the way he's getting out his energy here 92 00:05:22,800 --> 00:05:24,640 is the fighting that he couldn't do at 93 00:05:24,640 --> 00:05:26,520 at the dinner table. 94 00:05:47,560 --> 00:05:48,600 So two different scenes. 95 00:05:48,600 --> 00:05:50,840 But but they really are linked in actuality 96 00:05:50,840 --> 00:05:53,080 it's it's a continuation of the previous scene. 7848

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