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And now
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let's take a look at the dinner
scene from Whiplash.
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I'll start playing in competitions.
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And actually, I just I found out I'm
the youngest person in the entire band.
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How do you know
when you're in a music competition?
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Isn't it subjective?
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No. Does the studio get you job?
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No. It's not an actual studio.
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It's just the name of the ensemble.
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But yeah, it's a big step forward
in my career.
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Well, I'm so glad you figured it out.
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It's a nasty business, I am sure.
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Oh, hey, are you going to tell me
about your game this week?
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How about your title?
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What about the score of 93 year
old school record?
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School records
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that it's Division three.
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It's Carlton
Football Assignment Division two.
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Division three.
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Got any friends, Andy? No.
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Oh, why's that?
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I don't know.
I just never really saw the use.
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Oh, who are you going to play with
otherwise?
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Lennon and McCartney.
They were school buddies. Am I right?
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Charlie Parker didn't know anybody until
Joe Jones threw a symbol out, he said.
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So that's your idea of success?
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I think being the greatest musician
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of the 20th century
is anybody's idea of success.
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Dying, broken,
drunk and full of heroin at the age of 34
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is not exactly my idea of success.
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I'd rather die drunk.
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Brogan, 34, and have people at a dinner
table talk about me than live
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to be rich and sober at 90
and nobody remember who I was.
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We wanted to introduce
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some of the more jarring cutting.
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Not as much as with Fletcher,
but we wanted to introduce a certain
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amount of speed with the scenes,
with his father and with his family.
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So you start to get the idea
that Andrew is,
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in his own way,
becoming a miniature version of Fletcher.
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You can see the influence.
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You can see the. The. The
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attacking.
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You can start to feel that his philosophy,
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his way of looking at the world
is actually starting to mirror Fletcher.
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And so we wanted to start doing that
in subtle ways
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in scenes with his father
and with his family.
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It's covered classically, traditionally,
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and we wanted to adhere
to classical geography around the table.
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So in other words,
we didn't want to cut to disorient.
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We wanted this to be fairly classical.
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But toward the end of the scene,
we started to speed up the rhythms
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so that we would actually in editing,
we would we would speed up
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performances
by removing the air, moving pauses,
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really having one line
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hit another line
to start creating a faster rhythm.
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So you'd feel that.
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They're really starting to spar and attack
each other with words
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and all the while being very careful
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about the looks between
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Miles Teller
and the looks between his father.
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Certainly we play off
the looks between his cousins,
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but it was really important to play up
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the looks between.
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The father and Andrew.
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And this scene, Damien, was very inspired
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by the David Fincher movie
The Social Network, which.
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Has a lot of fast cut dialog.
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And part of the point was.
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A certain
sort of redundancy back and forth
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where, again,
you really feel the speed of the cuts.
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Again the looks between the two.
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Amanda's done,
and the transition was very important.
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The transition to the next scene
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we let lowered the ambient track,
the sound of the room tone.
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We lowered it so we could tee up
what came next, which was
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intended to be a smash cut.
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It's tended to be violent.
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It's supposed to have impact.
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And in that way,
Damien really thought of Raging Bull,
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wanted to try to capture something
that was very
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almost like a punch to the gut,
because what he wanted to express
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in the incoming scene,
just when you come in, is the drumming and
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the drums almost as
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as Andrew's weapon, his weapon of choice.
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And we linger on this overhead shot.
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We add a zoom and the Avid we push on this
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to really give it emphasis,
to really make it feel ominous.
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There's something about these drums
moving in on it, emphasizing it again,
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because this is
this is like his weapon of choice.
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This is this tool.
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And the way he's
getting out his energy here
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is the fighting that he couldn't do at
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at the dinner table.
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So two different scenes.
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But but they really are
linked in actuality
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it's it's a continuation
of the previous scene.
7848
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