Zitat des Tages von Damien Chazelle:
I didn't feel the kind of joy every day playing drums that I thought you were supposed to feel.
There are a lot of musicians in my life. But movies came first for me. That was my original passion.
There were so many specific things from high school jazz band that I remembered: the conductor searching out people who were out of tune, or stopping and starting me for hours in front of the band as they watched.
I like a set to be a happy place, where people can feel free to experiment.
I think, especially living in L.A., it's very easy to get wrapped up in weekend announcements and the trades and the whole social life of the city, and to get divorced from what actually matters.
I love the idea of using film language similarly to how musicians use music - combining images and sounds in a way that they create an emotional effect.
I would break a lot of cymbals. You whack the cymbals hard enough, and they will crack in half. Drums are not actually as sturdy as they look. They're actually somewhat fragile instruments.
Certainly, I've loved musicals for a while, so I did some short films in college that had musical numbers and things like that, so I've kind of been obsessed with Fred and Ginger and Vincente Minnelli and Stanley Donen and Jaques Demy forever.
As delicate as 'Guy and Madeline' was, it was important that 'Whiplash' come off as more of a fever dream.
I actually grew up wanting to be a filmmaker. I wanted to make movies, and music was a detour, almost.
I had seen a lot of music movies that celebrated music or that showed the kind of joys from playing music, which is a big part of it of course, and not something that I would want to deny.
Before 'Whiplash,' I'd had a string of failed scripts. I'd pour my blood, sweat and tears into them, and no one would like them.
It was only through getting interested in more out-there and avant-garde forms that the musical suddenly seemed like such a wonderful genre to me.
I love the ending of 'The Wrestler.'
What's great about musicals is their energy and go-for-brokeness - stopping the story to sing and dance. How can you not love that?
I wanted to look at the mentality that can breed that sort of intensity, that kind of cutthroat, pressure-cooker feeling, especially a form of music like jazz, that should be - or you'd think should be - all about liberation and improvisation and everything.
I never desperately wanted to be a jazz drummer. If anything, I was motivated a lot by fear. Fear of the conductor, fear of the future.
When you're trying to paint a portrait of a very specific world, you're trying to show what makes the world different. So, sometimes it means exaggerating certain kind of aspects, but I don't think it's that important or it's that much of an issue as long as you get an emotional truth across.
'Whiplash' scared me. I feel you should only do projects that scare you to some degree. I get motivated by those sorts of feelings.
I love movies where you can sense that the director risked biting off more than they can chew.
I find L.A. kind of romantic, actually. As a movie junkie, it's a city that was built by the movies. There's something really weird and surreal about it that I find energizing.
If you look at 'West Side Story,' a lot of those numbers are actually pretty cutty, but the cuts are always musically motivated.
What I love about jazz is that it's full of legends, full of myths. It's an oral history because it started in New Orleans and Kansas City, under the radar.
I guess I'm kind of interested in that elusive search for a bond between life and work and between compassion and competitiveness. There's always something at the end you have to find to live a full life, but it's hard to find.
I was interested in music and making movies about musicians, but my own experiences, and doing what it felt like for me to be a drummer? Nah, I wasn't interested in that.
There are no large-scale original musicals being made right now. They're all Broadway adaptations and jukebox musicals or catalog musicals, and they just don't interest me as much.
It's interesting when you wind up distilling all your ambitions and your goals and dreams into one single person. It's giving that person a lot of power.
I want to do an American 'Umbrellas of Cherbourg.'
I like movies where you feel like it was actually thought through.
My hands were constantly blistered or bloody; my ears were always ringing. I tore through drumheads and drumsticks like there was no tomorrow.
I guess art itself is insane. Its actual function is rarely clear, and yet people give their hearts and souls and lives to it, and have for all of history.
I don't think of 'Macbeth' as the villain. I don't think of 'King Lear' as the villain. I don't think of 'Hamlet' as the villain. I don't think of 'Travis Bickle' as the villain.
'La La Land' is about the city I live in. It's about the music that I grew up playing; it's about movies that I grew up watching. Even the big spectacle of the movie feels private to me in that way.
I've always, especially through old Hollywood musicals, loved just to watch tap dancing; I adore it. I think it's fantastic.
Mozart was born Mozart. Charlie Parker was born Charlie Parker.
I was a kid living in New Jersey, who - I'd wanted to make movies since I was a little kid, so that came before music for me. But I started playing drums just as a hobby, and I wasn't even really into jazz that much.