Damien Chazelle Quotes

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It's easy to show terrible people's behavior on screen, and we all just kind of nod and go, 'Isn't that terrible.' It's more interesting when you can show terrible behavior in the interest of something good.

The go-to reflex all over Hollywood is still likeability. I've always had a problem with it because I think I have a weird barometer in the sense that some of the characters I've cared about the most in movies are characters that are often thought of as despicable.

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.

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.

By the end of high school, I had this fork-in-the-road moment where part of me considered going to vocational music school to really pursue it.

There are a lot of musicians in my life. But movies came first for me. That was my original passion.

I didn't have traditional stage fright. If there was 500 people in the audience or three people in the audience, it didn't really make a difference. What made a difference was the conductor. Everything that I was scared about as a drummer was him.

I like a set to be a happy place, where people can feel free to experiment.

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.

If you look at 'West Side Story,' a lot of those numbers are actually pretty cutty, but the cuts are always musically motivated.

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.

I was always pretty decent at fast stick work or doing stuff that seems impressive that's not really; I was pretty tasteful and had good ideas musically. But I had a terrible sense of tempo, which is like being a blind painter.

The greatest thing has been that projects that were pipe dreams before 'Whiplash' are now feeling more realistic.

If you're on the varsity team, the responsibilities are a lot bigger and there's more stress, but you also walk around feeling probably like you can hold your head high.

I love the ending of 'The Wrestler.'

There's something very particular about the kind of rage you feel when you're alone in a practice room by yourself, unable to master a simple thing like a rudiment.

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.

It's a little difficult when something goes from being an utter obsession - a thing where your skill defines you as a person - to it just being a thing you occasionally do.

I actually grew up wanting to be a filmmaker. I wanted to make movies, and music was a detour, almost.

I was in this public high school in Princeton, and it had this topnotch jazz program - if you were a musician of any kind of caliber, your holy grail was to be in that orchestra. It was that claim to fame of the school, of the town, other than the university. But it was better than the university band.

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 handle screenings and award ceremonies really badly.

I was a writer for hire. I wrote to pay the bills.

I didn't feel the kind of joy every day playing drums that I thought you were supposed to feel.

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.

My version of a stress dream is, really, showing up on a concert stage with a drum set and not knowing the chart.

People like Art Blakey and Buddy Rich, you look at them playing music, and it's just like looking at a heavy metal drummer. I mean, they're playing with the same amount of ferocity. It's not to say all jazz is like that.

At the upper echelon of musicians in general, I guess performers in general, you have to have this kind of live-or-die, cutthroat mentality.

I hadn't seen that many movies that really go deep enough into the fears of playing music or the language that musicians can use to treat each other or, like, the way that you can see it dehumanize and the way that it can feel like boot camp.

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.

It's a weird thing where, especially in jazz, you have to totally mention cutting sessions and people one-upping each other and people being super, super tough on each other. And out of it emerge these genius musicians.

I've always, especially through old Hollywood musicals, loved just to watch tap dancing; I adore it. I think it's fantastic.

The end result of my personal story is that I became a really good drummer, and I know myself well enough to know that I wouldn't have without this really tough conductor and this really cutthroat hostile environment I was in.

As a kid, I was just writing scripts and taking whatever film classes I could in college.

Certainly, my manager Gary Ungar was the first person to give me any attention and hustle for me. This was back in 2009.

I remember when I first met Jason Reitman with the 'Whiplash' script; he quickly became a mentor figure who guided me through the process and also protected me and made sure that when it came time to actually make 'Whiplash,' I was able to make exactly the movie I wanted to make.

I remember being inspired myself when smaller films, whether it's 'Beasts' or 'Winter's Bone,' wound up in the Oscars lineup.

I was in high school, and when you get to be 14, 15, you start to feel a little more like your own person so that you can assert your adulthood a little bit.

As delicate as 'Guy and Madeline' was, it was important that 'Whiplash' come off as more of a fever dream.

I'm a terrible procrastinator.

My motivation for being a good drummer was born out of fear, which, in a way, seems so antithetical to what art should be.

'Whiplash' was always the song I hated the most because it's a song designed to screw with drummers.

I don't like the idea the viewer can kind of sit there and go, 'Make me like this person.' People aren't inherently sympathetic.

I think there is something to be said for not coddling people and not accepting good as good enough.

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