Damien Chazelle Quotes
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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?
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Real practice means working on stuff you're not good at. Real practice is about butting your head against the wall repeatedly until you get it right.
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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.
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In a weird way, I'm always going to ground myself. I'm an insecure kind of pessimist, but I'm always kind of waiting for the other shoe to drop.
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I've always wanted to make movies that are fever dreams.
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I handle screenings and award ceremonies really badly.
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I feel like a lot of directing is casting.
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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.
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The first thing I did as a child was draw. I wanted to make animated movies. I think Disney's 'Cinderella' was the first movie I ever saw. 'Peter Pan' was the first movie I ever saw in the movie theater. I grew up with 'Dumbo' and 'Pinocchio' and 'Sword in the Stone.' Those were the movies I wanted to make.
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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.
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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.
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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.
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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.
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I like movies that are specific. Movies that home in on a very specific subculture, a specific discipline, a specific world.
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I love the ending of 'The Wrestler.'
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'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.
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When someone is playing drums, they aren't actually moving around a space; they're just moving their arms and limbs. They're stuck behind the drum set. So to film someone playing the drums and make it feel as kinetic as a car chase or a shootout or a battle scene was the challenge.
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There something to be said for having even unrealistic dreams. Even if the dreams don't come true - that, to me, is what's beautiful about Los Angeles. It's full of these people who have moved there to chase these dreams.
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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.
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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.
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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.
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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.
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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. You keep trying to master this very basic thing, and when you don't get it, you just scream. I broke a lot of drum heads, and I broke a lot of sticks.
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People aren't inherently sympathetic.