Posted on Tuesday, September 23rd, 2014 by Angie Han
Damien Chazelle, who made quite a splash at this year’s Sundance with the drummer drama Whiplash, may have found his next high-profile gig. The director is in talks to helm First Man, Universal’s biopic of astronaut Neil Armstrong. Josh Singer (The Fifth Estate) will write the script. More about the Neil Armstrong biopic after the jump.
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As the domineering music conservatory teacher at the center of Whiplash, J.K. Simmons spews vile, mean, even brutal dialogue. Most of it is aimed at the the young drummer and would-be jazz great played by Miles Teller. Is the teacher just using a bit of old-school motivation, or is he really out of his mind? The guy’s propensity to throw things suggests the latter, but the student isn’t exactly balanced either. Each drives the other a little further over the edge.
This Whiplash international trailer isn’t rated “red” by the MPAA, because it comes out of France rather than the US. But it does feature some of the cursing Simmons spits at Teller. This is just the barest hint of how ugly he gets, though. Seriously, if you’re a fan of Simmons, especially when he shows his mean side, this movie is an absolute must-see. Read More »
J.K. Simmons torments Miles Teller in Whiplash, pushing the kid beyond his breaking point in the name of excellence. Teller plays a young drummer who aspires to greatness; Simmons plays the elite music academy instructor whose teaching methods are anything but gentle. Miss a beat, and he’ll spin a cymbal at your head like Captain America throwing his shield. This great first Whiplash trailer starts to show audiences the situation Teller’s character gets into when he attempts to rise to a level of performance that will satisfy the teacher. Read More »
Miles Teller and Emma Watson are in talks to co-star in a modern-day Los Angeles musical from the red-hot director of Whiplash. That’s a cool sentence. The film is called La La Land and Damien Chazelle will write and direct with Lionsgate attached to distribute. It’ll follow two artistic, romantic Los Angeles residents who fall in love but find the cutthroat nature of the city so brutal on their relationship, they’re pushed into song.
Read more about the La La Land movie below. Read More »
Traditionally, when a movie wins either the Grand Jury and Audience Dramatic Awards at Sundance, it’s meant for big things. Then there are some really special films that win both. Precious and Fruitvale Station are two recent examples. This year’s Sundance opener Whiplash is another.
Directed by Damien Chazelle, Whiplash tells the dramatic story of Andrew (Miles Teller), a highly ambitious young drummer who finds himself under the wing of the most demanding, intimidating and influential music teacher in the country. That’s Terence Fletcher, played by J.K. Simmons. Those dueling passions sets up a battle of the wills as Andrew tries to prove himself for Fletcher, hoping he doesn’t have to face the frightening truth that he’s just not good enough.
You can read Russ’s Sundance review here, but in lieu of a trailer for the October 10 release, the first Whiplash clip has now made it online. In it, you’ll get a sense of the film’s incredible tension and powerful performances. Read More »
Damien Chazelle, who wrote Grand Piano and wrote and directed Whiplash, certainly has a musical bent. While both of his films so far have had thriller elements, they have also had significant musical influence. Grand Piano follows a concert pianist, played by Elijah Wood, who is warned that any missed note in one particular performance will have violent consequences. Whiplash (above) follows a student jazz drummer who seeks greatness under the tutelage of an unusually stern taskmaster. (Read my review here.)
Now Chazelle will make a film called La La Land, which keeps the musical element, still with a jazz inclination, and sounds like it could even edge into thriller territory. Read More »
Grand Piano was one of the most entertaining films I saw in 2013 — its premiere screening at Fantastic Fest last year had the crowd roaring with delight, and was the thing everyone talked about for the rest of the fest.
Coming from director Eugenio Mira, who did the music for Timecrimes; star Elijah Wood; and screenwriter Damien Chazelle (whose directorial debut Whiplash was just a big Sundance hit) the film is a technical tour de force that puts Wood in the hot seat as a killer targets him during a tense musical performance. The film has a delightfully composed visual style which indulges in De Palma-esque touches to manipulate suspense as the action unfolds. The underlying concept may be somewhat silly, but the execution is excellent.
The film is on iTunes and VOD now, and we’ve got an exclusive alternate poster below, along with a behind the scenes featurette and a clip. Check it all out, and revisit the trailer, after the break. Read More »
The heart of Whiplash is a duel between Miles Teller and J.K. Simmons, and the weapon of choice isn’t a gun or a knife, but a drum kit. The players’ duel is a concept that cuts across musical genres. It can blaze bright in jazz, when players both complement and one-up one another in an effort to push a performance to its limits. The tendency leads to performances like the “drum battles” between Buddy Rich and Gene Krupa.
Andrew, played by Teller, has definitely heard those battles; he idolizes Buddy Rich and wants to be the next great jazz drummer. In his first year at an elite music academy he finds the ne-plus-ultra of instructors: Fletcher (Simmons), a jazz pianist and draconian band conductor. What begins as a simple teacher/student scenario escalates into a full-on battle of wills as Fletcher deploys manipulative tricks to beat Teller into shape as a machine able to perform on cue. The teacher will hurl a chair as quickly as an insult; is he wildly unstable, or a genius?
Whiplash is structured like a jazz tune, with the duel as the central melody out from which spring scenes that attempt to flesh out both characters and inform their tactics. When that melody rises above everything else, the film is unique and viciously energetic; the side notes, however, are wan, and the whole is messy and less driven than either lead character. Read More »
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