American - Director | January 19, 1985 -
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.
Damien Chazelle
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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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Practicing is not normally fun. Sometimes people say they're practicing, but they're really just enjoying themselves and the instrument. That's not real practice.
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I was really trying to sell to people who hate jazz: to make a case for the art form as youthful and energetic, not the sort of rarified intellectual activity it's painted as.
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I love movies where you can sense that the director risked biting off more than they can chew.
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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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I love the idea of thinking of cinema as not that far from music. A lot of my favourite movie makers, the way they move their cameras or the way they cut just feel very musical - even if the movies have no music in them at all.
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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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I like movies where you feel like it was actually thought through.
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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 conductor would just rip into me, and it lasted for years.
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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. It was his face. It was whether or not he'd approve of my playing.
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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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