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.
From Damien Chazelle
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.
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.
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.
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