- Even when the director called cut on the set, Miles Teller often played the drums and didn't let himself stop until he was exhausted.
- The filming cycle of the film is only 19 days, and the entire production cycle is ten weeks (days), so hastily to be able to catch up with the registration deadline of the Sundance Film Festival.
- Dane De Haan dropped the role of Andrew in the film and was later replaced by Miles Teller.
- Miles Teller has been playing drums since he was 15 years old. During the filming process, the calluses on both hands were worn out, and the drumsticks and skeleton were stained with blood.
- In the slapped scene, J.K. Simmons and Miles Teller were doing things in the rehearsal process, but they slapped them firmly in the last shot.
- At first, Damien Chazele could not find the funds, so he could only make the film story into a short film. In 2013, the short film won the Sundance Film Festival Short Film Jury Award before receiving investment.
- The film was adapted in part based on Damien Chazerley’s real experience of joining the band in high school. He was afraid of their band teacher at the time.
Whiplash behind the scenes gags
2021-10-13 18:32
Extended Reading
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Terence Fletcher: I don't think people understood what it was I was doing at Shaffer. I wasn't there to conduct. Any fucking moron can wave his arms and keep people in tempo. I was there to push people beyond what's expected of them. I believe that is... an absolute necessity. Otherwise, we're depriving the world of the next Louis Armstrong. The next Charlie Parker. I told you that story about how Charlie Parker became Charlie Parker, right?
Andrew: Jo Jones threw a cymbal at his head.
Terence Fletcher: Exactly. Parker's a young kid, pretty good on the sax. Gets up to play at a cutting session, and he fucks it up. And Jones nearly decapitates him for it. And he's laughed off-stage. Cries himself to sleep that night, but the next morning, what does he do? He practices. And he practices and he practices with one goal in mind, never to be laughed at again. And a year later, he goes back to the Reno and he steps up on that stage, and plays the best motherfucking solo the world has ever heard. So imagine if Jones had just said, "Well, that's okay, Charlie. That was all right. Good job." And then Charlie thinks to himself, "Well, shit, I did do a pretty good job." End of story. No Bird. That, to me, is an absolute tragedy. But that's just what the world wants now. People wonder why jazz is dying.
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Terence Fletcher: Everybody remember, Lincoln Center and its ilk use these competitions to decide who they are interested in and who they are not. And I am not gonna have my reputation in that department tarnished by a bunch of fucking limp-dick, sour-note, flatter-than-their-girlfriends, flexible-tempo dipshits. Got it?