Notes-Anatomy of two scenes

Newell 2022-03-22 09:01:08

Whiplash

Whiplash

First date:

First of all, an Establishing Shot, front and back, the dialogue is Small Talk. Then the conversation changed:

ANDREW: What do you do? Start personal, switch to Close-up

What do you do?

The boy asked. The girl said that she went to school in Fordham and that the school was not top-notch. The boy asked the girl to feel uncomfortable and wanted to change the subject. So she asked the host why she went to Shaffer in a hurry.

It's the best music school in the country.

The boys said that this is the best conservatory in the country, and the camera is switched back to front and back.

Well, Fordham is Fordham...

The girl was embarrassed.

There was embarrassment between the two, and they switched back to Establishing Shot. The connection established by the two before was broken, and they wanted to start again.

Talk about my isolation in school.

Found resonance, re-established the connection, and switched back to Close-up.

More specifically, show that two people connect. (So ​​in fact, it does not need to be, probably the audience needs to Spell out.

Break up Scene:

Well, I don't think we should be together.

The camera is on the boy's face first, and the boy has something important to say.

The girl has a long lens and is not prepared for what the boy says.

While the boy said the reason, the camera zoomed out. At the same time, the girl lens has been zooming in. The distance is reversed, and there is a strong separation between the two.

What the fuck is wrong with you?

The boy's words slowly sink in as he draws in, and the girl is sad.

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Extended Reading

Whiplash short comments

  • Dina 2021-10-20 18:59:31

    Jk Simmons should be able to win the male match! The rhythm of this film is really great. The jazz music and editing are simply blended together. There is also the vicious lines of the Simmons machine gun version. The dirty characters are as dense and intense as drums. The highlights of the several drumming scenes are all odd and weird. , Relying on editing to give the whole play a one-stop and accelerating rhythm, it is a pity that the whole movie is still broken, otherwise it will really become David Fincher. ★★★★

  • Edd 2022-04-24 07:01:02

    The film itself has nothing to say, the audio-visual language gave way to the theme and the story, always the champion. Back to the story itself, this is basically my fucking college story, and it almost drove me crazy, but I finally left early and didn't have to struggle with paranoia. This kind of devil teacher seems to be quite great, but in fact it is really no different from the devil. They are not people who really love a certain art, but just want to control and destroy souls.

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Whiplash quotes

  • 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.

  • 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?

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