interpret life with life

Chadrick 2022-04-19 09:01:10

In my mind, there has always been an empty seat related to youth, just waiting for a movie to be seated. In this film, there will be no lingering sorrows between men and women, no abortion, returnees, and class reunions. Instead, there will be sweat and blood, and the focus on the goal is like a falcon. Such a goal that haunts the protagonist will be ridiculed by people, but for it, the protagonist of this movie is willing to tear open his chest and jump out of a roaring beast.

Now, I've finally found the owner of this seat: The Cracker Drummer. It fits all of the above descriptions perfectly, the clean and sharp editing, the tightness of the sound, like the drumbeat that keeps beating your heart, these are naturally the highlights of the film. But the soul of the story is still the once weak and shy boy who, under the agitation of the grandest goal in his heart, achieved a peak performance that shocked four people. When he came on stage, his back was confident and steady. He was already different from the one who looked up at the Conservatory of Music in the endless crowd when he was wearing a shoulder bag.

Sometimes I'm annoyed by the word talent. It seems that the education we received since childhood, there are always such a group of talented teenagers in the textbooks we read. They can achieve achievements that ordinary people can't do at the age of five, and they have become master-level characters in their teens. We yearn for it, but we are willing to bow our heads and obey, using the word "talent" to build an abyss that is completely impossible to leap over. . When a child develops an interest in something, parents will, according to their own judgment, say to the child, "You don't have this talent." It seems that parents who have given life take the child's fate and put the child's See through life.

Compared to such a version of the genius story, I think the following genius is more believable. The so-called talent may be more easily squeezed out through hard practice, just like an adult man, whose oily and heavy skin bulges slightly, and has accumulated acne for many years. You have to squeeze it with all your strength, to concentrate the force to that point, and then the so-called "genius" can shyly show his head.

There are many truths in this world that you may simply believe without experience. For example, whether there is a heaven after death; for example, when a person is dying, he feels that his carefully designed life has no regrets, or he has eliminated his ambition, and he has no regrets in his life with the mentality of just walking and watching; for example, whether a genius is born in the womb What comes out comes from practice. Yes, maybe you don't have the chance to experience all of this, and at the moment when the roulette starts, you have to rely on your beliefs and put down the chips that you are constantly weighing in your hands according to your options. It is precisely because everyone has different beliefs that the scenery and people they encounter on different roads are also very different.

I will always keep this movie on my hard drive. I believe that as long as you open it to see the most essential rhythm and rhythm of life at any moment of depression, you will always remind yourself that you must have a youthful heart, dreams will not die, youth will not grow old, and life will be interpreted with life.

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Extended Reading

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?