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There is no reason to criticize another non-mainstream extreme life
Gretchen 2022-04-21 09:01:10
I don't know how fast the drums are to be good. In my opinion, music is an expression, and the film is mixed with persistence, anger, and almost crazy emotional release. It's good to vent your emotions, but twisting yourself to pursue the ultimate reminds me of "Black Swan". There is no reason to criticize that the ultimate release is not life. A person's "original intention" and "want", "pass" and "bias", have a positioning, and develop different balances according to the individual's appearance. Focus does not mean giving up everything, but there is always something to give up.
Extended Reading
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Trever 2021-10-20 18:59:31
There is such a SM training film every year. Last year was "Twelve Years of Being a Slave", and this year it is...
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Marques 2022-04-24 07:01:02
There is nothing to do with human nature here, there is nothing to do with good or evil, what is here is just the grasp of opportunity and one's own efforts. Anyone who is still fighting for their dreams is worth spending 107 minutes on this film. ★★★★☆
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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?