Damien Chazelle quotes: wise famous quotes, sayings and quotations by Damien Chazelle

Damien Chazelle Famous Quotes & Sayings

Discover top inspirational quotes from Damien Chazelle on Wise Famous Quotes.

As a kid, I was just writing scripts and taking whatever film classes I could in college.

My dad is a big jazz fan, and that was the reason I first got into jazz.

I love the ending of 'The Wrestler.'

Real practice means working on stuff you're not good at. Real practice is about butting your head against the wall repeatedly until you get it right.

I'm a terrible procrastinator.

I've always wanted to make movies that are fever dreams.

Certainly, my manager Gary Ungar was the first person to give me any attention and hustle for me. This was back in 2009.

What's great about musicals is their energy and go-for-brokeness - stopping the story to sing and dance. How can you not love that?

If you look at 'West Side Story,' a lot of those numbers are actually pretty cutty, but the cuts are always musically motivated.

At the upper echelon of musicians in general, I guess performers in general, you have to have this kind of live-or-die, cutthroat mentality.

My motivation for being a good drummer was born out of fear, which, in a way, seems so antithetical to what art should be.

I like movies that are specific. Movies that home in on a very specific subculture, a specific discipline, a specific world.

I actually grew up wanting to be a filmmaker. I wanted to make movies, and music was a detour, almost.

My hands were constantly blistered or bloody; my ears were always ringing. I tore through drumheads and drumsticks like there was no tomorrow.

I was a writer for hire. I wrote to pay the bills.

'Whiplash' scared me. I feel you should only do projects that scare you to some degree. I get motivated by those sorts of feelings.

'Whiplash' was always the song I hated the most because it's a song designed to screw with drummers.

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 feel like a lot of directing is casting.

As a drummer, you're always fighting for a level that you never quite attain.

In a weird way, I'm always going to ground myself. I'm an insecure kind of pessimist, but I'm always kind of waiting for the other shoe to drop.

I tend to latch on to things and not let go.

It was only through getting interested in more out-there and avant-garde forms that the musical suddenly seemed like such a wonderful genre to me.

I've always, especially through old Hollywood musicals, loved just to watch tap dancing; I adore it. I think it's fantastic.

The greatest thing has been that projects that were pipe dreams before 'Whiplash' are now feeling more realistic.

I remember being inspired myself when smaller films, whether it's 'Beasts' or 'Winter's Bone,' wound up in the Oscars lineup.

Mozart was born Mozart. Charlie Parker was born Charlie Parker.

Before 'Whiplash,' I'd had a string of failed scripts. I'd pour my blood, sweat and tears into them, and no one would like them.

I'm predisposed to never be in pure celebration mode.

As delicate as 'Guy and Madeline' was, it was important that 'Whiplash' come off as more of a fever dream.

I didn't feel the kind of joy every day playing drums that I thought you were supposed to feel.

I don't like the idea the viewer can kind of sit there and go, 'Make me like this person.' People aren't inherently sympathetic.

Nothing is guaranteed to last, so you should just enjoy it as it happens.

I was a jazz drummer, and it was my life for a while: what I lived and breathed every day.

My first movie was totally improvised.

I handle screenings and award ceremonies really badly.

I like a set to be a happy place, where people can feel free to experiment.

My version of a stress dream is, really, showing up on a concert stage with a drum set and not knowing the chart.

There are a lot of musicians in my life. But movies came first for me. That was my original passion.