Who played the final drum solo in Whiplash?
Miles Teller
Simmons suffered two cracked ribs when Miles Teller tackled him during the last two days of shooting. Simmons managed to continue working despite his injury. Andrew’s final drum performance lasts for 9 minutes. His final drum solo lasts approximately 5 minutes.
Does he say good job at the end of Whiplash?
In the final scene of “Whiplash” when Fletcher gives an approving nod to Andrew, you can see him mouth the words “Good job.” Look at his speech about that guy who had a cymbal thrown at him and became a great musician.
Does Fletcher say good job at the end of Whiplash?
Is the drumming in Whiplash good?
The movie highlighted this dynamic pretty well, although I thought it was a little too intense. You are certainly competing with the other drummers for a literal seat, but there’s also a lot of camaraderie and mentorship that comes with it. Everyone ends up being better than the others at different things.
What do drummers think of the movie Whiplash?
The highs are incredible, and the lows are terrible. I felt like the movie also captured this dynamic pretty well, even if it was simplified too much. You don’t hate the other drummers, but you are always trying to be better than them. The movie chose the concept of drumming speed as a proxy for talent.
What happens in the final scene of Whiplash?
As the Whiplash Final Scene progresses, though, it presents us with another layer wherein the viewer slowly begins to notice and register that Fletcher and Neiman – despite their hatred for each other – are finding catharsis in this violence and actually bonding during the out-of-body performance: this is when the flamboyant drum solos begin.
What was the final drum solo in Whiplash?
In the final leg of the scene, Neiman plays the final drum solo to the song, after a diminuendo, as Fletcher observes and guides his trance in awe.
What was the soundtrack of the movie Whiplash?
Damien Chazelle’s coming-of-age drama ‘Whiplash’ is a film that uses its musical soundtrack to deconstruct, in fact, musicals. It is evident from how the band in performance is shot in obscure angles and the way the edit is paced; to frighten (the audience), as New York’s finest belt out John Coltrane: a stalwart of abstract jazz, a madman.