AFI Catalog of Feature Films
Detailed View of Movie
Name Occurs Before Title Offscreen Credit Print Viewed By AFI
Title: Whiplash

Production Company: Bold Films  
  BH Productions  
  Right of Way Films  
Production Text:
Bold Films presents
A Blumhouse/Right of Way Production
A Damien Chazelle Film
Distribution Company: Sony Pictures Classics  

Release Date: 10 Oct 2014
Premiere Information: Sundance Film Festival world premiere: 16 Jan 2014; Los Angeles and New York openings: 10 Oct 2014
Production Date: mid-late Sep--11 Oct 2013 in Los Angeles
Duration (in mins): 106 or 107
MPAA Rating: R
Country: United States
Language: English


Producer: Jason Blum (Prod)
  Helen Estabrook (Prod)
  Michel Litvak (Prod)
  David Lancaster (Prod)
  Nicholas Britell (Co-prod)
  Garrick Dion (Co-prod)
  Stephanie Wilcox (Co-prod)
  Sarah Potts (Co-prod)
  Phillip Dawe (Assoc prod)
  James Gibb (Assoc prod)
  Jason Reitman (Exec prod)
  Gary Michael Walters (Exec prod)
  Couper Samuelson (Exec prod)
  Jeanette Volturno-Brill (Exec prod)
  Matthew Poliquin (Exec prod)
  Mark D. Katchur (Line prod)
Director: Damien Chazelle (Dir)
  Mark D. Katchur (Unit prod mgr)
  Nicolas D. Harvard (1st asst dir)
  Rachel Jensen (2d asst dir)
  Arek Bagboudarian (2d 2d asst dir)
  Nicolas D. Harvard (2d unit dir)
Writer: Damien Chazelle (Wrt)
Photography: Sharone Meir (Dir of photog)
  Chris Squires (A cam/ steadicam op)
  Eric Leach (B cam op)
  Rocker Meadows (A cam 1st asst)
  Steve Pazanti (B cam 1st asst)
  Keith Rash (Cam 2d asst)
  Jaswinder Bedi (Digital loader)
  Chase Abrams (D.I.T.)
  Shane Duckworth (Cam 1st asst (New York))
  Daniel McFadden (Still photog)
  Elan Yaari (Gaffer)
  Kevin Perry (Best boy elec)
  Jack Guberman (Set lighting tech)
  Michelle Sutor (Set lighting tech)
  Sean C. Mehen (Key grip)
  Joe Teague (Best boy grip)
  Wayne Stroud (Dolly grip)
  Francisco Sonic Kim (Grip)
  Kris White (Grip)
  Otto Nemenz International (Cam equip provided by )
  Chapman/Leonard Studio Equipment, Inc. (Cam dollies by)
  Illumination Dynamics (Lighting equip provided by)
  Hillbilly Industries (Grip equip provided by)
Art Direction: Melanie Paizis-Jones (Prod des)
  Hunter Brown (Art dir)
  Zak Faust (Art dept coord)
  Lia Lopez (Art dept prod asst)
  Kate Singleton (Art dept prod asst)
  Cate Devaney (Art dept prod asst)
Film Editor: Tom Cross (Film ed)
  John To (1st asst ed)
  Eugene Lok (Ed prod asst)
  Modern Videofilm (Digital intermediate services provided by)
  Natasha Leonnet (Digital intermediate colorist)
  Michael Will (Digital intermediate conform ed)
  Vahe Giragol (Digital intermediate conform ed)
  Steve Hernandez (Digital intermediate prod)
  Noel Albornoz (Digital intermediate col assist)
  Ismael Salas (Digital intermediate QC)
  Jason Modica (Digital intermediate QC)
  Eric Canto (Digital intermediate QC)
  David Santoyo (Digital intermediate data op)
  Dale Staley (Digital intermediate data op)
  Steve Langius (Digital intermediate data op)
  Digital Vortechs (Avid/Editorial equipment provided by)
Set Decoration: Karuna Karmarkar (Set dec)
  Brian Chapman (Leadperson)
  Sandra Skora (Buyer)
  Tim Dodge (Set dresser)
  Chris Maxson (Set dresser)
  Jeremy Cisneros (On-set dresser)
  Annie Brandt (Property master)
  Nicole Ruby (Asst propmaster)
  Carl Moloney (Property asst)
  Drew W. Rebelein (Const coord)
  Bob "Toxic" Fox (Key scenic)
  Glenda Mullins (Painter gang boss)
  Scott Shauger (Propmaker)
  Patrick Butcher (Propmaker)
Costumes: Lisa Norcia (Cost des)
  Regalia Thomas (On-set costumer)
  John Nguyen (On-set costumer)
Music: Justin Hurwitz (Score by)
  Justin Hurwitz (Original big band songs by)
  Tim Simonec (Original big band competition pieces by)
  Andy Ross (Mus supv)
  Richard Henderson (Mus ed)
  Michael Aarvold (Mus scoring mixer)
  Justin Hurwitz (Score orchestrated by)
  Cutting Edge (Mus services provided by)
  Chris Piccaro (Mus licensing by)
  Bosphorus Cymbals (Mus instruments by)
  D'Addario and Company (Mus instruments by)
Sound: Thomas Curley (Prod sd mixer)
  David Stark (Boom op)
  Michael O'Heney (Sd utility)
  Technicolor at Paramount (Post prod sd facility services provided by )
  Technicolor  
  Ben Wilkins (Supervising sd ed)
  Craig Mann (Supervising sd ed)
  Craig Mann (Re-rec mixer)
  Ben Wilkins (Re-rec mixer)
  Joe Schiff (Dial ed)
  Laura Hadaway (Sd ed)
  Eric Flickinger (Re-rec mix tech)
  Laura West (Re-rec mix tech)
  Judah Getz (ADR mixer)
  Alicia Hadaway (Foley artist)
  Dawn Lunsford (Foley artist)
  Scott Curtis (Foley mixer)
  Evan Rautiainen (IR eng)
  Michael Novitch (Chief eng)
Special Effects: Zachary Knight (Spec eff coord)
  Ron Rosegard (Spec eff foreperson)
  Ingenuity Engine (Visual eff by)
  David Lebensfeld (VFX supv)
  Grant Miller (VFX supv)
  Matthew Poliquin (Exec prod, Ingenuity Engine)
  Michael Lebensfeld (Managing dir, Ingenuity Engine)
  Oliver Taylor (Head of operations, Ingenuity Engine)
  Chris Cannavo (Compositor, Ingenuity Engine)
  Brian Harris (Compositor, Ingenuity Engine)
  Tasha Marlin (Compositor, Ingenuity Engine)
  John Martini (Compositor, Ingenuity Engine)
  Mario Pece (Compositor, Ingenuity Engine)
  Matthew Vojacek (Compositor, Ingenuity Engine)
  Alex Popkin (Data management I/O)
  Rafi Pogosyan (End titles by)
Make Up: Nacoma Whobrey (Make-up dept head)
  Heather Plott (Key make-up artist)
  Traci E. Smithe (Hair dept head)
  David Larson (Key hair stylist)
  Tobe West (Make-up/Hair dept head (New York Unit))
Production Misc: Terri Taylor (Casting)
  Tamara Gagarin (Post prod supv)
  Kandice Billingsley (Loc mgr)
  Carrie Cantore (Key asst loc mgr)
  Brigette Pope (Asst loc mgr)
  Jillian Stricker (Loc mgr (New York Unit))
  Lynn Johnson (Set medic)
  Miles Mogulescu (Bold business affairs)
  Debbie Von Arx (Prod legal counsel)
  Alex Coffee, Esq. (Prod business affairs)
  Rob Mitchell (Prod finance exec)
  Justin Carville (Prod accountant)
  Eric Rae (Prod accountant)
  Mark Svenningsen (Controller)
  Cassandra Martinez (Asst/Payroll accountant)
  Aaron Khristeus (Post accountant)
  Christopher H. Warner (Prod supv)
  Josh Sathre (Prod coord)
  Drew Sykes (Prod asst)
  Ali Wilber (Prod asst)
  Thealonious Dickerson (Key set prod asst)
  Boman Modine (Set prod asst)
  Dano Bierbower (Set prod asst)
  John Betts (Set prod asst (New York Unit))
  Sungmi Choi (Head of Blumhouse marketing)
  Chelsea Peters (1st asst to Mr. Blum)
  Matt Ryckman (Asst to Mr. Blum)
  Ben Wright (Asst to Mr. Blum)
  Melanie Callahan (Asst to Mr. Lancaster)
  Mara Barr (Asst to Mr. Samuelson)
  Kelly O'Malley (Asst to Ms. Estabrook)
  Erica Mills (Asst to Mr. Reitman)
  Dexter Williams (Asst to Mr. Walters)
  Zoe Engling (Office asst)
  Tracy Scott (Scr supv)
  Alex in the Kitchen (Catering by)
  David Danberg (Craft service by)
  James G. Brill (Transportation coord)
  J. D. Yarbrough (Transportation capt)
  Greg Taylor (Driver)
  James Messersmith (Driver)
  Chris Chisholm (Driver)
  Don Iwanaga (Driver)
  Mike Hurwitz (Driver)
  Larry Alicata (Driver)
  Jan Dally (Driver)
  Sarah Domeier (Casting assoc)
  Prime Casting (Extras casting)
  Andrew Stubblefield (Extras casting)
  Heather Sirota (Extras casting)
  Mob Scene (EPK)
  Chris Miller (EPK prod)
  Niccole Osborn (Post prod coord)
  Hershel Cohen (Post prod asst)
  Barbara Harris (Voice casting)
  Michael Lebensfeld (Managing dir)
  Bling Digital (Digital workflow services by)
  Charles M. Barsamian (Mus business and legal exec)
  Gallagher Entertainment Insurance (Prod insurance provided by)
  Cast and Crew Entertainment Services, LLC (Payroll services by)
  Kimberly Cripe (Payroll services by)
  Clearances Unlimited (Clearances by)
  Suzy Vaughan, Esq. (Clearances by)
  Corbis Images (Stock photography and art by)
  Canstock (Stock photography and art by)
  Foundation Jerome Seydoux-Pathe (Stock photography and art by)
  Jim Brock Photography (Stock photography and art by)
  Lee Tanner Photography (Stock photography and art by)
Stand In: Mark Riccardi (Stunt coord)
  Brady Romberg (Stunt double - Andrew)
  Kevin Burke (Stunt double - Fletcher)
  Chester Tripp (Stunt double - Truck driver)
  Steven Stone (Stunt performer)
  David Babbit (Stand-in)
  John Funk (Stand-in)
  Julie Fial (Stand-in)
  Logan Anderson (Stand-in)
  Aidan Barnes (Stand-in)
  Andrew Fetty (Stand-in)
  Keana Hall (Stand-in)
  Jake Renner (Stand-in)
  Emily Dahm (Stand-in)
  Michael Mallers (Stand-in)

Music Text:
Song Text: “Overture,” written by Justin Hurwitz, courtesy of 5AM music Ltd; “Fletcher’s Song,” written by Justin Hurwitz, produced by Nicholas Britell, courtesy of 5AM Music Ltd; “Black Girls,” written by Max Drummey and D. A. Wallach, performed by Chester French; “Overbrook Competition,” written by Tim Simonec, courtesy of 5AM Music Ltd; “1st Nassau Band Rehearsal,” written by Tim Simonec, courtesy of 5AM Music Ltd; “Band Rehearsal After Breakup,” written by Tim Simonec, courtesy of 5AM Music Ltd; “Studio Band Eavesdrop,” written by Tim Simonec, courtesy of 5AM Music Ltd; “Casey’s Song,” written by Justin Hurwitz, courtesy of 5AM Music Ltd; “2nd Nassau Band Rehearsal, written by Tim Simonec, courtesy of 5AM Music Ltd; “Caravan,” written by Juan Tizal and Duke Ellington, exclusive print rights for EMI Mills Music, Inc., controlled and administered by Alfred Music, all rights for Sony/ATV Music Publishing LLC, administered by Sony/ATV Music Publishing LLC; “Keep Me Waiting,” written by Dana Williams and Max Drummey, performed by Dana Williams; “Whiplash,” written by Hank Levy, original sheet music provided by Hank Levy Jazz LLC, courtesy of Hank Levy Jazz LLC, under exclusive license from Hank Levy Jazz LLC, and Ellis Music Enterprises; “Fletcher’s Song In Club” written by Justin Hurwitz, courtesy of 5AM Music Ltd; “Intoit,” written and performed by Stan Getz, published by Prestige Music (BMI), courtesy of Concord Music Group, Inc; “When I Wake,” written by Justin Hurwitz, produced by Nicholas Britell, courtesy of 5AM Music Ltd; “Upswingin',” written by Tim Simonec, courtesy of 5AM Music Ltd.
Source Text:
Music Composer: Max Drummey
  Duke Ellington
  Stan Getz
  Justin Hurwitz
  Hank Levy
  Tim Simonec
  Juan Tizal
  Dana Williams
Sung By: Stan Getz
  Dana Williams
  Chester French

Cast:   Miles Teller (Andrew [Neiman])  
    J. K. Simmons ([Terrence] Fletcher)  
    Paul Reiser (Jim [Neiman])  
    Melissa Benoist (Nicole)  
    Austin Stowell (Ryan [Connelly])  
    Nate Lang (Carl [Tanner])  
    Chris Mulkey (Uncle Frank)  
    Damon Gupton (Mr. Kramer)  
    Max Kasch (Dorm neighbor)  
    Suanne Spoke (Aunt Emma)  
    Chris Mulkey (Uncle Frank)  
    Charlie Ian (Dustin)  
    Jayson Blair (Travis )  
    Kofi Siriboe (Bassit (Nassau) )  
    Kavita Patil (Assistant - Sophie)  
    C. J. Vana (Metz)  
    Tarik Lowe (Pianist (Studio band))  
    Tyler Kimball (Saxophonist # 2 (Studio Band) )  
    Rogelio Douglas, Jr (Trumpeter #1 (Studio band))  
    Adrian Burks (Trumpeter #2 (Studio band))  
    Calvin Winbush (Saxophonist (Studio band) )  
    Joseph Bruno (Technician (Overbrook - Mike))  
    Michael D. Cohen (Stage hand (Overbrook))  
    Jocelyn Ayanna (Passerby (Bus station))  
    Kennan Henson (Truck driver)  
    Janet Hoskins (Passerby (Dunellen))  
    April Grace (Rachel Bornholdt)  
    Clifton "Fou Fou" Eddie (Drummer (Quartet) )  
    Marcus Henderson (Bassist (JVC) )  
    Tony Baker (Stage hand (Carnegie Hall))  
    Henry G. Sanders (Red Henderson)  
    Sam Campisi (Andrew (8 years old))  
    Jimmie Kirkpatrick (Nassau trumpeter #2)  
    Keenan Allen (Studio core member #1)  
    Ayinde Vaughan (Studio core member #2)  
    Shai Golan (Studio core member #3)  
    Yancey Wells (Studio core member #4 )  
    Candace Roberge (Student #1)  
    Krista Kilber (Student #2)  

Summary: At New York City’s Shaffer Conservatory of Music, nineteen-year-old Andrew Neiman is determined to become one of the greatest drummers in history, following in the footsteps of his idol, Buddy Rich. Shaffer is the best music school in the country, but Andrew is dissatisfied with his role as the alternate player and page-turner for Ryan Connelly, the leading “core” drummer in the school’s middle-tier jazz band. With unyielding ambition and rigorous practice, Andrew garners the attention of Terence Fletcher, the austere bandleader of Shaffer’s premiere ensemble, the Studio Band. Fletcher’s handpicked group of young musicians is rated best in the country, and he is renowned for launching preeminent careers. Andrew wants nothing more than to be Fletcher’s lead drummer. One afternoon, Fletcher unexpectedly storms into Andrew’s class, tests the budding musicians, and orders Andrew to arrive at his six a.m. class the following morning. Overjoyed, Andrew goes to the movie theater he frequents with his father and asks the concession stand girl, Nicole, on a date. The next morning, he awakens three minutes late for his six o’clock class, but after rushing to the studio, he realizes the session does not begin for another three hours. At the stroke of nine a.m., Fletcher marches into a classroom of young prodigies, each standing at attention with downcast eyes. Referring to Andrew as a “squeaker,” Fletcher announces the boy will be the new alternate player and page-turner for the core drummer, Carl Tanner. He then orders the band to perform Hank Levy’s “Whiplash” in preparation for an upcoming competition. After howling insults at a horn player and kicking him out of the band for no reason, Fletcher gives the astonished boys a ten-minute break and declares that Andrew will perform during the next session. In the hallway, Fletcher changes his tone and approaches Andrew with empathy, asking about any musical influences in his family. When he learns that Andrew’s father, Jim, is a writer who makes a living as a high school teacher and that his mother abandoned the boy in his infancy, Fletcher suggests Andrew must learn from the “greats” such as Saxophonist Charlie Parker, whose career was initially considered a failure. In Fletcher’s account, Parker rose to eminence only after drummer Jo Jones tossed a cymbal at him during a poorly performed jam session. Shocked by the sudden threat of decapitation and the rejection of his contemporaries, Parker devoted himself to his craft. One year later, he astonished his critics with a groundbreaking solo and earned the moniker “Bird.” Fletcher encourages Andrew to relax in his performance, but back in the studio, he lashes out at the boy, insisting he cannot maintain the correct tempo. As Andrew responds to Fletcher’s commands, the belligerent bandleader throws a chair at him and it barely misses his head. Fletcher repeatedly slaps Andrew across the face, forcing him to internalize the tempo. Reducing the boy to tears, Fletcher yells obscenities and violates his privacy, announcing that Andrew’s mother abandoned the family because his father is a failed author. He orders the boy to practice harder and Carl takes over on drums. After a brief stint of self-doubt, Andrew returns to his practice room and masters “Whiplash,” incurring bloody blisters. Meanwhile, he dates Nicole and reveals his singular ambition: To be the best. Sometime later at the Overbrook Jazz Competition, Fletcher warns his band that Lincoln Center often selects players from the contest, and he does not want his reputation damaged. Barking insults and profanities, Fletcher vows to punish any band member who leaves his sheet music unattended. After the first set, Carl hands Andrew his music folder and the boy sets it on a chair while he gets a soft drink from a vending machine. In an instant, the sheet music mysteriously disappears. Carl whimpers to Fletcher that he cannot play without charts, but Andrew says he knows “Whiplash” by heart and Fletcher gives him a chance to perform. After the band’s first place victory, Andrew is upgraded to core drummer. He announces the news at a family dinner, but is insulted by his relatives, who fail to take his achievements seriously. Back at school, Andrew plays with renewed confidence. After rehearsal, however, Fletcher refers to him as a “temporary” band member and replaces him with Ryan Connelly, from Andrew’s former band. When Ryan outperforms him on the “double time swing,” Andrew decides to immerse himself in practicing and breaks off his relationship with Nicole, calling her a distraction. Back at Shaffer, Terrence Fletcher plays a CD and tearfully recounts the story of a former protégé, Sean Casey, who rose from obscurity to become a star player at Lincoln Center and who died the previous day in a car crash. As the band begins to play, Fletcher is dissatisfied with the “double time swing” tempo, and switches off between Andrew, Carl, and Ryan, shouting insults. After Andrew finally meets Fletcher’s approval, the conductor orders his band to arrive at 5 a.m. the next day for the Dunellen Competition in New Jersey. On the way, Andrew’s bus gets a flat tire and he frantically rents a car to get to the auditorium, only to learn that he has been replaced by Ryan. Demanding to play, Andrew realizes he forgot his drumsticks at the car rental office and Fletcher permits him eleven minutes to arrive on stage. As he races back to the theater, he is broadsided by a semi-trailer truck, but runs to the contest, bloodied and disoriented. Andrew takes the stage just in time, but is unable to hold his sticks, and Fletcher dismisses him. As the bandleader apologizes to the judges, Andrew launches at his nemesis, swinging his arms and yelling obscenities. He is later expelled from Shaffer for misconduct. At his father’s behest, Andrew meets lawyer Rachel Bornholdt, who explains that Fletcher’s story about Sean Casey’s death in a car accident was inaccurate—the boy committed suicide. Representing Sean’s family, Rachel claims that Fletcher induced Sean’s depression and convinces Andrew to confirm the bandleader’s abusive behavior. That summer, Andrew sees Fletcher perform at a jazz club and learns that his former teacher was fired from Schaffer Conservatory. However, Fletcher is unapologetic about his harsh methods and claims it is the only way to push musicians to excellence. Before they part, Fletcher invites Andrew to replace the drummer in his upcoming showcase at the “JVC” jazz festival. The boy dusts off his drum kit and arrives at the performance, where Fletcher tells the musicians that the evening will make or break their careers. As the players take their places on stage, Fletcher whispers to Andrew, revealing his knowledge that the boy caused his expulsion from Shaffer. In retaliation, Fletcher begins the show with a song Andrew does not know and is unable to improvise. Heading backstage in shame, Andrew is embraced by his father. However, Andrew turns around and surprises Fletcher and the band on stage, playing a perfect “double time swing” solo and leading the players into an impeccable version of Juan Tizol’s “Caravan.” When the song ends, Andrew continues a magnificent, five-minute solo, coached by his now-reverent ally, Fletcher. 

 
Genre: Drama
 
Subject Major: Band leaders
  Betrayal
  Conductors (Music)
  Drums and drummers
  Fathers and sons
  Jazz music
  Music teachers
 
Subject Minor: Bands (Music)
  College life
  Colleges
  Courtship
  Musicians
  New York City
  Personality change
  Revenge
  Suicide
  Transformation

Note: End credits include “Special thanks” to: “Positone Records, Sean Nowell, Stanton Moore, Davie Brown Entertainment, Inc., Tara Moross, Luca Borghese, Jasmine McGlade Chazelle, Jake Weathers, Rosa Zagari-Marinzoli, Gary Ungar, Don Steele, Sandra Lucchesi, Frank Wuliger, Gabriela Revilla, Johnny Simmons, Cathy Rich, Bruce Klauber, Delphine Harvard.”
       Also stated in end credits is the following: “Filmed in location in Los Angeles, CA,” and, “This film was made possible in part with support from the Sundance Institute Feature Film Program and the Cinereach Project at Sundance Institute.”
       Acknoweldgments are also granted to IATSE and Teamsters Unions, as well as, “Special thanks to the Screen Actors Guild.”
       As noted in the film’s 17 Jan 2014 Var review, Whiplash began as an eighteen-minute short film by writer-director Damien Chazelle. The young director moved to Los Angeles, CA, in 2007 as a recent Harvard University graduate, according to a 3 Nov 2014 Var article. Two years later, he produced a “jazz musical” titled Guy and Madeline on a Park Bench (2010, see entry) which was screened at five theaters one year after completion. Chazelle then wrote scripts to make a living. During this time, he wrote the screenplay for Whiplash, based on personal experience as a high-school jazz drummer. Despite his intention to direct the project, he found it challenging to secure financial backing because, in his words, he was pitching it as “a film about jazz musicians, but I wanted it to play like a thriller or and action movie.”
       Although the script was reportedly considered by Hollywood studios, none were interested in supporting the production. In time, Whiplash caught the attention of executive producer Couper Samuelson at Blumhouse, and he recommended the screenplay to producer Helen Estabrook, actor Jason Reitman’s partner at Right of Way Films. She and Samuelson were not able to raise funds for the project in early 2012, according to a 15 Jan 2014 LAT article, so Right of Way suggested that Chazelle choose a portion of the script that showcased his “musical-thriller take” and shoot it as a short film or “sample reel” that would serve as “proof of concept” to potential backers. Financed with $23,000 from hedge fund executive and co-producer Nicholas Britell, who was himself a musician and fellow Harvard graduate, Chazelle selected a rehearsal scene in which “Andrew” auditions for “Fletcher’s” band.
       Actor J. K. Simmons, who had been cast in many of Jason Reitman’s previous productions, was recommended to play Fletcher, and Johnny Simmons—no relation to J. K.—was hired to perform the role of Andrew. According to the LAT, Samuelson purchased the drum kit for the short with his own money and Estabrook paid for a school classroom to be soundproofed. Still, the project was “a big gamble,” Chazelle told the 3 Nov 2014 Var. The budget was minimal, so actors were not paid well, and they had no assurance that the short would lead to a feature. In addition, the cast did not have time to rehearse, so they were left to “flesh out” their characters without prior direction. The short was filmed in three days, after which Chazelle was convinced Simmons should play Fletcher if a feature film was produced.
       As noted in Var, Chazelle directed the reel with the intention of attracting financers, so he did not expect it to be selected from among the 8,000 short films vying for a spot at the Sundance Film Festival in 2013. Whiplash was not only screened at the festival, but won the Sundance short film Jury Award. Nearly six months later, he secured a $3.3 million deal with Bold Films, and one year later, the feature-length version of Whiplash was honored with Sundance’s 2014 Audience Award and Grand Jury Prize. A 15 Jan 2014 LAT article stated that the film was accepted to open the 2014 Sundance Film Festival one week before Thanksgiving 2013, even though it had been submitted past deadline and was lacking its score.
       According to the 4 Oct 2014 NYP, Chazelle recognized the importance of having the scenes played by musician actors instead of stand-ins . He therefore cast actor-musician Nate Lang from the New York City band “Howlin’ Souls” to portray Andrew’s rival, “Carl Tanner.” Lang was also hired to train actor Miles Teller, who had past experience as a drummer, but was not a jazz prodigy like his character. NYP stated that Lang first taught Teller to master a jazz “traditional” drumstick grip, where the left hand leverages the stick sideways. The pair worked intensively for two months, four hours a day, in a Los Angeles, CA, rehearsal room, perfecting Hank Levy’s “Whiplash” and Juan Tizol’s “Caravan,” made famous by Duke Ellington.
       According to a 15 Jan 2014 LAT article, principal photography took place over nineteen days in Los Angeles, ending on 11 Oct 2013. Much of the shooting took place at the Palace Theater in downtown Los Angeles, which was dressed to resemble a New York City conservatory.
       Sony Pictures Classics, which purchased distribution rights after the feature film’s 2014 Sundance success, followed its established releasing pattern, opening the film slowly at select theaters and building interest by word-of-mouth. According to a 3 Nov 2014 Var article, Sony initially screened the picture at twelve theaters, then expanded to sixty-one venues over the next month, grossing $1 million. On the weekend of 7 Nov 2014, Sony released the film in 125 theaters and pushed toward 400 screens in just one week, by 14 Nov 2014.
       Whiplash was named one of AFI’s Movies of the Year and nominated for one Golden Globe award in the category Best Supporting Actor in a Motion Picture (J. K. Simmons).  

Note Credits: Personal note credit: Johnny Simmons
  Geographic location: Los Angeles California United States
  Geographic location: Los Angeles--Palace Theater California United States

Source   Date   Page
Hollywood Reporter   17 Jan 2014.   
Los Angeles Times   15 Jan 2014   Calendar, p. 1.
Los Angeles Times   10 Oct 2014   Calendar, p. 7.
New York Post   4 Oct 2014.   
New York Times   9 Oct 2014.   
Variety   17 Jan 2014.   
Variety   3 Sep 2014.   
Variety   3 Nov 2014.   

 
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