Movies

Justin Hurwitz keeps ‘Whiplash’ alive with ‘nerve-racking’ concert series

BBG News

Justin Hurwitz, while participating in his “Whiplash in Concert” band, has never physically hurled a chair at the drummer. However, the drummer must be well-versed with the music script – not only because certain jazz solos are swift and intricate, but also because the drumming may abruptly pause or resume at irregular intervals to echo the dramatic and chaotic scenes depicted on screen.

According to Hurwitz, he refers to the 2014 Damien Chazelle movie that he scored, which later inspired the concert series with the same name. He explains that unlike some pieces where skilled musicians can easily sight-read them, this particular part requires a more detailed study.

This weekend, the composer is taking “Whiplash in Concert” to Los Angeles, where it will be performed at the Saban Theatre in Beverly Hills for three shows. An 18-piece local band of musicians will join him, and a studio percussionist named Jamey Tate will play the drums. Hurwitz will be conducting the performances.

Live performances synchronized with movies, such as film concerts, are commonly held: for instance, the L.A. Phil performed John Williams’ “Home Alone” in December, and numerous symphony orchestras worldwide schedule blockbuster movie screenings on their seasonal itinerary. These events necessitate the orchestra keeping time with the films, a task achieved through an advanced system of “click tracks” in performers’ headphones and visual “streamers” on the conductor’s display.

In an unusual fashion, “Whiplash” stands out due to a large portion of its music being portrayed by characters on screen. For instance, when Miles Teller’s character, Andrew – who is both panicked and obsessive – sweats profusely and beats rhythms in a practice room, the live drummer is simultaneously executing identical movements and tempo (though not necessarily with the same level of perspiration).

The score encompasses a mix of established jazz melodies such as John Wasson’s “Caravan” and the theme song written by Hank Levy in the 1970s, along with original compositions by Hurwitz. Moreover, for the movie, the background music was extensively processed and took on a semi-electronic quality; Hurwitz had to innovate for the live performances, resulting in saxophones manipulating pitch and a vibraphone being played with a cello bow.

The production primarily revolves around a musical setting, where characters frequently rehearse individually or in groups, perform full songs collectively, or encounter an abusive, temperamental J.K. Simmons character portraying the ruthless jazz conservatory director Fletcher. Beneath the screen, the band and Hurwitz (who leads at every performance) must rigidly adhere to Fletcher’s unforgiving rhythm.

Hurwitz confesses that it’s slightly unnerving because no one wants to make mistakes. However, it proves effective. Moreover, he adds that jazz big bands are impressive; you need to hire skilled musicians, but once you do, they excel and understand their roles. In truth, in some aspects, conducting requires less effort.

Plus: “I’ve seen the movie a lot.”

The film “Whiplash” catapulted Hurwitz and Chazelle into the upper echelons of Hollywood. It was widely praised by critics, earning numerous awards, and served as a stepping stone for the pair (who were once college roommates at Harvard) in realizing their dream project, “La La Land,” which later garnered Oscars for both. To date, Hurwitz, aged 40, has collaborated exclusively with Chazelle on films such as “First Man” and “Babylon,” the latter being an epic depicting sexuality.

Awards

It took nearly six years for Damien Chazelle’s “La La Land” to reach the big screen, during which time he was diverted into creating both a short and full-length version of “Whiplash,” a film that eventually won an Oscar. This recognition from the industry ultimately helped them view his previously planned musical film seriously.

As a cinephile, I’ve noticed that music plays a pivotal role in the films of Chazelle and Hurwitz. Interestingly, Chazelle is a jazz drummer himself, which adds an authenticity to the musical aspects of his films. Moreover, Hurwitz is deeply involved in the development process from the get-go, dedicating several years to meticulously craft each score.

He’s dedicated significant effort and resources to establishing Hurwitz Concerts because of this key reason: His past encounter with management left him disillusioned – in 2022, he even sued WME for mismanagement during the “La La Land” tour concerts, eventually reaching a settlement in 2024. As a result, he took a daring step by insisting on concert rights in all future film deals, and through this strategy, he transformed “Whiplash” and “La La Land” into a thriving concert enterprise.

He mentions that he seldom takes on new film projects and it often takes him a long time to complete one. He pours a great deal of effort and passion into his work and the music scores, which is crucial for both his financial sustenance and emotional fulfillment. It’s not just about the money; he cherishes his connection with these works. When he creates them, he gives it his all, so letting go isn’t something he wants to do.

He gained insights by studying errors committed by those who managed his concerts, older individuals, and by emulating businesses such as Film Concerts Live, which usually collaborates with symphony orchestras to sell packages. Instead of handling his solo venture conventionally, Hurwitz prefers working with smart promoters. His film concerts have expanded globally, reaching countries like France, Japan, and Bangkok. Now, he receives more emails from international promoters expressing interest than he needs to send out inquiries.

Awards

Director Damien Chazelle and composer Justin Hurwitz blend a contemporary feel, reminiscent of rock ‘n’ roll and even hinting at rave culture, into the film’s 1920s soundtrack.

In a straightforward manner: Hurwitz devotes significant resources to the creation of these productions, consistently enhancing both visual and auditory tools that are then passed on to technical crews. He personally selects and compensates the drummer from “Whiplash” (as well as the pianist from “La La Land”) to study the score and perform alongside all the same tools. He advertises concerts through social media; two shows at Carnegie Hall were sold out last week following his announcement on these platforms. Additionally, he distributes merchandise – including signed vinyl records, t-shirts, and custom posters tailored for each city.

In other words, he treats this more like a touring pop band than an evening at the concert hall.

1) Not only has Hurwitz’s strategy proven successful on a large scale, but recent events have demonstrated this quite clearly. For instance, he managed to pack a 10,000-seat arena in Mexico City for “La La Land,” and attracted 7,000 people to “Whiplash.” His decision to visit Mexico City was prompted by the high number of Spotify listeners there who enjoyed his music. In fact, he expressed that the enthusiasm he witnessed there was reminiscent of the passion they’ve experienced in Paris when working with Chazelle.

As a movie enthusiast, I can’t help but be captivated by the global fervor surrounding “La La Land.” It’s not uncommon for me to witness audiences donning costumes and even shedding tears in response to this masterpiece. The buzz around “Whiplash” is palpable too, and I’m eagerly anticipating the day when I can add the controversial yet beloved “Babylon” to my tour list as well.

Hurwitz notes that “Damien indeed creates exceptional films.” He offers a theory as to why this is: “Their appeal lies in their musical nature. Audiences pay close attention to the music.

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2025-02-05 14:35

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