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A propulsive portrayal of the sacrifices one makes in pursuit of perhaps foolish perfection. (more)
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Terence Fletcher: There are no two words in the English language more harmful than good job.
I was there to push people beyond what's expected of them. I believe that's an absolute necessity.
Fletcher: I don't think people understood what it was I was doing at Shaffer. I wasn't there to conduct. Any f-king 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 about how Charlie Parker became Charlie Parker, right? ... 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, s--t, 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.
Dinner conversation (Andrew was the arrogant genius):
Uncle: You got any friends, Andy?
Uncle: Oh, why's that?
Andrew: I don't know, I just never really saw the use.
Uncle: Well, who are you going to play with otherwise? Lennon and McCartney, they were school buddies, am I right?
Andrew: Charlie Parker didn't know anybody 'til Jo Jones threw a cymbal at his head.
Uncle: So that's your idea of success, huh?
Andrew: I think being the greatest musician of the 20th century is anybody's idea of success.
Jim: Dying broke and drunk and full of heroin at the age of 34 is not exactly my idea of success.
Andrew: I'd rather die drunk, broke at 34 and have people at a dinner table talk about me than live to be rich and sober at 90 and nobody remembered who I was.
Uncle: Ah, but your friends will remember you, that's the point.
Andrew: None of us were friends with Charlie Parker. *That's* the point.
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