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Musical Director
Big Band AGM
- Nominations Start
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31 March 2022 at 00:00 AM
(3 years ago) - Nominations End
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7 April 2022 at 00:00 AM
(3 years ago) - Voting Start
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8 April 2022 at 00:00 AM
(3 years ago) - Voting End
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11 April 2022 at 00:00 AM
(3 years ago) - Voting System
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The Musical Director is responsible for all musical aspects of the band. This involves running auditions, running rehearsals, choosing repertoire, assembling setlists and MCing gigs.
Position Candidates
Evan McNab
View Candidate Statement
View Candidate Poster
Evan McNab
WHIPLASH
by
Damien Chazelle
BLACK...
We hear a HIT. A drumstick against a drum head. Crisp, sharp.
Then a second hit. Then a third and a fourth. The hits
growing so fast they start to blur together. Like gunfire...
INT. NASSAU BAND REHEARSAL STUDIO - GEHRING HALL - NIGHT 1
A cavernous space. Sound-proofed walls. And in the center, a
DRUM SET. Seated at it, in a sweat-marked white T, eyes
zeroed on his single-stroke roll, is ANDREW NEIMAN.
He's 19, slight, honors-student-skinny — except for his
arms, which have been built from years and years of drumming.
Suddenly — a MAN enters the practice room. Stopping, rising—
ANDREW
Sorry... I'm — I'm sorry—
MAN
It's ok. Stay there.
The MAN steps forward, removes his coat. He's tall. Late
fifties. Black T-shirt, black slacks, black shoes. We'll know
him as FLETCHER.
The room is silent now. And then, softly, as he's one of
those people whose whisper can scare the crap out of you—
FLETCHER
What's your name?
ANDREW
Andrew Neiman, sir.
(It's pronounced "Nayman".)
FLETCHER
What year are you?
ANDREW
I'm a first-year, sir.
FLETCHER
You know who I am?
ANDREW
Yes...
FLETCHER
You know what I do?
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2
ANDREW
Yes...
FLETCHER
So you know I'm looking for players.
ANDREW
Yes...
FLETCHER
Then why did you stop playing?
Beat. Andrew nods, smiles. He gets it. Summons up all his
remaining energy and resumes playing, trying to really show
off this time. Rolls, fills, speedy stick-work. He finishes.
FLETCHER (CONT'D)
Did I say to start playing again?
Andrew looks at him.
ANDREW
I thought—
(then, blanching,)
I'm sorry, I misun—
FLETCHER
I asked you why you stopped playing. Your
version of an answer was to turn into a
wind-up drummer monkey.
ANDREW
I'm sorry — I—I stopped playing becau—
FLETCHER
Show me your rudiments.
Andrew nods. Plays one rudiment after another: double-stroke
roll, paradiddle, ratamacue, flam, flamadiddle.
FLETCHER (CONT'D)
Uh-huh. Double-time swing.
Fletcher begins clapping his hand in time. Fast. Andrew plays.
FLETCHER (CONT'D)
No. Double-time. Double it. Bop-bop-bop-
bop-bop-bop-bop-bop-bop-bop.
Andrew tries doubling the tempo. But he can't. Fletcher STOPS
CLAPPING. The sign of death.
Andrew keeps playing, eyes shut... Then — he hears the door
CLOSE. He stops, and looks up. Fletcher has left the room.
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3
A moment later — the door OPENS. It's Fletcher. Andrew's
eyes widen. Maybe it's not over...
FLETCHER (CONT'D)
Woopsy-daisy. Forgot my coat.
Fletcher grabs it, steps back out, CLOSES the door. Andrew
stares ahead, alone again at the drums — and totally
deflated.
It's over.
WIDE SHOT of the band room as Andrew slowly rises. A title card:
Shaffer Conservatory of Music
Fall Semester
2 EXT. NEW YORK STREET - SHAFFER CONSERVATORY - NIGHT 2
Andrew exits, hurries off. Pasted onto his overloaded back¬
pack are patches, buttons, names: Krupa. Roach. Buddy Rich...
The buildings of midtown New York loom over him like giants —
immense, forbidding...
3 INT. MOVIE THEATER - LOBBY - NIGHT 3
A quiet two-screen theater. Andrew buys concessions. The GIRL
at the counter is about his age. She's pretty, but doesn't
really know it. More to the point, she doesn't seem to care.
Her name is NICOLE.
NICOLE
Swedish fish?
ANDREW
Nah, not this time, thanks...
Andrew and Nicole exchange smiles. He takes his items —
popcorn, Raisinets, two sodas -- and heads off. Peers back at
Nicole. She's staring into space. She looks suddenly lonely.
Andrew takes in the sight. You can tell he's attracted to her
— but he's too nervous to do anything. A beat later, he
enters the theater.
4 INT. MOVIE THEATER - MOMENTS LATER 4
Andrew spots a 53-year-old man seated near the front. This is
his dad — JIM. Mild-mannered, soft-spoken, average in every
respect. Has the eyes of a former dreamer.
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4
A smile between the two of them. Andrew hands his dad the
Raisinets, hands him the drink. Routine. The movie hasn't
started yet. As they exchange items—
JIM
You ok?
ANDREW
Sure...
A beat.
ANDREW (CONT'D)
He had me play today.
JIM
And?
Andrew shrugs. It's clear what that means.
JIM (CONT'D)
You still have other options.
ANDREW
What do you mean?
JIM
It's good to be open-minded. When I was
your age I thought I'd have a book deal
at 23. Then that changed to 30. Then 40.
ANDREW
Right... And that didn't upset you?
Jim shrugs, keeps his eyes down. He has a tendency to look
down when talking. The lights dim. The previews begin.
ANDREW (CONT'D)
I mean, it has to do something to you.
JIM
(another shrug)
I don't know. Why? It's just life.
(pause)
There's other things to care about.
Friends. Romance...
Andrew takes it in. Especially the last part.
JIM (CONT'D)
At my age you get perspective.
ANDREW
I don't want perspective.
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4A
Jim smiles. A moment.
Just then a MOVIEGOER squeezes into the row to head to a
seat further down — and bumps against Jim and his bucket
of popcorn.
JIM NEYMAN
Sorry.
The Moviegoer doesn't say a word. Andrew watches. Takes
it in.
OMITTED
5
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5
6 INT. DORMITORY - HALLWAY - HOURS LATER
Rusty elevator doors squeak open. Andrew steps out -
grimy, green-walled hallway.
6
- into a
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6
Dim lights, loud MUSIC blaring from behind a door. A thudding
party beat...
At the end of the hall -- where the music is coming from — a
few PARTYGOERS mingle by a door. The door opens. A YOUNG MAN
hands a SECOND YOUNG MAN a wad of cash in exchange for a Zip-
lock bag of PILLS. The SECOND YOUNG MAN eyes Andrew.
Andrew turns away, heads left -- to his own door. Hurriedly
opens it and slips inside.
7 INT. DORMITORY - ANDREW'S ROOM - NIGHT 7
A single. Drumsticks and drum pads scattered, biographies of
Bach and Coltrane on the shelf, posters of Louis Armstrong
and Charlie Parker on the walls. A TV is on, some sort of
music documentary. Andrew watches from his bed — as, over
OLD AUDIO OF DRUMMING and old stills of a boy at a drum set —
NARRATOR (V.O.)
By the age of ten, Traps the Boy Wonder
was wowing crowds all over America. By
his teens, Buddy Rich was well on his way
to becoming the stuff of legend.
TALKING HEAD #1
Like any truly great player, Buddy seemed
to have been born with music in his
blood. He grasped it intuitively, in a
way you and I just can't.
TALKING HEAD #2
You check out the old stuff, man. You look
at those movies when he was a kid, his
arms...
Beat. Andrew takes it all in — especially these words:
TALKING HEAD #2 (O.S.) (CONT'D)
You just can't teach that. That kind of
genius.
(pause)
You either got it or you don't.
Andrew turns off the TV. We hear the party beat continuing
outside, muffled. He leans back and switches off his light.
WE FADE OUT.
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7
INT. GEHRING HALL - NASSAU BAND ROOM - DAY 8
The same room we saw Andrew practicing in at night — only now
it's full of musicians. Mostly male, mostly first- and second-
years. This is NASSAU BAND, one of Shaffer's lower-level jazz
ensembles. Because it's Shaffer, the players are still first-
rate. A few third-years are here, too — including a red-head
drummer with the body of a linebacker. RYAN CONNOLLY.
Andrew looks up — in time to see Ryan with a GIRL by the
doorway. Ryan's girlfriend is gorgeous — tall, all curves.
Ryan lets his hand slide down her shoulder. Andrew watches...
The GIRL waves bye to Ryan as he heads in. He's all macho
confidence.
TRUMPETER
My man Ry! Shit, how you feeling?
RYAN
Stitched up at last, dude.
TRUMPETER
Things were hurting with Neiman on the kit—
Ryan taps him to stop. Andrew is within earshot — and has
heard. Beat. Ryan moves over to Andrew, sits down at the set.
RYAN
You have a good weekend, bro?
ANDREW
Yeah. Definitely. Really good.
RYAN
Don't worry about Greg. He's a dick.
Andrew nods. Admires Ryan. Seems more diminutive now than ever.
RYAN (CONT'D)
You been practicing?
ANDREW
Yeah. All the time.
RYAN
My man.
Then — the Nassau Band conductor appears: RON KRAMER.
MR. KRAMER
Morning, fellas. "Billie's In", bar 8.
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Mr. Kramer CLAPS OFF in time — and the band begins playing
FIRST NASSAU BAND REHEARSAL CHART. Mid-tempo. Ryan's
confident, in control. Andrew turns his pages, watches...
MR. KRAMER (CONT'D)
Nice, Ryan... Woah, trumpets.
TRUMPETER #2 **
Yeah, yeah - sorry about that one. **
MR. KRAMER **
Just brass again. **
To Ryan's left, a whisper— **
TRUMPETER
Ry. . .
Ryan turns. Visible as a silhouette through the frosted glass
of the main door...is FLETCHER . Andrew turns and looks as
well. Tenses up.
Fletcher lingers outside. Then he walks on. Ryan turns back to
the Trumpeter.
RYAN
Not today.
INT. GEHRING HALL - NASSAU BAND ROOM - MOMENTS LATER 9
Rehearsal has ended. The MUSICIANS have just filed out —
except for Andrew, who's hanging back...
MR. KRAMER
Are you learning from Ryan?
ANDREW
Yeah... He's been great to me.
MR. KRAMER
Last week was a little overwhelming for you?
ANDREW
(is that a question?)
Yeah...
(then, hesitant,)
I wonder...what you think about my progress?
MR. KRAMER
Your progress?
ANDREW
I just... I'm...practicing hard and...
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MR. KRAMER
Andrew — you've got a good attitude. You
always arrive on time.
Andrew nods. Waiting.
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9
MR. KRAMER (CONT'D)
Yeah. Ok?
ANDREW
(beat)
Ok... Do you think... I know Fletcher's
looking for players... for Studio Band...
MR. KRAMER
Yeah, Andrew... Lincoln Center looks out
for Fletcher's top players. If it weren't
for Ryan's injury he'd have been in Studio
Band last year. He's a natural player.
Andrew takes this in. Nods.
ANDREW
Ok.
MR. KRAMER
(this is awkward)
Look... I'm going to be candid. 90% of
our players will never make it into the
Lincoln Centers or the Collectives. The
question is — who's in that 10%?
A beat.
MR. KRAMER (CONT'D)
So I'd practice. You could start a rock
band.
Andrew takes it in. The implication is clear.
He turns — and glimpses a poster on the wall: a DRUMMER
throwing a stick in the air mid-solo. Buff. Confident. The
opposite of him.
ANDREW
I...I have one more question...
(Kramer looks at him)
...Do you know what the process for
transferring is?
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10 OMITTED 10
11 INT. GEHRING HALL - BASEMENT HALLWAY - CONTINUOUS 11
Andrew walks down a hallway. A piece of paper in his hand.
It's a TRANSFER APPLICATION...
He notices as two attractive female students pass him.
STUDENT #1 **
At least you didn't embarrass yourself **
like what's-his-face. **
STUDENT #2 **
That was truly pathetic. **
As he continues walking, he hears music. Stops. Approaches.
Looks.
11A INT. GEHRING HALL - STUDIO BAND ROOM - CONTINUOUS 11A
Through the pane of glass, Andrew can see a FULL ORCHESTRA.
Everyone looks older than in Nassau. More focused. All eyes
glued on Fletcher as he assumes his position...
Fletcher's right arm moves, just a hair, and the band starts:
fast, dazzling. Andrew watches — in awe . The band's playing
STUDIO BAND EAVESDROP CHART, and the sound is so full, so
precise, so commanding. Nothing like Nassau.
And suddenly — Fletcher TURNS AROUND. His eyes meet Andrew's.
Andrew ducks out of view — shit —
— and hurries away.
12 INT. ANDREW'S PRACTICE ROOM - A FEW HOURS LATER 12
Andrew practices like mad, trying to nail a double-time swing.
To his left a digital METRONOME blinks. The time set: 380.
Andrew stops. Resets the metronome. 390. Resumes playing.
Tries to keep up. Resets the metronome to 400. Can't keep up
at all now. Struggling, sweating, hands blistering, when —
CRAAACK. Andrew's right drumstick SNAPS IN HALF.
He stops. Spent. Looks at his hand, sweating and throbbing from
the blisters.
Looks back at the metronome. Still beeping away. He turns it off.
Glances up ahead at a poster — of BUDDY RICH hunched over a drum
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10A
kit, mid-solo — tacked to the wall.
Stares at the image. Then looks down — at the PAPERWORK we
saw earlier. The heading: "APPLICATION TO TRANSFER"...
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INT. ANDREW'S PRACTICE ROOM - MOMENTS LATER 12A
A CD slides into a player. The title: "BUDDY RICH: BIRDLAND".
Andrew skips ahead to the third track. Immediately, drums
start. Another double-time swing. Only this one is insanely
fast. Even faster than Andrew was going.
Andrew listens. Looks at his drum kit. Thinks. Makes a decision.
Turns the CD off.
INT. MOVIE THEATER - LOBBY - AFTERNOON 13
The same movie theater as before. Andrew marches in. Has one
goal and one goal only now.
Walks up to Nicole at the counter. Takes a deep breath, and—
ANDREW
Hey -- look — I — I don't know how to
say this — I see you in here all the
time and — I was just wondering —
(stops, collects himself,)
— if you'd want to get a bite to eat
with me.
Beat. Nicole just looks at him. Andrew can't believe he said what
he just said. Feels like a creep. Instantly regrets it.
NICOLE
Please get away from me.
ANDREW
I'm so sorry, I — I didn't mea—
NICOLE
I'm kidding.
She smiles. Beat. Andrew manages a nervous laugh.
NICOLE (CONT'D)
That your dad you always come in with?
ANDREW
(discombobulated, trying to keep up—)
Kind of bobs up and down when he walks?
That's him.
NICOLE
(laughs; then,)
Andrew, right? I'm Nicole.
ANDREW
Nice to meet you, Nicole...
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12
NICOLE
Monday I get off at seven.
ANDREW
Monday. Ok. Great. I'll be here Monday.
A moment — an awkward silence — then Andrew turns — and,
in a daze, realizing what's just happened, his spirits
suddenly starting to soar — he glides off.
14 INT. GEHRING HALL - LOBBY OUTSIDE DEAN'S OFFICE - DAY 14
The next morning. Andrew, still riding high, is seated in a
lobby outside the DEAN'S OFFICE. In his hand — a FILLED-OUT
TRANSFER APPLICATION.
ASSISTANT
Andrew Neiman?
(Andrew turns)
Dr. Fletcher would like to see you.
ANDREW
Oh. Ok...
Andrew's thoughts are elsewhere. Distracted — not sure what
this is about but doesn't really care — he dutifully follows..
15 INT. GEHRING HALL - FLETCHER'S OFFICE - DAY 15
BLACK. We hear knocking.
FLETCHER (O.S.)
Come in.
A door opens — the black gives way -- and we see, seated at
a polished mahogany desk, Fletcher. He looks as imposing —
and as well-dressed — as ever.
FLETCHER (CONT'D)
Hey, Andrew! I guess Sophie found you?
Andrew is taken aback. Fletcher remembers his first name?
ANDREW
Yes... I'm... I —
FLETCHER
Come in, come in, close the door...
Fletcher rises to greet Andrew, as Andrew closes the door.
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13
FLETCHER (CONT'D)
I like to chat with students coming in
and going out. I hear you're going out?
Andrew looks surprised by the warmth in Fletcher's voice.
ANDREW
Yes. Transferring. To Columbia.
FLETCHER
Terrific . Columbia's a terrific school.
Did something precipitate this?
ANDREW
I just decided to...
(not sure how to say it)
...to try out some other things. Not focus
only on drums. You know?
Beat. Fletcher looks at him. Is he upset? Dismayed?
FLETCHER
Bravo.
(as he starts to head back
toward his desk—)
Too many students clamp down on their
"pursuits" like leeches.
(sits atop his desk)
Hobbies they picked up in their teens,
and for what? Take a seat.
ANDREW
(starts heading to a couch)
Uh... Yeah.. I mean, I —
(passes by a "1st Place Prize"
plaque on a coffee-table)
— I was a little younger than my teens
when I started drums, but—
FLETCHER
What were you then? Twelve?
ANDREW
Six.
FLETCHER
Oh. Well, kids start swimming when they're
six, doesn't mean they're Michael Phelps.
It's a hobby, never anything you consider
going all the way with. Am I right?
ANDREW
Definitely. I mean — well — for a time,
I thought I'd go all the way — but, yeah—
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FLETCHER
Well, kids want anything. I wanted to be
a nanny. Thank God those I trusted talked
me out of it. Good to listen to advice.
ANDREW
Yes, I've done that, you're right, it's—
FLETCHER
—good to get outside perspectives. So
long as they don't have ulterior motives,
I'd listen to what the people you trust
tell you.
Andrew nods. But that phrase seems to echo. Ulterior motives.
Fletcher hops down from the desk and makes his way to the
couch.
FLETCHER (CONT'D)
So what's the passion you've chosen to
pursue at Columbia, then?
ANDREW
(as Fletcher takes a seat next to
him)
Oh... Well... I'm not...not really sure.
It's not a specific thing I have in mind.
FLETCHER
Ah. Well that's ok. You're young. Most
people, it takes years for them to find
their calling. My father, for instance --
he had no idea what he wanted at your age.
He tried a lot of things, a little bit of
this, a little bit of that. Took him years
before he realized his dream was
insurance. That was his passion. The
cubicle, the coffee breaks, the dry wall.
He lets this simmer for a beat. Then—
FLETCHER (CONT'D)
I'm sure you'll find your calling as well.
He rises back up. A moment of silence.
FLETCHER (CONT'D)
I guess that's it, then. Any questions?
He notices Andrew looking at a photo on the wall.
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15
He takes
standing
drift to
walls. . .
JVC Jazz
FLETCHER (CONT'D)
That's Sean Casey. Graduated three years
ago. Now he's first trumpet at Lincoln
Center.
(heading toward the door—)
He came a long way.
ANDREW
(trying to collect his thoughts
as he rises)
...So — are you — still looking for
Studio Band players then...?
FLETCHER
(turning around to face Andrew)
Some, yes. But it's no cakewalk. Most kids
here can't last. Laszlo Polgar, Hungarian
psychologist, declares in 1967
by
Damien Chazelle
BLACK...
We hear a HIT. A drumstick against a drum head. Crisp, sharp.
Then a second hit. Then a third and a fourth. The hits
growing so fast they start to blur together. Like gunfire...
INT. NASSAU BAND REHEARSAL STUDIO - GEHRING HALL - NIGHT 1
A cavernous space. Sound-proofed walls. And in the center, a
DRUM SET. Seated at it, in a sweat-marked white T, eyes
zeroed on his single-stroke roll, is ANDREW NEIMAN.
He's 19, slight, honors-student-skinny — except for his
arms, which have been built from years and years of drumming.
Suddenly — a MAN enters the practice room. Stopping, rising—
ANDREW
Sorry... I'm — I'm sorry—
MAN
It's ok. Stay there.
The MAN steps forward, removes his coat. He's tall. Late
fifties. Black T-shirt, black slacks, black shoes. We'll know
him as FLETCHER.
The room is silent now. And then, softly, as he's one of
those people whose whisper can scare the crap out of you—
FLETCHER
What's your name?
ANDREW
Andrew Neiman, sir.
(It's pronounced "Nayman".)
FLETCHER
What year are you?
ANDREW
I'm a first-year, sir.
FLETCHER
You know who I am?
ANDREW
Yes...
FLETCHER
You know what I do?
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2
ANDREW
Yes...
FLETCHER
So you know I'm looking for players.
ANDREW
Yes...
FLETCHER
Then why did you stop playing?
Beat. Andrew nods, smiles. He gets it. Summons up all his
remaining energy and resumes playing, trying to really show
off this time. Rolls, fills, speedy stick-work. He finishes.
FLETCHER (CONT'D)
Did I say to start playing again?
Andrew looks at him.
ANDREW
I thought—
(then, blanching,)
I'm sorry, I misun—
FLETCHER
I asked you why you stopped playing. Your
version of an answer was to turn into a
wind-up drummer monkey.
ANDREW
I'm sorry — I—I stopped playing becau—
FLETCHER
Show me your rudiments.
Andrew nods. Plays one rudiment after another: double-stroke
roll, paradiddle, ratamacue, flam, flamadiddle.
FLETCHER (CONT'D)
Uh-huh. Double-time swing.
Fletcher begins clapping his hand in time. Fast. Andrew plays.
FLETCHER (CONT'D)
No. Double-time. Double it. Bop-bop-bop-
bop-bop-bop-bop-bop-bop-bop.
Andrew tries doubling the tempo. But he can't. Fletcher STOPS
CLAPPING. The sign of death.
Andrew keeps playing, eyes shut... Then — he hears the door
CLOSE. He stops, and looks up. Fletcher has left the room.
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3
A moment later — the door OPENS. It's Fletcher. Andrew's
eyes widen. Maybe it's not over...
FLETCHER (CONT'D)
Woopsy-daisy. Forgot my coat.
Fletcher grabs it, steps back out, CLOSES the door. Andrew
stares ahead, alone again at the drums — and totally
deflated.
It's over.
WIDE SHOT of the band room as Andrew slowly rises. A title card:
Shaffer Conservatory of Music
Fall Semester
2 EXT. NEW YORK STREET - SHAFFER CONSERVATORY - NIGHT 2
Andrew exits, hurries off. Pasted onto his overloaded back¬
pack are patches, buttons, names: Krupa. Roach. Buddy Rich...
The buildings of midtown New York loom over him like giants —
immense, forbidding...
3 INT. MOVIE THEATER - LOBBY - NIGHT 3
A quiet two-screen theater. Andrew buys concessions. The GIRL
at the counter is about his age. She's pretty, but doesn't
really know it. More to the point, she doesn't seem to care.
Her name is NICOLE.
NICOLE
Swedish fish?
ANDREW
Nah, not this time, thanks...
Andrew and Nicole exchange smiles. He takes his items —
popcorn, Raisinets, two sodas -- and heads off. Peers back at
Nicole. She's staring into space. She looks suddenly lonely.
Andrew takes in the sight. You can tell he's attracted to her
— but he's too nervous to do anything. A beat later, he
enters the theater.
4 INT. MOVIE THEATER - MOMENTS LATER 4
Andrew spots a 53-year-old man seated near the front. This is
his dad — JIM. Mild-mannered, soft-spoken, average in every
respect. Has the eyes of a former dreamer.
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4
A smile between the two of them. Andrew hands his dad the
Raisinets, hands him the drink. Routine. The movie hasn't
started yet. As they exchange items—
JIM
You ok?
ANDREW
Sure...
A beat.
ANDREW (CONT'D)
He had me play today.
JIM
And?
Andrew shrugs. It's clear what that means.
JIM (CONT'D)
You still have other options.
ANDREW
What do you mean?
JIM
It's good to be open-minded. When I was
your age I thought I'd have a book deal
at 23. Then that changed to 30. Then 40.
ANDREW
Right... And that didn't upset you?
Jim shrugs, keeps his eyes down. He has a tendency to look
down when talking. The lights dim. The previews begin.
ANDREW (CONT'D)
I mean, it has to do something to you.
JIM
(another shrug)
I don't know. Why? It's just life.
(pause)
There's other things to care about.
Friends. Romance...
Andrew takes it in. Especially the last part.
JIM (CONT'D)
At my age you get perspective.
ANDREW
I don't want perspective.
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4A
Jim smiles. A moment.
Just then a MOVIEGOER squeezes into the row to head to a
seat further down — and bumps against Jim and his bucket
of popcorn.
JIM NEYMAN
Sorry.
The Moviegoer doesn't say a word. Andrew watches. Takes
it in.
OMITTED
5
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6 INT. DORMITORY - HALLWAY - HOURS LATER
Rusty elevator doors squeak open. Andrew steps out -
grimy, green-walled hallway.
6
- into a
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Dim lights, loud MUSIC blaring from behind a door. A thudding
party beat...
At the end of the hall -- where the music is coming from — a
few PARTYGOERS mingle by a door. The door opens. A YOUNG MAN
hands a SECOND YOUNG MAN a wad of cash in exchange for a Zip-
lock bag of PILLS. The SECOND YOUNG MAN eyes Andrew.
Andrew turns away, heads left -- to his own door. Hurriedly
opens it and slips inside.
7 INT. DORMITORY - ANDREW'S ROOM - NIGHT 7
A single. Drumsticks and drum pads scattered, biographies of
Bach and Coltrane on the shelf, posters of Louis Armstrong
and Charlie Parker on the walls. A TV is on, some sort of
music documentary. Andrew watches from his bed — as, over
OLD AUDIO OF DRUMMING and old stills of a boy at a drum set —
NARRATOR (V.O.)
By the age of ten, Traps the Boy Wonder
was wowing crowds all over America. By
his teens, Buddy Rich was well on his way
to becoming the stuff of legend.
TALKING HEAD #1
Like any truly great player, Buddy seemed
to have been born with music in his
blood. He grasped it intuitively, in a
way you and I just can't.
TALKING HEAD #2
You check out the old stuff, man. You look
at those movies when he was a kid, his
arms...
Beat. Andrew takes it all in — especially these words:
TALKING HEAD #2 (O.S.) (CONT'D)
You just can't teach that. That kind of
genius.
(pause)
You either got it or you don't.
Andrew turns off the TV. We hear the party beat continuing
outside, muffled. He leans back and switches off his light.
WE FADE OUT.
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7
INT. GEHRING HALL - NASSAU BAND ROOM - DAY 8
The same room we saw Andrew practicing in at night — only now
it's full of musicians. Mostly male, mostly first- and second-
years. This is NASSAU BAND, one of Shaffer's lower-level jazz
ensembles. Because it's Shaffer, the players are still first-
rate. A few third-years are here, too — including a red-head
drummer with the body of a linebacker. RYAN CONNOLLY.
Andrew looks up — in time to see Ryan with a GIRL by the
doorway. Ryan's girlfriend is gorgeous — tall, all curves.
Ryan lets his hand slide down her shoulder. Andrew watches...
The GIRL waves bye to Ryan as he heads in. He's all macho
confidence.
TRUMPETER
My man Ry! Shit, how you feeling?
RYAN
Stitched up at last, dude.
TRUMPETER
Things were hurting with Neiman on the kit—
Ryan taps him to stop. Andrew is within earshot — and has
heard. Beat. Ryan moves over to Andrew, sits down at the set.
RYAN
You have a good weekend, bro?
ANDREW
Yeah. Definitely. Really good.
RYAN
Don't worry about Greg. He's a dick.
Andrew nods. Admires Ryan. Seems more diminutive now than ever.
RYAN (CONT'D)
You been practicing?
ANDREW
Yeah. All the time.
RYAN
My man.
Then — the Nassau Band conductor appears: RON KRAMER.
MR. KRAMER
Morning, fellas. "Billie's In", bar 8.
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Mr. Kramer CLAPS OFF in time — and the band begins playing
FIRST NASSAU BAND REHEARSAL CHART. Mid-tempo. Ryan's
confident, in control. Andrew turns his pages, watches...
MR. KRAMER (CONT'D)
Nice, Ryan... Woah, trumpets.
TRUMPETER #2 **
Yeah, yeah - sorry about that one. **
MR. KRAMER **
Just brass again. **
To Ryan's left, a whisper— **
TRUMPETER
Ry. . .
Ryan turns. Visible as a silhouette through the frosted glass
of the main door...is FLETCHER . Andrew turns and looks as
well. Tenses up.
Fletcher lingers outside. Then he walks on. Ryan turns back to
the Trumpeter.
RYAN
Not today.
INT. GEHRING HALL - NASSAU BAND ROOM - MOMENTS LATER 9
Rehearsal has ended. The MUSICIANS have just filed out —
except for Andrew, who's hanging back...
MR. KRAMER
Are you learning from Ryan?
ANDREW
Yeah... He's been great to me.
MR. KRAMER
Last week was a little overwhelming for you?
ANDREW
(is that a question?)
Yeah...
(then, hesitant,)
I wonder...what you think about my progress?
MR. KRAMER
Your progress?
ANDREW
I just... I'm...practicing hard and...
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MR. KRAMER
Andrew — you've got a good attitude. You
always arrive on time.
Andrew nods. Waiting.
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9
MR. KRAMER (CONT'D)
Yeah. Ok?
ANDREW
(beat)
Ok... Do you think... I know Fletcher's
looking for players... for Studio Band...
MR. KRAMER
Yeah, Andrew... Lincoln Center looks out
for Fletcher's top players. If it weren't
for Ryan's injury he'd have been in Studio
Band last year. He's a natural player.
Andrew takes this in. Nods.
ANDREW
Ok.
MR. KRAMER
(this is awkward)
Look... I'm going to be candid. 90% of
our players will never make it into the
Lincoln Centers or the Collectives. The
question is — who's in that 10%?
A beat.
MR. KRAMER (CONT'D)
So I'd practice. You could start a rock
band.
Andrew takes it in. The implication is clear.
He turns — and glimpses a poster on the wall: a DRUMMER
throwing a stick in the air mid-solo. Buff. Confident. The
opposite of him.
ANDREW
I...I have one more question...
(Kramer looks at him)
...Do you know what the process for
transferring is?
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10
10 OMITTED 10
11 INT. GEHRING HALL - BASEMENT HALLWAY - CONTINUOUS 11
Andrew walks down a hallway. A piece of paper in his hand.
It's a TRANSFER APPLICATION...
He notices as two attractive female students pass him.
STUDENT #1 **
At least you didn't embarrass yourself **
like what's-his-face. **
STUDENT #2 **
That was truly pathetic. **
As he continues walking, he hears music. Stops. Approaches.
Looks.
11A INT. GEHRING HALL - STUDIO BAND ROOM - CONTINUOUS 11A
Through the pane of glass, Andrew can see a FULL ORCHESTRA.
Everyone looks older than in Nassau. More focused. All eyes
glued on Fletcher as he assumes his position...
Fletcher's right arm moves, just a hair, and the band starts:
fast, dazzling. Andrew watches — in awe . The band's playing
STUDIO BAND EAVESDROP CHART, and the sound is so full, so
precise, so commanding. Nothing like Nassau.
And suddenly — Fletcher TURNS AROUND. His eyes meet Andrew's.
Andrew ducks out of view — shit —
— and hurries away.
12 INT. ANDREW'S PRACTICE ROOM - A FEW HOURS LATER 12
Andrew practices like mad, trying to nail a double-time swing.
To his left a digital METRONOME blinks. The time set: 380.
Andrew stops. Resets the metronome. 390. Resumes playing.
Tries to keep up. Resets the metronome to 400. Can't keep up
at all now. Struggling, sweating, hands blistering, when —
CRAAACK. Andrew's right drumstick SNAPS IN HALF.
He stops. Spent. Looks at his hand, sweating and throbbing from
the blisters.
Looks back at the metronome. Still beeping away. He turns it off.
Glances up ahead at a poster — of BUDDY RICH hunched over a drum
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kit, mid-solo — tacked to the wall.
Stares at the image. Then looks down — at the PAPERWORK we
saw earlier. The heading: "APPLICATION TO TRANSFER"...
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INT. ANDREW'S PRACTICE ROOM - MOMENTS LATER 12A
A CD slides into a player. The title: "BUDDY RICH: BIRDLAND".
Andrew skips ahead to the third track. Immediately, drums
start. Another double-time swing. Only this one is insanely
fast. Even faster than Andrew was going.
Andrew listens. Looks at his drum kit. Thinks. Makes a decision.
Turns the CD off.
INT. MOVIE THEATER - LOBBY - AFTERNOON 13
The same movie theater as before. Andrew marches in. Has one
goal and one goal only now.
Walks up to Nicole at the counter. Takes a deep breath, and—
ANDREW
Hey -- look — I — I don't know how to
say this — I see you in here all the
time and — I was just wondering —
(stops, collects himself,)
— if you'd want to get a bite to eat
with me.
Beat. Nicole just looks at him. Andrew can't believe he said what
he just said. Feels like a creep. Instantly regrets it.
NICOLE
Please get away from me.
ANDREW
I'm so sorry, I — I didn't mea—
NICOLE
I'm kidding.
She smiles. Beat. Andrew manages a nervous laugh.
NICOLE (CONT'D)
That your dad you always come in with?
ANDREW
(discombobulated, trying to keep up—)
Kind of bobs up and down when he walks?
That's him.
NICOLE
(laughs; then,)
Andrew, right? I'm Nicole.
ANDREW
Nice to meet you, Nicole...
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NICOLE
Monday I get off at seven.
ANDREW
Monday. Ok. Great. I'll be here Monday.
A moment — an awkward silence — then Andrew turns — and,
in a daze, realizing what's just happened, his spirits
suddenly starting to soar — he glides off.
14 INT. GEHRING HALL - LOBBY OUTSIDE DEAN'S OFFICE - DAY 14
The next morning. Andrew, still riding high, is seated in a
lobby outside the DEAN'S OFFICE. In his hand — a FILLED-OUT
TRANSFER APPLICATION.
ASSISTANT
Andrew Neiman?
(Andrew turns)
Dr. Fletcher would like to see you.
ANDREW
Oh. Ok...
Andrew's thoughts are elsewhere. Distracted — not sure what
this is about but doesn't really care — he dutifully follows..
15 INT. GEHRING HALL - FLETCHER'S OFFICE - DAY 15
BLACK. We hear knocking.
FLETCHER (O.S.)
Come in.
A door opens — the black gives way -- and we see, seated at
a polished mahogany desk, Fletcher. He looks as imposing —
and as well-dressed — as ever.
FLETCHER (CONT'D)
Hey, Andrew! I guess Sophie found you?
Andrew is taken aback. Fletcher remembers his first name?
ANDREW
Yes... I'm... I —
FLETCHER
Come in, come in, close the door...
Fletcher rises to greet Andrew, as Andrew closes the door.
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FLETCHER (CONT'D)
I like to chat with students coming in
and going out. I hear you're going out?
Andrew looks surprised by the warmth in Fletcher's voice.
ANDREW
Yes. Transferring. To Columbia.
FLETCHER
Terrific . Columbia's a terrific school.
Did something precipitate this?
ANDREW
I just decided to...
(not sure how to say it)
...to try out some other things. Not focus
only on drums. You know?
Beat. Fletcher looks at him. Is he upset? Dismayed?
FLETCHER
Bravo.
(as he starts to head back
toward his desk—)
Too many students clamp down on their
"pursuits" like leeches.
(sits atop his desk)
Hobbies they picked up in their teens,
and for what? Take a seat.
ANDREW
(starts heading to a couch)
Uh... Yeah.. I mean, I —
(passes by a "1st Place Prize"
plaque on a coffee-table)
— I was a little younger than my teens
when I started drums, but—
FLETCHER
What were you then? Twelve?
ANDREW
Six.
FLETCHER
Oh. Well, kids start swimming when they're
six, doesn't mean they're Michael Phelps.
It's a hobby, never anything you consider
going all the way with. Am I right?
ANDREW
Definitely. I mean — well — for a time,
I thought I'd go all the way — but, yeah—
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FLETCHER
Well, kids want anything. I wanted to be
a nanny. Thank God those I trusted talked
me out of it. Good to listen to advice.
ANDREW
Yes, I've done that, you're right, it's—
FLETCHER
—good to get outside perspectives. So
long as they don't have ulterior motives,
I'd listen to what the people you trust
tell you.
Andrew nods. But that phrase seems to echo. Ulterior motives.
Fletcher hops down from the desk and makes his way to the
couch.
FLETCHER (CONT'D)
So what's the passion you've chosen to
pursue at Columbia, then?
ANDREW
(as Fletcher takes a seat next to
him)
Oh... Well... I'm not...not really sure.
It's not a specific thing I have in mind.
FLETCHER
Ah. Well that's ok. You're young. Most
people, it takes years for them to find
their calling. My father, for instance --
he had no idea what he wanted at your age.
He tried a lot of things, a little bit of
this, a little bit of that. Took him years
before he realized his dream was
insurance. That was his passion. The
cubicle, the coffee breaks, the dry wall.
He lets this simmer for a beat. Then—
FLETCHER (CONT'D)
I'm sure you'll find your calling as well.
He rises back up. A moment of silence.
FLETCHER (CONT'D)
I guess that's it, then. Any questions?
He notices Andrew looking at a photo on the wall.
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He takes
standing
drift to
walls. . .
JVC Jazz
FLETCHER (CONT'D)
That's Sean Casey. Graduated three years
ago. Now he's first trumpet at Lincoln
Center.
(heading toward the door—)
He came a long way.
ANDREW
(trying to collect his thoughts
as he rises)
...So — are you — still looking for
Studio Band players then...?
FLETCHER
(turning around to face Andrew)
Some, yes. But it's no cakewalk. Most kids
here can't last. Laszlo Polgar, Hungarian
psychologist, declares in 1967
Vic Hayter
View Candidate Statement
View Candidate Poster
Vic Hayter
Hey guys! As you all know I love big band dearly and I would love to be on committee next year. One of my favourite hobbies is transcribing random pieces in my free time so if you want to play anything we don't have music for, I will 100% transcribe and arrange it for big band so we can play it. I also have some other great music ideas in mind, which is why I would love the role of MD :))
RON (Re-open Nominations)
View Candidate Statement
