After a botched bank robbery lands his younger brother in prison, Connie Nikas embarks on a twisted odyssey through New York City’s underworld to get his brother Nick out of jail.
I love New York, although I never been there. But I love the concept of a city that never sleeps, with people from all ethnic and social backgrounds, a melting pot with food from all the corners of the world. I’m especially love seedy New York and around the time 1975-1982.
This takes place mainly in Queens, and apart from some modern things like their clothes, it could have been shot in the 70’s. It has a gritty feel, a lovely synth score. The whole thing looks authentic.
Mild Spoiler: I can’t remember when I laught so hard as when the security guard got “drenched” in acid and the way he acted afterwards.
Filmed in Bronx and Brooklyn, New York:
Adventureland Amusement Park, Farmingdale, Long Island, New York, USA
New World Mall, Flushing, Queens, New York, USA
Popular Community Bank, Elmhurst, Queens, New York, USA
American Liberty Bail Bonds, Fresh Meadows, Queens, New York, USA
Elmhurst Hospital, Queens, New York, USA
White Castle, Jackson Heights, Queens, New York, USA
Tivoli Towers, Crown Heights, Brooklyn, New York, USA
The Safdies hired real cops for the mall chase scene. The crew filmed during regular business hours while the mall was open to the public, so reactions in the final cut are genuine, from real customers. Some mall customers even tried to stop the cops from chasing the actors.
During pre-production, to try out if the make-up and clothes looked realistic, Pattinson went to shops around New York and interacted with people on the streets. He also spent much time as himself with people from Queens to get the accent right and hung out with recently released prisoners. He would let some read the script out loud, so he could record it on his phone and listen to it when he went to sleep.
The scene in the subway was shot during rush hour with real passengers on the 7 train. In order to shoot unnoticed, they directed Pattinson by text messages while the camera and crew was filming in the same wagon.
Daniel Lopatin (Oneohtrix Point Never) on the theme of the soundtrack he created: “We looked at the music in Good Time as another character. There are 50 min of music in this 100 min movie. The conceptual thing I was working on was time and that when time becomes apparent to you, then you’re in trouble. If time doesn’t become apparent and you’re just living your life then you’re probably not experiencing any stress but if you’re up against the clock or you feel the presence of time on some level then everything changes and I think everything is one step from falling apart and I think that’s what this film is about. So I have to think how do I make music that immediately thrusts you into this where time is just pumping right now. The soundtrack was about also activating weird environmental sound design. The best example of that is when Connie uses the hydraulic lift of that Access-A-Ride bus. I loved the hydraulic lift so much, so I figured out what key it was in. My thought was that if the music could somehow be in concert with the key of the hydraulic lift, it’s going to be subliminally cool. That kind of sonic language embedded in the film also refers to those New York textures. It makes New York feel like this bioluminescent, science-fiction, sentient being, even though it’s real brutalist.”
I watched this streaming so nothing to talk about there,
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