Good Time
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The 2010s in 10 Double Features
“I can’t commit to a movie.” In the era of limitless streaming “content,” no phrase has more irrevocably warped our viewing habits. If a single film now represents a commitment, then a double feature might as well be a back-to-back life-sentence. Why trudge through all that first-act boredom, after all, when you’re already so behind on The Good Place? Despite the siren song of bingeable TV, the dual bill holds strong as a way to burn a night at the movies. Art-house theaters, digital programmers, and genre festivals still love them, as does any cinephile looking to hunker down with […]
by Soheil Rezayazdi on Dec 30, 2019 -
“The Sadder We Made It Look, the Funnier It Became”: Gaffer Daniel April Lights The Death of Dick Long
I first saw The Death Of Dick Long at a press screening at Technicolor Postworks. It is the second feature film from one of Swiss Army Man’s co-directors, Daniel Scheinert, whose kooky debut portends the mercurial sensibilities of Dick Long, a cotton state comedy of errors with a hushed twist. The film’s gaffer, Daniel April, the sought after lightsmith of New York indie film, still hadn’t seen the film, so I invited him to attend A24’s special screening at the Alamo Drafthouse in Downtown Brooklyn, featuring free wine and popcorn, the common bribes. April had just gotten off the set […]
by A.E. Hunt on Oct 1, 2019 -
IFP Week: Sean Baker and the Safdie Brothers on How To Film Inside Working Businesses
If you’re a filmmaker, it may seem like the city is your playground. It’s not. Everything costs money. Every public space you want to shoot in requires permits and insurance. It all requires planning, hard work, negotiations, or simply lots of pleading. One issue that’s cropped up in multiple talks during IFP Week has been this: What do you do when you want to shoot in a place of business? How do you get a bodega owner or a restauranteur or the owners of a giant mall in Flushing to let you run around with cast and crew, even though […]
by Matt Prigge on Sep 20, 2017 -
Directors Josh and Benny Safdie and Cinematographer Sean Price Williams Talk Shooting Good Time in NYC on 35mm at IFP Week
Directors Josh and Benny Safdie and cinematographer Sean Price Williams go way back. Their latest collaboration, the crime thriller Good Time, is the trio’s fourth joint effort. They’re not only used to each other; they’ve also been through some real shit. The Safdies love to work rough and tumble, filming most of their movies — including Daddy Longlegs and Heaven Knows What, both shot by Williams – on the streets and apartments of New York, feeding off and bottling up the city’s uniquely chaotic energy. For Good Time, they even dragged a big name, Robert Pattinson, along for the ride. To get […]
by Matt Prigge on Sep 20, 2017 -
All Day and a Night: Josh and Benny Safdie on Good Time
I’m in the Safdie brothers’ office in New York’s Hell’s Kitchen, looking at a giant Japanese King of New York poster, and we’re talking about fired FBI director James Comey, whose awkward dinner with Donald Trump has just hit the news. “The guy is 6 foot, 8 inches,” Benny says. Or maybe it’s Josh. My tape recorder isn’t turned on yet, and the two talk rapid-fire, trading sentence fragments and out-exclaiming each other. “And he refused to play basketball with Obama! The one president who played basketball, Comey would be the tallest guy on the court, and he didn’t want […]
by Scott Macaulay on Jun 16, 2017 -
DP Sean Price Williams on Shooting 2-Perf 35mm for the Cannes Competition Film Good Time
“Hey, it’s me,” said Sean Price Williams as he walked up to me at the after-party for Josh and Benny Safdie’s simply fantastic Good Time in Cannes last week. It did take me a second to recognize Williams — cleanly shaven, in a spiffy tux and strolling around a Dior-sponsored event for a film in the Main Competition of the Cannes Film Festival. If Williams seemed like a bit of a happy anomaly there, it’s because, like Good Time itself, the DP has ascended to cinema’s most revered platform with work that’s wholly of a piece with the raw, street-level […]
by Scott Macaulay on May 30, 2017 -
Cannes Dispatch #3: Jeannette, the Childhood of Joan of Arc; The Florida Project; Good Time
Cannes, like virtually every other major international film festival showcasing feature-length filmmaking, is largely devoted to cinema that participates in a primarily theatrical mode — dialogue- and performance-driven works that feature subjects with whom we are meant to empathize to some degree. This is an expectation, fused into the medium’s DNA when it was still young, that is embedded in the layout of the festival itself; it’s the world’s largest film market (and therefore tilts mainstream, toward things that can make money), and the prizes it offers — honouring exemplary screenwriting and thespian turns rather than, for example, montage, photography, […]
by Blake Williams on May 26, 2017 -
Trailer Watch: Josh and Benny Safdie’s Good Time, Starring Robert Pattinson and Benny Safdie
One of my most anticipated films of the summer is Josh and Benny Safdie’s Good Time, which premieres in a few days in the Main Competition of the Cannes Film Festival. The first trailer has just dropped from A24, and it shows Robert Pattinson as a bank robber trying to get his accomplice — his brother, played by Benny Safdie — sprung from Rikers Island. Jennifer Jason Leigh appears as well as Buddy Duress, who co-starred in the Safdies’ previous Heaven Knows What. It’s a heartbreaker of a trailer scored to an original song by Oneohtrix Point Never and Iggy […]
by Scott Macaulay on May 16, 2017
