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When we were first developing it, they really wanted to push in the direction of making him a sort of mystic. Pattinson on Connie manipulating other people: "He has an innate understanding of what people want. It makes New York feel like this bioluminescent, science-fiction, sentient being, even though it's real brutalist." That kind of sonic language embedded in the film also refers to those New York textures. 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. I loved the hydraulic lift so much, so I figured out what key it was in. The best example of that is when Connie uses the hydraulic lift of that Access-A-Ride bus. The soundtrack was about also activating weird environmental sound design. So I have to think how do I make music that immediately thrusts you into this where time is just pumping right now. 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.
![subway goodtimes subway goodtimes](https://hype.my/wp-content/uploads/2016/06/13415422_1184610314923055_2290572183790067245_o.jpg)
The conceptual thing I was working on was time and that when time becomes apparent to you, then you're in trouble.
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There are 50 min of music in this 100 min movie. Daniel Lopatin (Oneohtrix Point Never) on the theme of the soundtrack he created: "We looked at the music in Good Time as another character.