#And yet it moves soundtrack movie
#And yet it moves soundtrack full
#And yet it moves soundtrack tv

вЂњItвЂ™s a nice dream.вЂќ HeвЂ™s accompanied by little more than a piano, a few distant beats, and some muted synth pads. PopвЂ™s lyrics paint a strange heaven, a place where the skies are frozen blue and you can вЂњpet the crocodiles.вЂќ вЂњI ainвЂ™t going to get there, but itвЂ™s a nice dream,вЂќ he says between verses. In the film, the song plays during the closing credits, which roll not over a black screen but over the storyвЂ™s ambiguous epilogue. The score ends with вЂњ The Pure and the Damned,вЂќ a ballad featuring Iggy Pop thatвЂ™s unlike anything LopatinвЂ™s produced before (save for an alternate take of the 2010 track вЂњ ReturnalвЂќ with Anohni and Fennesz). ConnieвЂ™s voice rarely appears in the score Lopatin instead focuses on the characters that he tricks, coerces, and actively harms on his quest to post bail for his brother.

вЂњRay Wakes UpвЂќ samples a conversation between a teenage girl and her grandmother that takes place while ConnieвЂ™s on their couch plotting his next move. Jennifer Jason Leigh screams into the music on вЂњBail Bonds,вЂќ a piece accompanying a scene where her character-an ad hoc girlfriend that Connie manipulates for her familyвЂ™s money-tries to put a $10,000 charge on her motherвЂ™s credit card.

#And yet it moves soundtrack movie

Lopatin weaves dialogue from the movie into the score, creating an effect thatвЂ™s disarming even before you see the scenes itвЂ™s sourced from. Until the final scene, the film is all anxiety-the characters are always in situations where everything could go wrong, and the score teeters on a parallel brink.ДЄrpeggios run over peals of white noise on вЂњGood TimeвЂќ and вЂњHospital Escape/Access-A-RideвЂќ drum sounds echo into an elevator shaft on вЂњ6th FloorвЂќ and вЂњRay Wakes Up.вЂќ вЂњThe Acid HitsвЂќ runs on slippery percussion that echoes the sound of bloodied fists breaking skin.

But the score moves differently from his album work instead of pursuing moments of trance-like calm or humor, he metes out anxiety measure by measure. Lopatin accentuates the Safdie BrothersвЂ™ character studies with a palette that will sound familiar to anyone whoвЂ™s followed the Oneohtrix Point Never discography so far. Connie wants nothing more than for his brother to have a good life, even if it means ruining everything on his path to get there. The filmвЂ™s narrative rests on this contradiction. Nicky has unspecified disabilities-he wears hearing aids, and the first time we see him, heвЂ™s struggling to complete some kind of psychiatric evaluation-so ConnieвЂ™s especially protective of him despite leading him directly into danger. The story centers on Connie, played by Robert Pattinson, whoвЂ™s trying to get his brother Nicky, played by director Benny Safdie, out of Rikers Island after a bank robbery goes south. Its characters arenвЂ™t hard-talking badasses, but flawed, pained people scrambling for survival the only way they know how.

#And yet it moves soundtrack full

Good Time is ostensibly a crime movie, but itвЂ™s full of close-ups on charactersвЂ™ faces shot with handheld cameras. LopatinвЂ™s body of work makes him uniquely suited to the Safdie BrothersвЂ™ filmmaking style, which opts for a deep pathos and an intense humanization of its characters over flashy action sequences.

From the ambient waves of Russian Mind to the hard rock-adjacent Garden of Delete, LopatinвЂ™s work has a tendency to displace the listener-to envelop them in a world that looks a lot like the one theyвЂ™re used to, but threatens to fall apart at the slightest touch.

#And yet it moves soundtrack tv

HeвЂ™s mined vintage advertising, TV documentaries, and corny вЂ™80s pop hits for his alien environments, often juxtaposing barely recognizable melodies with obliterative walls of static. As Oneohtrix Point Never, New York-based electronic composer Daniel Lopatin has often focused on the grotesque and unplaceable.