Plus, this exercise helps children generate lots of potential ideas, and research shows that truly creative people tend to be idea factories. Dacey thinks the “what if” exercise is a great way to encourage a laid-back, nonjudgmental approach to open-ended thinking. “Who wants to give me their own version of ‘what if?’”īefore I relate some “what if” responses I’ve gotten from various classes, I’ll note that Dr. In fact, I told them, I only came up with the booger story after asking myself: What if a family picked their noses so much that they create a monstrous booger? And what if the snot rocket rolled out the window and gained so much steam it threatened to roll over the town? And what if the whole story rhymed? I explained to them that these two words are a kind of secret tunnel into the world of new ideas. To help the second graders inspire and perspire, I pulled out a red marker, and on a whiteboard I wrote two words: What if. Dacey said, “but it’s mainly perspiration.” “People think creativity is inspiration,” Dr. Assertiveness doesn’t just mean being bold enough to express the idea but having enough experience and judgment to feel true authority about its value. “Sensitivity means being open to new ideas, and very laid back,” he explained. We need to help them be both “sensitive and assertive,” in the words of John Dacey, professor emeritus of education at Boston College. (It is sad but true: To accompany the booger book, I wrote a rock anthem called “Don’t Pick Your Nose.”) Scholars who study creativity say that stoking it involves helping children strike a balance between two dichotomous tools: the whimsy and freedom of a wandering mind, with the rigidity of a prepared one. It’s a subject I think about a lot, as a writer of newspaper articles, mysteries and nonfiction books, a syndicated comic strip and music. Where does creativity come from? Are there tricks they can use to be more creative, or, for that matter, that parents and educators can instill? I was using the reading session, at the teacher’s request, to get the children to think about creativity. At its height, Good Time has the sparseness and clarity of a John Steinbeck novel and at its most pedestrian it still has the chaotic energy of The 25th Hour (2002).I was in a second-grade classroom recently reading from my new children’s book, “ Runaway Booger.” After I finished, and the giggling subsided, several students asked a version of the same question: Why did you write about a humongous ball of mucus? Instead he's in an unending fever dream whereby the urban sprawl is the water to his drowning rat. One can't help but think that if Connie put his mind towards anything other than crime, he'd be on the cover of a business magazine. Despite this, Connie proves remarkably resourceful one minute his back is up against a corner, the next he's clawed his way out and slumping towards the next hurdle of his odyssey. They approach their situations with variant levels of legality but never with Pattinson's level of sleaze or sense of entitlement. The various innocents the come across Connie's path are more-or-less looking for the same thing, a way out of the mess. Even in calmer moments, the film pulses in its nervy desperation.
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It's a movie that recaptures the intimacy and intensity of a 4am sneak-about.
The punishing fluorescents and neon glints that makeup the movie's milieu taunts our protagonist as he spins his wheels round and round. The 35mm film bleeds into the New York nocturne. In an interview with NPR co-director and co-star Benny Safdie said "We wanted to deliver a piece of pulp that actually felt dangerous." With that in mind cinematographer Sean Price Williams shot on 35mm and much of the movie is loaded with claustrophobic close-ups and delirious hand-held sweeps. The two had held up a bank earlier that day and throughout the night, Connie resorts to dubious and dangerous lengths to avoid punishment and consequence. The setup is simple: a wanted man (Pattinson) tries to raise the money for bail to get his mentally handicapped brother (Safdie) out of prison. If the DVD/Blu-ray release of Good Time doesn't have a critic blurb saying "this movie gave me indigestion," I'll be sorely disappointed. This movie somehow took the edgy anxiety of a waking nightmare, bottled it up, and put it on the screen so you'd leave the theater in a cold sweat. But never let it be said that it's dreary or dull. Good Time is a small movie about small people doing small things.
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