From the beginning, everyone involved in Frequency wanted to shoot it on
location in Queens, New York, a locale that cannot be duplicated anywhere else
in the world. "New York is the quintessential American city," says
screenwriter Toby Emmerich, a New York native. "It was a conscious decision
for me to place the characters in New York at a time like 1969 when the the
fabric of the city was seemingly being torn apart yet at the same time was being
galvanized by a sports team, the Amazin' Mets. And it was important that spirit
of the place be on the screen."
For Gregory Hoblit, there was no choice: he
couldn't shoot a movie in which
the Mets are a central element in any other city. "Anyway, you can't beat
shooting in New York for production value," he comments. "It's such a
one-of-a-kind place. You can go anywhere in New York, plant your camera, turn it
360 degrees and discover something new that you've never seen before."
Hoblit looked for a unique view of New York not often seen in movies. "I
worked hard with production designer Paul Eads to find places in the city that aren't
as familiar-looking to people as Manhattan. The view here is looking
back over the East River towards the city and that's a view many audiences don't
ever see. It's a way of looking at New York that is quite different and
exciting in itself."
The production shot in many locations in Bayside, Queens, as well as Long
Island City and the Red Hook and Greenpoint sections of Brooklyn. In Manhattan,
the production used the Great Jones Fire Station and a Harlem intersection for
the gasoline truck explosion. "We were quite aggressive about searching out
bars, restaurants, waterfronts and police precincts in the outer boroughs,"
comments Hoblit. "These are areas of New York that filmmakers and audiences
are increasingly beginning to embrace."
The only major downside cast and crew found to shooting in New York was the
July heat, exacerbated by the record-breaking temperatures of the summer of
1999. "It was hot even at three in the morning," recalls Hoblit.
"All I can say though is that it was worth it to get the footage and
performances that we got."
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