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The Locations
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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