Erik White wanted the housing projects in Lottery Ticket , his fractious wish-fulfillment comedy, to look like an “Everywhere, USA ” that would be relatable to all. Though he envisioned the story taking place in his hometown of New York City, circumstance led him to shoot in Atlanta, Georgia, largely on a complex of soon-to-be demolished projects with a pink-bricked, benignly institutional look. He carefully shot around any identifying signs or landmarks, ensuring that his generic, non-specific, ultimately unsatisfying take on a bullet-proof concept — an 18-year-old Foot Locker employee wins the lottery but is forced to wait out a long weekend within the cutthroat ecosystem of his community before he can claim the prize — is reflected in its hermetic, alienating aesthetic.
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REVIEW: Lottery Ticket Trades Its Urban Nerve for Easy Charm
