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1. #FILMING LOCATIONG OF CHILDISH GAMBINO TELEGRAPH AVE FULL#
2. #FILMING LOCATIONG OF CHILDISH GAMBINO TELEGRAPH AVE TV#

We like the idea of taking the juice out of that a little bit and subverting it and making it more naturalistic, more minutiae-centric.” Said Murai,”A big part of what we’re trying to do with Atlanta as the subject matter too is Atlanta hip-hop is not something that’s often depicted in this way. Instead of trying to solve or make big statements about Atlanta’s social issues, the show offers up snapshots of everyday life that are laser-focused.

#FILMING LOCATIONG OF CHILDISH GAMBINO TELEGRAPH AVE TV#

READ MORE: ‘Atlanta’: Donald Glover to Make TV Directorial Debut With Two Episodes Once you go outside of Atlanta, there are still a lot of Klan rallies and whatnot.There are a lot of conflicting elements that are trying to solve itself in that city.” It is sort of a black mecca but at the same time there’s still a lot of prejudice because it is Georgia. Dynamics of race is also something that I wasn’t expecting. There are a lot of different personalities in that town. “As with everything else, the reality is a lot more nuanced and complicated. “I’ve only seen it in context of hip-hop and I’ve only seen it in context of ‘VICE’ docs, which I think paint it in a very specific light,” Murai said.

#FILMING LOCATIONG OF CHILDISH GAMBINO TELEGRAPH AVE FULL#

There’s a lot of places that are in the inner city that have a lot of life to it but also there’s a new construction and kind of weird and soulless looking.”Ītlanta is also a city full of social incongruities. So when we shot, we sort of favored those whenever we picked locations. You already had this ethereal nature to do settings. So when you’re in a local liquor store stop, it’s sort of surrounded by trees and there are plants growing out of the asphalt. Murai said, “When you go to the outskirts of the city, nature starts to take it over. In fact, one of the city’s older nicknames is “City in the Forest.” “Atlanta” may not reach the bizarre heights ot “Telegraph Avenue” (yet), but its aim to summarize today’s black experience is made even more challenging by setting it in The ATL, a city full of contrasts beginning with its landscape. Similarly, the director had played with the elements of surprise and menace in what initially seemed like a run-of-the-mill, albeit gorgeous music video for Childish Gambino’s “Telegraph Avenue.” Take a look:Ĭhildish Gambino – Telegraph Ave from Hiro Murai on Vimeo. It’s all presented matter-of-fact ideally.” “If we’re talking about something that’s dark or dangerous, we treat it with the same sort of affect as if you would cover a comedic scenes. “I think the key thing for us was to talk about anything as long as it tonally makes sense,” said Murai. READ MORE: ‘Atlanta’: Donald Glover Wants You to Feel What It’s Like to Be BlackĪs in the case of the stranger on the bus, danger or frightening situations are not always telegraphed and will be presented in an understated way that causes the viewer to question one’s own reactions to the scene. Anything can happen to these characters.” So I think a lot of those scenes were there to give you a feeling that there’s a bigger world outside of what you’re seeing and that functions in a very - by its own rules. “I think ‘absurdity’ is the key word where anything can happen. “Donald always talked about the show like he wants it to be about the absurdities about being black in America,” Murai continued. “I think because a lot of the stuff we touch on in the show is not necessarily black and white, pun not intended, it’s a lot about the grey areas about race and how these characters interact. “We wanted to flex the elasticity of the world and how there can be a fleeting, surreal moment,” said Murai. That the fantasy narrative can live on its own, not affecting other events, is part of the bigger “Atlanta” plan in which the show makes viewers feel what it’s like to be black. Those scenes leave an emotional impression - fear and confusion in the stranger’s wake - without moving the plot forward. One-off fantasy sequences dot the “Atlanta” landscape with the brevity and impact of music videos, such as a stranger making Glover’s character Earn a sandwich on the bus before disappearing into the woods. Watch the video below:Ĭhildish Gambino – Sober from Hiro Murai on Vimeo. For example, in the video for Childish Gambino’s song “Sober,” Glover suddenly breaks into a charming mating dance, wooing a girl in a fast-food joint. It could be argued that Murai’s music video background and lack of TV knowhow helped create “Atlanta’s” unique approach to storytelling.