Podcast appearances and mentions of Hiro Murai

In this episode, we chat with Larkin Seiple, the visionary cinematographer behind some of the most iconic visuals in recent film and music video history. Larkin discusses his early years working in reality television and shooting over 100 music videos. We break down his work on viral music videos like DJ Snake's "Turn Down for What" and Childish Gambino's "This is America". We also explore his long-time collaborations with directors Hiro Murai, The Daniels, and Jon Watts. Finally, we dive into some of his recent feature film work, including Everything Everywhere All at Once and Wolfs. This episode is sponsored by Soundstripe, Panavision and Film Tips Pro.

Cobra Kai Season 6 Part 2 Premiere, Avatar: The Last Airbender Season 2 Casting, Star Wars™ Update, Hiro Murai's Samurai Movie. Hosted on Acast. See acast.com/privacy for more information.

First up, we've got something big! Imagine Odysseus with a John Wick twist! In The Return, Ralph Fiennes stars as the legendary Greek hero on a mission to reclaim his palace from ruthless intruders after years away. Expect epic battles as he fights his way back to Penelope, played by Juliette Binoche. Directed by Uberto Pasolini, this gripping take on The Odyssey also features Charlie Plummer as Telemachus. Mark your calendars – this one hits cinemas on December 6, 2024!

Conversation with Mr. & Mrs. Smith co-creator Francesca Sloane and director/EP Hiro Murai about the 16 Emmy nominated Prime Video series. Learn more about your ad choices. Visit megaphone.fm/adchoices

Linktree: https://linktr.ee/AnalyticNotorious Mass Effect: Childish Gambino's The New World Tour - Deep DiveAttention Childish Gambino fans! This segment dives deep into everything you need to know about "The New World Tour."Tour Breakdown:Dates: Runs from August 11, 2024, to February 11, 2025.Locations: Spans across North America (including Atlanta!), Europe/UK, and Australia/New Zealand.Atlanta Show Spotlight:Date: Mark your calendars for September 2nd, 2024!Venue: Catch Gambino live at the State Farm Arena.Significance: This marks his first Atlanta performance in 5 years!Music and Collaborations:Featured Album: A reimagined version of "3.15.20" is expected.New Tracks: Get ready for "Atavista" and "Human Sacrifice."Supporting Acts:North America: WILLOW hypes up the crowd.Europe/UK and Australia/New Zealand: Amaarae joins the tour.Ticket Intel:General Sale: Starts today, May 17th, at 10 am local time. Don't miss out!Presale: Check for artist presale and American Express Card Member options.Purchase Links: Head to thenewworldtour.com or Ticketmaster.com to secure your tickets.Bonus Details:Remember Glover's hints about retiring from touring? This might be your last chance to see him live!A new music video, "Little Foot Big Foot," directed by Hiro Murai, is out now. Keep an eye out for more!Glover has another album dropping this summer, so get ready for fresh music!Donald Glover's Message: He's excited to be back and perform for his fans after a long break.Important Tip: Tickets are expected to sell fast! Grab them early and consider official resale options closer to the show dates.This segment is your one-stop shop for Childish Gambino's "The New World Tour" information. Don't miss out!Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode, Wellington and Savon discuss the Women's March Madness tournament, the dominance of UConn and, Joel Embiid being back with the Sixers. Next up, they discuss if Luka has a case for MVP, thoughts on Stefon Diggs being traded to the Texans and J.J. McCarthy's Draft potential. For their album reviews, they start with Beyoncè's Cowboy Carter, analyze if this was truly an authentic country album from her and what could be Act III for her next album. They also review Erik the Architect's I've Never Been Here Before, BigXthaPlug's latest project The Biggest and review Kehlani's new single "After Hours". In the second half, they review Atlanta Season 4, discuss why this was a perfect send-off for the show and highlight Donald Glover's creative process along with Hiro Murai's vision. Next up, they discuss Paper Boi's character development and Darius' being one of the most memorable characters of the show. They also discuss why Season 4 might be the best season of the show, Season 3 being underrated and "The Goof Who Sat by the Door" being one of the most brilliant episodes of the last season. 

Though not the archetypal classic, the 2005 box-office hit "Mr. & Mrs. Smith" has carved its place in cinematic history through brute star power and scandal. Now, its latest incarnation on Amazon Prime promises a fresh take, focusing less on espionage and more on the marriage of two spies working together. Starring Donald Glover ("Atlanta") and Maya Erskine ("Pen15"), this series delves into the complexities of their relationship amidst high-stakes missions.Join us as we dive into the history of suburban spy comedy-action-thrillers, play some trivia games, and recap the first couple of episodes directed by Hiro Murai. Welcome to Today's Episode!

(2/8/2024) Mike and returning cohost, actress Mia Bella had a great time chatting with actress Kate Moyer. Kate Moyer is a Canadian actress who came to prominence when she was first cast in a supporting lead role in the Elevation Pictures feature film, Our House, playing opposite Thomas Mann, Nicola Peltz, and Percy Hynes White. For her performance in the role Moyer was honored with a nomination for Best Supporting Actress at the 2019 Canadian Screen Awards, one of the top film acting awards in the country. Moyer is best known for her work as "Heather Hobbie" in Holly Hobbie for Hulu, a role that earned her second Canadian Screen Award nomination in 2020. Audiences lauded her heart wrenching performance in the season 3 finale of the award-winning The Handmaid's Tale for Hulu where Moyer played directly opposite Emmy Award winning Elisabeth Moss. Moyer can be seen recurring heavily in Hallmark's spin-off series When Hope Calls, the fan favorite series Station Eleven by acclaimed director Hiro Murai for HBO Max, as well as the anthology series Circuit Breakers for AppleTV+. Other select credits include a supporting lead role opposite Caroline Rhea in the TV movie A Christmas In Tennessee for Lifetime, the indie feature Buffaloed by director Tanya Wexler with Zoey Deutch, the short film Dotage opposite Dani Kind, a supporting role opposite Marisa Tomei and Travis Fimmel in the feature film Delia's Gone, and the lead of the cult classic remake of Stephen King's Children Of The Corn, directed by Kurt Wimmer, released on Shudder in 2023. Kate recently wrapped the Disney+ feature Out Of My Mind by director Amber Sealey, and is in a recurring role on Reacher for Prime Video, part of the popular Jack Reacher franchise. Moyer began performing at the age of three as a dancer with the Theatre Dance Academy in Oshawa, Ontario. She joined their competition team at four years old and focused on Ballet, Jazz, Tap and Hip Hop. Her competition team has won numerous awards at many dance competitions throughout Ontario. However, she was first bit by the acting bug when working on regional theatre productions. In her downtime, Moyer can be found in a dojang practicing Taekwondo as she is currently a 1st Dan Black Belt or behind the easel painting or sketching. You can follow Kate on Instgram @therealkatemoyer Enjoy the Podcast!

This week on Finding Your Bliss, we have a show devoted to raising awareness for multiple sclerosis, which affects thousands of Canadians. Life Coach and Bliss Expert Judy Librach is joined by filmmaker Emily Lawson, whose short film

Happy holidays! For our sixth annual Talk Easy holiday special, we've partnered with the Audre Lorde Project to celebrate. Named after the titular feminist, poet, and activist, the Audre Lorde Project is an NYC-based community organizing center for Lesbian, Gay, Bisexual, Two-Spirit, Trans and Gender Non Conforming (LGBTSTGNC) people of color. Through the end of December, we're donating 100% of the proceeds from our shop to their services. These programs include educational events, social justice activism, and wellness and healing workshops. To learn more about their invaluable work, visit alp.org. After an introduction from Sam (0:44), writer and director Lena Dunham describes an exhibition at the Brooklyn Museum (3:41) and poet Rupi Kaur shares a tribute to the women of Iran (5:46). Then, a wide-ranging phone call with culture critic Margo Jefferson (7:30), Pulitzer Prize-winning author Jennifer Egan on Matisse (33:28), and director Hiro Murai on Writing Los Angeles and George Saunders (35:50). On the back-half, a state of the union with NYT political reporter Astead Herndon (37:40), a heartfelt voicemail from Dr. James Whitfield (56:20), and special guest to close 2022 (1:00:26).See omnystudio.com/listener for privacy information.

“The Big Payback” (Long Live Sheniqua) was directed by Hiro Murai and written by Francesca Sloane. When a Black man successfully sues a Tesla exec for reparations, white folks are forced to reckon with their slave-owning pasts. Listen to the podcast: Apple - Spotify - Or any podcast app available to you. Antilynching Act Signed Into Law The United States vs. Billie Holiday Let the World See (Till Documentary) Make It Last Forever The Big Payback "Henrietta Wood sued for slavery reparations after the Civil War and won. Her descendants never knew" History's Lost Black Towns Dennis Haysbert's Influence on the 44th Presidency The Sistine Chapel The Power of Art Disney updates content warning for racism in classic films Radio Lab - Wild Talk Slavery in Peru Afro Peruvians Supporters say they have the votes in the House to pass a reparations bill after years of lobbying Despite racial reckoning, state efforts stall on reparations Freedmen's Bank Fails, Devastating Black Community Joy Clark's Galaxy Groove is by Joy Clark Rappin Atlanta's artwork was produced by Prime Vice Studios

The Season 3, episode 3 of Atlanta on FX was directed by Hiro Murai and written by Donald Glover and Taofik Kolade. The crew gets familiar with the antics and eccentricities of the ridiculously wealthy and connected. Listen to the podcast: Apple - Spotify - Or any podcast app available to you. Donald Glover dresses like Korean Andre 3000 Nandos - South African chicken restaurant Showtime Rotisserie and BBQ (See 24:45) Ron Popeil Why Everyone Hates Moby Music to die for: how genre affects popular musicians' life expectancy Jean-Michel Basquiat in his studio in the basement of the Annina Nosei Gallery in SoHo, 1982 What is owed to descendants of enslaved Africans? Joy Clark's Galaxy Groove is by Joy Clark Rappin Atlanta's artwork was produced by Prime Vice Studios

Rappin Atlanta is written, edited and produced by Nita Cherise and Nikki Igbo. In this episode, we get back up with the crew and see what life is like on tour in Europe. “SinterKlaas is Coming to Town” was directed by Hiro Murai and written by Janine Nabers. Listen to the podcast: Apple - Spotify - Or any podcast app available to you. Long Covid Symptoms New Orleans Hare Krsna Temple 2Pac Performs for the Illuminati Tupac Spotted in the Netherlands Film Putting Blackness on Like a Costume Netherlands Physician Assisted Suicide StockPot is the only meal delivery service that takes ALL of the stress AND work out of enjoying fresh, healthy entrees delivered directly to you. If you don't want to do a damn thing, choose StockPot because with StockPot, you ain't gotta do shit! StockPot is a proud sponsor of Rappin Atlanta podcast and a subsidiary of Kiwi Inc. Music: “Deeper - Roots” by Ketsa From Free Music Archive CC BY-NC-ND 4.0 Joy Clark's Galaxy Groove is by Joy Clark Rappin Atlanta artwork is by Prime Vice Studios --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

"Three Slaps" was directed by Hiro Murai and written by Stephen Glover. In this episode, we spend some time in Earn's subconscious as he continues to grapple with institutionalized racism. Listen to the podcast: Apple Spotify - Or any podcast app available to you. Show Notes: Ron Clark Academy student dances on chair Ron Clark Academy The Ron Clark Story (2006) Hart Family Murders The Rise and Fall of an All-American Catchphrase: 'Free, White, and 21' Lake Lanier - Black City of Oscarville Lanier - Told Y'all It's Haunted Why White People (And Everyone Else) Need to Wash Their Legs Ziryab, the Moor Who Taught the Importance of Bathing High on the Hog: How African American Cuisine Transformed America Black Town Being Targeted Today Joy Clark's Galaxy Groove is by Joy Clark Rappin' Atlanta artwork is by Prime Vice Studios --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

The dominance of Atlanta's hip-hop scene has been discussed often, but not in the way Joe Coscarelli covered it in his new book, Rap Capital. Joe, a New York Times music reporter since 2015, spent four years and interviewed over 100 sources to get the contemporary story about Atlanta's culture-defining music scene.Characters are what move the story forward in Joe's book, not discography, record sales, or cultural relevance. Lil Baby is featured prominently, as is his mom. Joe's relationship with the hit rapper dates back to 2017 when Lil Baby was still a mixtape artist. Another recurring character is Quality Control Music's Kevin “Coach K” Lee, who has deep-rooted ties with the city's most well-known artists across eras.Joe came onto the show to take us through the book's journey — both for him to write it and the characters themselves. Here's what we covered:[2:40] How the book came together and finally clicked[6:42] Role of Quality Control's Coach K in Atlanta story[10:11] Lasting effects of pandemic on music industry[12:38] Which era of Atlanta hip-hop to focus on? [14:09] How streaming helped launch Atlanta rap into the mainstream[16:10] Building trust with his sources despite racial differences[18:10] Did Joe receive any pushback while reporting?[20:19] Evolution key to Atlanta rap's longevity [25:05] Adapting Rap Capital into a movie[29:45] The crumbling of mainstream culture Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Joe Coscarelli, @joecoscarelli  Sponsors: MoonPay is the leader in web3 infrastructure. They have partnered with Timbaland, Snoop Dogg, and many more. To learn more, visit moonpay.com/trapital Enjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapital Trapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo. TRANSCRIPTION[00:00:00] Joe Coscarelli:  I wanted to tell the story through characters, through people, not just, you know, you can run down the discography of all the amazing Atlanta musicians, right? You can go through the label history, read the reviews. But I always want to sort of pull back like, who's behind these people? Who's behind that person? So that's why I think, you know, mothers were huge, fathers, you know, friends, people who are around these artists growing up, I wanted them to be human characters, and I wanted the side characters to be as big of a part as the famous people 'cause I think they're as crucial to the equation. [00:00:30] Dan Runcie: Hey, welcome to the Trapital podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more, who are taking hip hop culture to the next level.  [00:00:58] Dan Runcie: Today's guest is Joe Coscarelli. He's the author of Rap Capital: An Atlanta Story, and he's a culture reporter at The New York Times. And this book that he wrote, Rap Capital, I cannot recommend it enough. If you listen to this podcast, if you read the newsletter, if you watch any of the clips from our conversations or any of the posts on social media, this book is made for you. It's a street-level epic about the most consequential music culture today, Atlanta Rap. Joe put so much thought and care into how the book came together and tying everything from the Atlanta murders that happened decades ago and how that shaped the rap culture and the broader culture for black folks in Atlanta that we see today, and how that led to someone like Lil Baby, how that led to someone like Coach K having such an influence over hip hop music and the culture for decades now. This book was a great opportunity as well to have a trip down memory lane. A lot of us understand how influential Atlanta's been, but it was great to have it be told from a unique way. We also talked about broader trends happening in the streaming era right now in music, what a movie or film or TV show adaptation could look like for Rap Capital, and more. Here's our conversation. Hope you enjoy it. All right. Today we had Joe Coscarelli, the author of Rap Capital: An Atlanta story and read the book, really enjoyed it, and I got to ask because I was going through the synopsis and you said this was four years in the making, and I got to imagine with a book like this, there was some point when things started to click in that four-year process. When did you feel like things were coming together for you? [00:02:40] Joe Coscarelli: So I knew that there was a book in this stuff because I had done a handful of stories through my day job at The New York Times about Atlanta. I started this beat in late 2014. So., You know, my first couple years on the job, streaming was really taking over and specifically rap music and streaming. So I just found myself over and over again talking to the same group of people, right? I did a Migos Story, did a QC story that featured Lil Baby, one of his first interviews. I wrote about Drew Findling who's a lawyer in the book that's all over the news these days in various capacities. So I knew from those stories that there was something here. But I didn't know what it was going to be. I knew I wanted to not just tell a history, but follow characters in real-time as they tried to make it. That's something I always want to do in my work. You know, so my favorite art ever is like Hoop Dreams or a music documentary like Dig!, which follows two bands across a long period of time. One of them makes it, one of them doesn't make it. That's always what I want to bring to my reporting is this idea of a journey, right? And it doesn't even matter what the destination is, but following, specifically artists and musicians as they're trying to make something out of their lives, that to me, is just a timeless tale, right, of ambition and dreams, and so I knew I had a handful of characters that I wanted to go on this trip with, but I didn't really know how it tied into the broader story of Atlanta until a real marathon brunch interview with Lil Baby's mother, Lashawn. He was, you know, he and I had a rapport at that point. I'd interviewed him a few times. I did talk to a lot of people around him, and he was kind enough to set me up directly with his mom. And, you know, we sat down at a brunch place outside of Atlanta. And, you know, she said, I asked him, I asked Dominique, her son, we're like, what do I tell him? And he told her tell him everything. And she really did, her whole life story became part of the book, especially the foundation of the book, in the first part. And she had such an incredible life on her own. You know, I hope she writes a memoir someday. But when I learned really that she had been friends in school with an early victim of the Atlanta child murders, which were happening on the west side of Atlanta in the late seventies, early eighties, that she had a firsthand relationship to that historical event that I feel like really left its mark on the city. And she was open. She said it sort of affected the kind of mother that she became, and I think ultimately helped set Dominique, Lil Baby, on his path. And all of that could be traced to, like, something she went through as a kid that also spoke more broadly to Atlanta and the way it has developed socially, politically, culturally, especially Black Atlanta over the last 40, 50 years. So that was a real breakthrough moment for me, and I knew that I could start with her story, which in many ways was also the story of Atlanta in the last, you know, half a century. [00:05:30] Dan Runcie: And in reading that first piece, too, I could see how much care and thought was put into it from your perspective of going through what happened with those murders and then how that traces directly to someone like Lil Baby because it's hard to tell the story of Atlanta hip hop without doing all of that. And that's something that I think is often missing with so much of the discussion about Atlanta's run, which is why I feel like your book does stand as its own and is able to have a unique voice and perspective on this.[00:05:58] Joe Coscarelli: I appreciate that. Yeah, I wanted to tell the story through characters, right, through people, not just, you know, you can run down the discography of all the amazing Atlanta musicians, right? You can go through the label history, read the reviews. But I always want to sort of pull back like, who's behind these people? Who's behind that person, you know? So that's why I think, you know, mothers were huge, fathers, you know, friends, people who are around these artists growing up, I wanted them to be human characters, and I wanted the side characters to be as big of a part as the famous people 'cause I think they're as crucial to the equation. [00:06:31] Dan Runcie: And of course, Lil Baby is one of the central characters. Another one is Coach K, who's one of the folks leading up Quality Control Music. Why was it important for him to be a central character in this too? [00:06:42] Joe Coscarelli: So Coach K is amazing because you can tell basically the last 30 years of rap music only through his career, right? When I said I wanted to be able to trace characters back through the years to artists and eras, like, Coach has seen it all, right? This is a man who was passing out Church fans to promote Pastor Troy and the congregation in the mid-nineties. Then he goes from that to representing all these producers who were, you know, crucial to founding the trap sound, someone like Drama Boy. And then he's working with Young Jeezy, right, as the Snowman mythology takes over and, you know, Def Jam South and the explosion of trap music on a national scale. Coach is behind that, right? You know, there's a moment I talk about in the book where they put the commercial on the radio right, in Atlanta, when the Jeezy's mixtapes, Trap or Die are coming out, right, and it's All Traps Closed today, like National Holiday, you know, like these are the things that Coach was cooking up behind the scenes. Then he works with Gucci Mane, right, who was blood rivals with Jeezy. And then that brings you up to the present day, and in 2013, he and P, his partner Pierre Thomas, they founded Quality Control, and then they have Migos, right, and then they have a Lil Yachty, and then they have Lil Baby. And through Coach K, you could talk about every single one of those careers and so many more that he was on the periphery of, even if he wasn't the main executive or manager involved. So I just think, you know, there's nobody more crucial to that ecosystem at this moment and through the last couple of decades than Kevin Lee, Coach K. [00:08:14] Dan Runcie: Yeah, and I think one of the things that stands out about their run, too, is that it wasn't just one artist and they faded and rose with that artist. And I think that's what we've seen a lot in the streaming era, frankly, from a lot of the record labels that have rose up. They had the runs, and even when one star started to fade from a group that was the hottest group in the moment, they had others that came through, and you're seeing that infrastructure. I feel like that's one thing that sets them apart from a lot of the others at this moment. [00:08:42] Joe Coscarelli: Totally. For them, it's all about artist development, right? Like, I remember being around them in the office, you know, in late 2017 and they were talking about whether they should have gone after Bhad Bhabie, you know, the Cash Me Outside girl. And like they would see little things pop up and think like, oh, should we get in on that viral moment? And then they would be like, No, that's not what we do. We build artists, we build careers, we build brands. And something that's so special about Quality Control and why they were able to, you know, be the backbone of this book is because they are invested in that sort of old school Motown-esque record business thing of I'm going to pluck someone who might not even think they're a musician, and we're going to believe in them, and we're going to back them, and we're going to build it from the ground up, right, and we're going to build it Atlanta first. Whereas so much in the viral marketing, streaming world of today is going top-down, right? It's a TikTok hit, then it's a major label deal, and this person's probably never even played a show before. They're still very invested in the grassroots bottom-up approach, and I think that's worked for them so many times now that the playbook is, you know, you can't deny it.[00:09:48] Dan Runcie: Yeah, and I think that also that goes with something that I've seen you talk about even outside of the book as well, just some of the challenges that a lot of the artists and labels have right now in terms of now that the pandemic has, at least in this stage that we're in right now, there's still some lasting effects in terms of how that's shaping the charts, how that's shaping how music's released. What have you been seeing there from that perspective? [00:10:11] Joe Coscarelli: I mean, you know, a lot of people have been writing this year, yourself included, about the sort of stagnancy of the charts, how, you know, there aren't a lot of new breakout hits, especially in rap music, which had been so dominant for the last decade, essentially, as things started to move online and towards streaming. And I think you're right that a lot of that is pandemic hangover, right? Like, people were not outside like they used to be. Artists were not sort of feeling that energy, that creative energy. They were creating often, like, in a little bubble. I'm sure you get projects like a Beyoncé's RENAISSANCE that comes out of that pandemic moment and maybe speaks to some people's hopes and dreams for what the next few years will be, a little freer. But you don't have any chance for that sort of grassroots development, right? So we saw a lot of things come off of TikTok, but as I was getting at, like, those people, they haven't had the opportunity to touch their fans, right, to speak to the sort of ground swell of support. So you get a lot of things that feel fleeting and then you have something massive, right? Bad Bunny or like Morgan Wallen that's just like lodged up there at the top of the charts 'cause I think those guys had a fully formed thing going into the pandemic and were able to ride it through. You know, when you think about a lot of rap, especially regionally, that's bubbling now, there's a lot of drill, right? Like, you think of the stuff coming out of Brooklyn and the Bronx and that sound traveling all over the country. And I think, you know, since Pop Smoke, we haven't really had a sort of mainstream emissary for that sound. And it is such a local, such a hyper-local, such an underground phenomenon that you haven't really had someone translate it for the mainstream, you know, maybe that's going to be Ice Spice, maybe that's going to be Fivio Foreign, and like, you know, maybe it's going to be someone younger. But I think we're still waiting, right, for what that next wave, especially in rap, is going to be. You see the sort of sun may be setting on the trap era that's described in the book in the rise of drill as the default of what a rap song sounds like, but again, that hasn't really crossed over quite yet. [00:12:11] Dan Runcie: Yeah, it's been fascinating just to see how the streaming era has shaped things, specifically with how much you focused on it in the book. And with a topic like Atlanta hip hop, there are likely so many sectors that you could have dove in on, and of course, Lil Baby being a central figure did lend itself to the streaming era. But how did you decide which era to focus on? Because there's so many time spans that you probably could have done and equally deep dive on.[00:12:38] Joe Coscarelli: I always knew I wanted to tell a contemporary story, right? Like, I'm more of a reporter than I am a historian. So I'm not a musicologist, I'm not a music critic. You know, I've never really written criticism in terms of album reviews or show reviews, things like that. So I knew I wanted to be able to witness as much as I could firsthand and write about that because that's what I love to do in my work, getting back to this idea of, you know, being a fly on the wall for someone's journey, for someone's rise, for someone's fall even. So it was always going to be contemporary, right? And I feel like you have to tell a little bit of the history, right? You have to talk about Freaknik, you have to talk about OutKast, and the Dungeon Family, and LaFace Records, and So So Def to be able to get to this moment. But I think for me, like, I'm not someone who writes about music nostalgically. Sure, I love the stuff I grew up on, but I'd rather look forwards than backwards. And I think, character-wise, I just want to stay with the cutting edge, right? I want to see what's next. I want to see who's changing things, who's, you know, who's moving things forward. And that's just what I seek out in my life and in my job. So I think it was always going to be as contemporary as possible. [00:13:46] Dan Runcie: Yeah, that makes sense. I think that streaming also allowed us to see more growth from the areas that I think, in a lot of ways, were a bit held back from gatekeepers controlling everything. And I think Atlanta's a perfect example of that, even though they had the massive rise, you know, nineties, early 2000s, it went to another level this past decade. [00:14:09] Joe Coscarelli: Yeah. And I think you know that sort of in-between time, right, when you think about post-Napster and file sharing, post-CD crash in the early 2000s. But pre-streaming, like, a lot of what became the go-to playbook for streaming was happening in the underground mixtape scene, especially in Atlanta and in the South. And you think of things like DatPiff or you know, sites like that where free mix tapes were coming out and it was all about quantity, right, in a way that really set these artists for the streaming era, right? You think of Lil Wayne's mixtape run, Gucci's mixtape run, and then Future's mixtape run. It was just about music, music, music, music. And so Migos sort of got in at the tail end of that and they released, you know, whatever it is, 5, 7, 10 mixtapes before they put out a proper debut album. And then when they finally hit with something like Culture, their second proper full length, the world had finally caught up to them and the rest of the Atlanta artists. And yet there's this whole group in between that gets left behind, right? Like, I'd love to read a book about Travis Porter and Rich Kidz and you know, these Atlanta rappers who are really, like, laying the groundwork for a lot of this, even like Rocko or you know, early career Future. Like these guys, I think if they would've come out once Spotify was as big as it is now, they would've been huge national and international stars. And instead, they sort of get caught in this in-between zone. So, you know, I think, I love to see when art lines up with the technology of the moment, and I think these Atlanta rappers were in the perfect place at the perfect time to take advantage of that explosion. [00:15:39] Dan Runcie: Yeah, I agree. And then even reading it too, and thinking about this conversation we're having, so much of you framing this as you're a reporter, you're capturing what's happening contemporary, and given the insights and the things that people are sharing with you, the amount of trust that you were needed to develop with them, and we talked a lot about the aspect of race and how that plays in. How did you navigate that yourself as a white man and trying to tell this black story and making sure that you're capturing it in the best way possible? [00:16:10] Joe Coscarelli: Yeah. You know, obviously, I thought about this a lot in the reporting, in the conception of the book, and certainly in the writing and the editing. I think the job of any journalist, right, is to be like a respectful, humble, open-minded guest in other people's worlds, right, and to be well aware of what you know and what you don't know. Like, that goes for when I'm interviewing a female artist, a trans songwriter, reggaeton star. I think, like, to navigate spaces where you're not an insider, like, it's best to come prepared and engaged and curious. Like, I did my research, I knew what I was talking about to the extent that I could, but I also was eager to, like, defer to people who are the experts, right? I made sure that everyone from artists to managers, family members, like, they knew that I wanted to take whatever platform I had with the book and with my work at The New York Times, and sort of take their work seriously to shine a light on it, and recognize it as important as it is, right, this cultural product that has this immense influence and impact. So I wanted to really preserve these moments to the best of my ability for the history books. And I think that my subjects got that right away. You know, I don't think it took a lot of time for them to spend with me to see that I was really dedicated in that mission, that I was going to be respectful of their time and space, interested in the work that they were doing and the lives they were living. And then, like, your credibility travels, right? One person can vouch for you with another, you know, with a collaborator, with a family member. And I just wanted to just defer to them and their experiences. And I think I took that with me in the writing of the book. You know, of course, there's analysis, there's observation, but I really wanted people to speak for themselves. The book is very quote-heavy. I really wanted to capture people as they are, do an accurate portrayal of what it is they've been through. Hopefully, I think the quality speaks for itself. But I wanted to, you know, give these people whatever, spotlight, whatever platform I can offer. And then tell the truest version of how they relate it to me. [00:18:03] Dan Runcie: Yeah, I think that's the best and the most fair way to do it. Along the way though, did you receive any pushback or any type of challenge as you were doing this?[00:18:10] Joe Coscarelli: There's very little. I think I'm fortunate enough to, you know, have an institution like The New York Times behind me. I think, you know, people take that name seriously. It opens a lot of doors, whether or not I was a good reporter. And I think when you can open the door and then when you show up, and you're thorough, and you're accurate, you know, I'd written a lot about these people before the book, I think that the trust just grows and grows. And I was also finding people really at the beginning, right, of their careers in a lot of cases, like Lil Baby, like, you know, he may not be able to spell my last name, but he knows that I was that guy with him listening to his mixtape tracks as they were deciding what was going to be on, you know, his second, his third mixtape. And he's seen me for years along the way, supporting that journey, you know, engaging with the work, like I said. And, you know, meeting people at the beginnings of things, they remember, right, who was there with them and who was supportive and who got it. And I think that that went a long way for me with my subjects. I think the other thing is like, you know, in the music industry, whether it's rap, you know, southern rap, regional street rap, like, there's always a white guy around, you know. I talk about this in the book, whether it's a dj, a producer, a manager, you know, this is a trope, this is a tradition. And I think, you know, sometimes it goes well, sometimes it goes poorly. But I try to always be above board and respectful in my dealings. But I think, you know, when you're riding around in Atlanta, with a rapper and you look like I do, you know, someone's just going to assume that I'm either from the label or I'm from The FADER, you know, something like that.[00:19:41] Dan Runcie: Exactly. Exactly. But no, I think that, given this, as you mentioned, yeah, there's plenty of precedent for people having done this before. And yeah, I think the care that you bring into it with the book is clearly shown. And thinking about that, as you mentioned, just you driving around Atlanta, getting a feel for the vibe of the city and everything else, spending so much time there, how do you feel about the run that Atlanta's currently having and how this will continue? Because I think that like anything, people are always thinking of what is the next thing. How long does this last? We, of course, saw the east and west coast rise and fall. What do you feel, like, the next decade or so it looks like for Atlanta in hip hop? [00:20:19] Joe Coscarelli: I mean, the thing that's been so amazing about Atlanta, the reason it can be the subject of a book like this is because every time you would think it was over, they would just come up with a new thing, right? So like, you know, you think back to OutKast, you think back to So So Def, you know, you have the run of Ludacris, who becomes, you know, this crazy mainstream success story, you have Gucci, and Jeezy, and the rise of trap, and T.I., you know, becomes this huge crossover star. And then you think that that's over. And then you have crunk, and you have Lil Jon, and you think that's over. And then here's comes Waka Flocka Flame coming up from under Gucci, you know. Even someone like Gucci, he's helped birth three, four micro-generations of Atlanta rappers. And, you know, someone like Young Thug comes out and you're like, oh, like, this is too eccentric. This is never going to happen, right? Like, this is only for the real heads, only for people listening underground, and then all of a sudden he's on SNL, right? And he's in Vogue. And just over and over again, you have these guys sort of breakthrough with something that seems like it's too outre. It's too avant-garde. You know, even Migos and their sort of like punk repetition, you know, people heard Bando and said like, oh, this is annoying. Like, this is going nowhere, and then all of a sudden the whole radio sounds like that. So there's a part of me that does feel like, you know, this book is sort of capturing a contained era, right? The first 7, 8, 9, 10 years of streaming and the intensity and the tragedy of the YSL indictment. Like, maybe that's a hard stop to this era. But I think you can never count Atlanta out, right? So like, you might not know exactly what's coming next, but there's always more kids like this, like coming up with something new, taking what came before them, putting like a twist on it, and then all of a sudden it's on the radio, right? So like, even me, like, I see like a real post-Playboy Cardi, you know, sort of experimental streak in a lot of these rappers. I think there's some drill influence coming into Atlanta. And I don't think the next generation has really revealed itself yet, but I'm very confident that based on the infrastructure that's there, based on the amount of talent, the artists who call it home, both from there and not, like, I really think there'll be another wave, and there's just always another wave, in a way that even New York, you know, has struggled to bring the championship belt back that many times, you know? But I think, you know, Atlanta's regeneration has always been sort of its calling card. [00:22:41] Dan Runcie: Yeah, and I think one of the things that stands out about Atlanta too, and this is a bit of a sad way to frame it, but they've been able to withstand the jail time or the charges that happen for a lot of the rappers that are in their prime. Of course, we saw that happened with the West Coast in the nineties, Death Row, and you know, everything with Suge Knight and Tupac. I think we saw that a bit with the East Coast as well. But Atlanta, unfortunately, whether it's T.I., Gucci, like, a lot of them have served time, but the city still has been able to still thrive in hip hop because there was always someone else coming through. And I think even more recently now with Gunna and Thug, dealing with the RICO case and everything, who knows how that'll end up. But I think the difference for them and the city now as opposed to other areas is that even if you know, let's say that they may not be able to make music or this hinders their rise, there are other folks that can continue to have the city continue to rise up in the music around it.[00:23:38] Joe Coscarelli: Yeah, and I think so much of this music, right, the music that's come out of Atlanta in the last 30 years, like, it comes from struggle, right? It comes from necessity. And the things you're describing, whether it's, you know, violence, death, you know, the criminal justice, the weight of the state on these young black men, mostly. And they do tend to be men, especially in this scene, though that's changing too. You know, I think when people feel backed into a corner, like, art can come from that, right? So whether it's YSL directly or it's the people, they influence, the people from their neighborhood who are going to fill that void. I think, you know, the people hear the urgency in this music, right? They hear the, whether it's the joy or the pain, you know, there's a lot of feeling here. And I think, yeah, the tough times, people bounce back out of that. And trap is so much about that in general that I think it'll just continue to happen.[00:24:29] Dan Runcie: Definitely. And in the beginning of this conversation, you talked a little bit about how Hoop Dreams and that type of story was definitely an inspiration, and of course, that was nearly a three-hour long movie, if I remember correctly, the timeframe there. In terms of this book, already reading it, maybe through the first few chapters, I was like, oh, this is going to get turned into some type of TV or series or a movie or something like that. I could already see that happening. Was that in the back of your mind as you were thinking about what this could look like? Obviously, I'm sure you're so focused on the book, but were you, as you're thinking about the inspiration, were you thinking about multimedia adaptations? [00:25:05] Joe Coscarelli: You know, I wasn't as much as I should have been, right? Otherwise, I would've been recording my audio better to turn it into a podcast, to then turn it into a doc series or whatever it is. I'm very much like a print writer, right? Like, I'm a newspaper reporter. I don't even think about images really as much as I think about words. And yet, like, so much of my influence, like, you know, Hoop Dreams was always the sort of the north star of this, but, like, I'm a huge consumer of television and film and stories of all kinds. So I knew I wanted the scope of the story to at least have that potential, right, to feel grand, to feel cinematic, to feel like it was about a time and a place and characters, which I think, you know, is often easier to do in a visual medium. So I had it in mind. But I was really too focused on just getting the words down on the page and getting the material I needed. I hope you're right and that now that this thing exists, right, this big book, like you said, Hoop Dreams is a three-hour movie, and this is like the book equivalent of a three-hour movie. It's almost 400 pages, so it has that sort of epic quality. And I think there is, you know, hopefully, more to mine there, not necessarily in recreating the stories that I've already captured, but in that essence, in that spirit and the way that Atlanta sort of goes in waves and goes in cycles. I hope there's a way to be able to capture that visually as well. [00:26:23] Dan Runcie: If you could handpick any director you would want to lead a project on Rap Capital who'd you pick?[00:26:29] Joe Coscarelli: Oh, man. All time. I mean, that's a tough one. Look, I mean, what Donald Glover and Hiro Murai have done with their Atlanta series, you know, it's much more surreal than this. It's fictionalized, but the parts of it that are based, you know, more on earth and more in the music industry, like, are just captured so well. I think, Hiro, as a director specifically, was able to, you know, all the aerial shots, like the highways, the roads, the woods, like that version of Atlanta is really seared in my mind. And, you know, I know they've done their version, but I think there's more to do. But then there's like the younger generation, right, of video directors and stuff that I'm just waiting to be able to see their worlds on a larger scale, you know, someone like Spike Jordan or someone like Daps who have their hand in, or, you know, Keemotion, like people who have their hand in a lot of the visual representation of this music on YouTube. And I think I would love to see what they would do, right? I would love to see the present-day music video directors' version of Belly, right, in Atlanta. Like, Belly, one of my favorite, you know, top five favorite movies ever, and has that sort of that music video quality to it in a lot of ways, but then blown up for the big screen. Like, I want some of those guys to have a canvas like that to paint on. [00:27:42] Dan Runcie: Yeah, that's a good answer because I think that, especially the Hiro one, because I think that Atlanta, as a TV show, does capture so much of it. And you're right, the episodes that are set in earth and not the surreal, you know, messages. But yeah, the ones that are set in earth do capture a lot of the intricacies about the music industry and I think the reality, which is I think something you do in the book as well. I also think that some of the newer music video directors, too, just given the world that they're capturing, do so much of that well, too, and I think having that is key because, of course, some of the more established names have a picture of Atlanta, but it may be more relevant to that, you know, LaFace era of Atlanta, which, while very impactful, isn't what your book is about.[00:28:27] Joe Coscarelli: Yeah, I think there's a new wave, right, and the people who are responsible for the iconography of this wave. You know, even the crazy run of Young Thug videos, I think the director Be EL Be, is that his name? You know, just super, super surreal sort of dream world stuff. But I want to see what those guys can do with the present day, given the budgets, you know, if they were given a Hollywood-size budget instead of a rap video-size budget.[00:28:53] Dan Runcie: Well, I will definitely be keeping an eye out for that because I feel like it's one of these inevitable things and it'll be fun to watch for sure. [00:28:59] Joe Coscarelli: Fingers crossed. Yeah. [00:29:00] Dan Runcie: Yeah. All right. Well, before we wrap things up, I do want to go back to one thing about the music industry because you had tweeted something out, I forget how long ago it was, but Punch from TDE had, shoutout to Punch, he had asked a question about when did the personalities become bigger than the music, and you had responded and said, well, there's some nuance here. Look at someone like Rod Wave who is, you know, selling multiple times more than someone like Megan Thee Stallion. And I think Rod Wave is someone that, unless you know the music, you're not necessarily tapping in, versus Megan who's someone that's performing at all the big award shows and has a lot of the big features, how do you make sense of that dichotomy between those examples and maybe what it says about where we are in the industry and how to make sense of it?[00:29:45] Joe Coscarelli: I think there's just been a real crumbling of the monoculture, right? Like, before. You would expect, if somebody had a number one hit, if somebody had a number one album, everyone would know who they were, right? I would know, you would know, your mom would know, my grandma would know. They would at least have some vague idea, right, of who Shania Twain was, or you know, Katy Perry, whoever it may be, even Ed Sheeran, to name one of the last, I think, monoculture stars. Whereas today everything is so fragmented, right? You write about this in your newsletter, whether it's streaming TV or movies or music, like, everything finds its own little audience, and it's sometimes it's not even that little, you know. Jon Caramanica, the pop music critic here at the Times, and I collaborated on a piece, you know, I think probably almost four years ago at this point, saying like, your old idea of a pop star is dead. Your new idea of a pop star is, you know, it's Bad Bunny. It's BTS. It's Rosalía who's not selling a ton of albums, but can pack out two shows at Radio City Music Hall without saying a word of English, basically, you know. And people are finding these artists on their own, right? You think of NBA YoungBoy, another one who's like, basically, the biggest rap artist we've had over the last five years, and he gets no radio play. He's never been on television, he's never played SNL. He has, you know, maybe one magazine cover, national magazine cover in his past, that happened when he was, you know, 16, 17 years old. And yet, like the numbers on YouTube are bigger than Ariana Grande's, for instance, you know. So I think these audiences have just splintered. And there are a few people who permeate, right, personality-wise, you know, Megan Thee Stallion or whatever. But often the music is somehow divorced from that, right? Like, I think there's far more people who know these next-generation stars from being in commercials or, you know, Bad Bunny in a Corona commercial or whatever it is, then can sing one of their songs word for word. And I think that's fine. You know, I think that a lot of artists have found freedom in that, right? I keep coming back to artists who sing in Spanish primarily. Like, before I would be that to cross over, you had to change, right? You had to start singing in English, at least somewhat, like a Shakira or whatever it is. But now, that's no longer a prerequisite because your audience is going to find you on Spotify, they're going to come to your shows, they're going to buy merch. And even if you're not getting played on Z100 or, you know, Top 40 radio, you can still have as much of a footprint. It's just not in that same everybody knows the same 10 people way, you know? [00:32:10] Dan Runcie: Yeah. I think that the fact that someone like Bad Bunny has an album that's not in English, that has been on the top of the US charts for, what, 30%, 40% of the weeks of the year is incredible. [00:32:24] Joe Coscarelli: Yeah. Yeah. And you know, I think that he is a celebrity, right, he is in films, he's in Bullet Train, he's in commercials, whatever. But I still think if you, you know, maybe it's different in New York, but if you went on the street and you asked, you know, your average 42-year-old white woman who Bad Bunny was, or to name a Bad Bunny song, it might not happen. But he's still selling out Yankee Stadium, you know, so it's this weird give and take of, like, what makes a hit these days, what makes a superstar. I think, you know, to bring it back, like, Lil Baby is in this boat too. Like, he's as close to, we have, I think, in the new school as a mainstream superstar, right, headlining festivals, you know, he's performing at the World Cup. He is sponsored, you know, Budweiser sponsors him. He's in, you know, all sorts of commercials, and he is really moved into that upper echelon. But he is still not a celebrity, right, in the way that a 50 Cent or a Jay-Z is to everyone. But he is to a certain generation. So it'll be interesting to see if he can sort of push past that last barrier and become a household name. But he doesn't need it, right? He doesn't have to be a household name to be the biggest rapper in the country. [00:33:28] Dan Runcie: Right. I think the part that I'm really fascinated by, too, is how this separation of, yes, you can be someone that is more known for personality than music, how that will translate to the labels they're assigned to, which of course are in the business of people actually streaming and listening to your music, and they're not necessarily in the business of selling personality or selling brand deals, right? Like, they're not getting the Pepsi deals or they're not, like, that's Pepsi doing that, you know what I mean? So it'll be interesting to see what that looks like 'cause obviously I know that there are legal challenges and transgressions with maybe why someone like a Rod Wave or like an NBA YoungBoy may not be getting asked to perform at the Grammy's, right? Like, I think that's pretty easy to understand. Or even someone like a Summer Walker who I think that does very well from a streaming perspective, but I think, you know, personally, just isn't the personality type to want to be all out there, right? [00:34:21] Joe Coscarelli: Yeah, has no interest in being a celebrity, but I think it's almost healthier, right, for some of these artists to be able to say, like, I've seen what happens on the fame side, and I don't want that part. I just want to make my music and play for my fans. Like, I think that's becoming maybe more and more of a possibility, where you can speak directly to your fans and not have to play the game, right, with the gatekeepers that might not actually be turning into anything at this point other than mind share. So, yeah, there's a lot of different kinds of stardom right now, and I think, like, the cult star, the, like, mass cult star, Tyler, the Creator, you know, the way he built up his career. You've written about this over so many years. Like, he doesn't have a smash hit, he doesn't have an Old Town Road, you know, or a Call Me Maybe, or whatever it is. He doesn't have that defining record or pop cultural moment. He just has years and years and years of solid growth, and people respond to that, and that you can pack arenas on that just as easily as you, and maybe even more effectively than you can on the back of one or two massive hits.[00:35:25] Dan Runcie: Yeah, definitely. Yeah, definitely now, for sure. It'll be fascinating to watch and I'll be looking out for your continued reporting and thoughts on this, yeah, such a fascinating time in the industry. But Joe, it's been a pleasure, man. Hey, if anyone listening, if you are a fan of this podcast, believe me, this is a book. I can't recommend it enough. You'll enjoy it. But Joe, for the folks listening, where can they get Rap Capital? [00:35:47] Joe Coscarelli: Rap Capital: An Atlanta Story, out October 18th, available wherever books are sold, Amazon, Barnes & Noble. Get an audiobook, should be out soon at your local bookstore. Yeah, hopefully, you'll be able to find it. Rap Capital. Thanks so much for having me. [00:36:00] Dan Runcie: Awesome. Thanks for coming on and great work again. [00:36:02] Joe Coscarelli: It was really fun. Thanks. [00:36:03] Dan Runcie: Really good.[00:36:04] Dan Runcie: If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat, post it in your Slack groups, wherever you and your people talk, spread the word. That's how Trapital continues to grow and continues to reach the right people. And while you're at it, if you use Apple podcast, go ahead, rate the podcast. Give it a high rating and leave a review. Tell people why you liked the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.Advertising Inquiries: https://redcircle.com/brands

Today, we're joined by director Hiro Murai! With the return of Atlanta (5:06), we discuss the homecoming of this final season (7:14), Murai's connection to the character Earn (10:04), the influence of Hayao Miyazaki (14:09), immigrating from Tokyo to Los Angeles at age 9 (17:12), and his search for an artistic identity between these two worlds (20:38). After the break, how the Coen Brothers and Takeshi Kitano shaped his early work (22:41), including music videos (25:12) for Earl Sweatshirt (27:32), Frank Ocean (30:19), and Childish Gambino (33:08). To close, we sit with a scene from Atlanta's season premiere (35:27), the kind of work Hiro hopes to make in the years ahead (38:37), and a mission statement from author George Saunders (44:12).See omnystudio.com/listener for privacy information.

Film Roundtable is thrilled to be joined this week by Director Hiro Murai and Cinematographer Christian Sprenger, both of whom are double Emmy nominees in their respective categories for, “Atlanta”, and “Station Eleven.” In this candid conversation with Doug Torres, Hiro + Christian discuss how they started collaborating together and what has become their process as their work has evolved over the years. Tune in for a wonderful discussion about the essence of collaboration and developing a creative team early in your career.

On this bonus episode of Hip Hop Movie Club, your HHMCs took a field trip to https://www.grammymuseumexp.org/a-hip-hop-life/ ("A Hip Hop Life: Five Decades of Music, Art and Culture, Featuring the Photography of Brother Ernie Paniccioli") at the GRAMMY Museum Experience in Newark, NJ and brought two youngsters, J. Prince and Iceberg, with them. Hear their perspectives on their experience, their view of hip hop, and its influence on today's society, and more! https://www.youtube.com/watch?v=2lXD0vv-ds8 ("Never Catch Me") video by Flying Lotus, feat. Kendrick Lamar. Directed by Hiro Murai. https://www.youtube.com/watch?v=IdNxeepSpuk ("Never Freestyle") by Coast Contra https://www.youtube.com/watch?v=GrtPy0ogDMU (Freestyle) by Saudi rapper Leesa https://www.youtube.com/watch?v=GVAl_BWa2kU ("Palestine Freestyle") by MC Abdul CreditsHip Hop Movie Club is produced by your HHMC's: Boogie, JB and DynoWright! Theme music by Boogie.    Special thanks to Susan Berger, Towanda Edwards, and Alice Seneres.    Hit us up at hiphopmovieclub@gmail.com or on https://tiktok.com/@hiphopmovieclub (Tiktok), https://www.facebook.com/hiphopmovieclub (Facebook), https://twitter.com/hiphopmovieclub (Twitter) and https://www.instagram.com/hiphopmovieclub/ (Instagram) @hiphopmovieclub. You can also check us out at https://hiphopmovieclub.com/ (hiphopmovieclub.com).

When cinematographer Larkin Seiple first saw the script for Everything Everywhere All At Once he thought: This is very long and how in the world are we going to shoot this? But having worked with directing team Daniel Kwan and Daniel Scheinert (known collectively as Daniels) for ten years, he knew the film would be unique, creative and fun. Larkin loves telling stories through the medium of film, and Everything Everywhere explores the multiverse concept as the most ridiculous, messy, scary, poignant, and mind-blowing place. Everything Everywhere All At Once contains many different scenes referencing dozens of films with a multitude of looks. Larkin loved creating so many mini movies, and he had specific ideas for the lighting and continuity for most of the universes- changing up the lighting, lenses and even the aspect ratios for each universe and what it was referencing. In order to keep to any kind of schedule or budget, the team needed to shoot as much as possible in one location. They shot primarily in two places- a giant empty office building with the atrium, stairway, elevator and cubicles in Simi Valley, and DC Stages in downtown LA, which gave them about 40 different sets to choose from. Principal photography was 36 days, mostly in the Simi Valley office building. The Daniels always scout things in advance and try to find the best locations for the budget, which was about $15 million- not a lot for such an ambitious movie. Larkin had to creatively and carefully compose shots so that the office location didn't seem like a big empty space, and focused on small details and transitions, shooting scenes as efficiently as possible. Fortunately, a lot of sets in the office building were already there, leftover from other film shoots, such as the elevator set and the kinky office sex room, which allowed them to add it into the movie. Directors Daniels often writes a script with just the bare bones of what they're looking for, with only a line for action, such as “fanny pack fight,” leaving it up to Larkin and the fight coordinators to decide how to shoot it. They operate as a sort of hive mind, and each Daniel really knows how the movie cuts together in their head. Once he completed film school, Larkin realized that, unlike a director, as a cinematographer he could work on many different projects per year. He enjoys the collaborative element of filmmaking and started his career as a gaffer and electrician. He realized that if he wanted to become a cinematographer, he needed to quit doing side projects as a gaffer or electrician to concentrate on only working and shooting as a DP. Larkin began shooting music videos and beauty commercials, until he was able to make a living off of shooting commercials, while picking and choosing what music videos he wanted to do. Working on music videos led him to meeting the Daniels. One of their most memorable music videos is Turn Down For What by DJ Snake and Lil Jon, which stars Dan Kwan- ½ of Daniels- as one of the main performers in the video. Another noteable video Larkin shot was This Is America by Childish Gambino (Donald Glover), directed by Hiro Murai. After working on several music videos together, Larkin shot the Daniels first feature, Swiss Army Man. Swiss Army Man is a strange and surreal movie about a man (Paul Dano) stranded on a deserted island who befriends a dead body (Daniel Radcliffe) that washes ashore. Hank is able to use the dead body to get off the island and he begins to find his way home, believing that the dead man is talking to him and helping him stay alive. They shot in Los Angeles, the woods near San Francisco, and up in Humboldt County under the giant redwoods, with a tiny crew. Actor Daniel Radcliffe was very enthusiastic about playing the dead man, and even though they had a corpse dummy for the film, he refused to let them use it. He was in every scene as the dead guy with Paul Dano, even when just playing dead. Most recently,

Long hailed as my favorite show on tv right now, I finally get to speak about it in depth. Did this season live up to the hype? This was a weird one, but that's nothing new for this series.*Editing note* I said Hiro Murai directed this whole season. That was wrong. Donald Glover directed three episodes and Ibra Ake directed one.Music produced by BlackOutBeatz414https://www.youtube.com/c/BlackOutBeatz--SPOILER FREE SECTION--Season 3 of Atlanta is a very strange and experimental season. I don't want to say it didn't work, but as a whole nothing really happened or changes for our main characters this season, sans Van. Despite that this season is very entertaining. If you know Atlanta's formula of mixing reality and super surrealism then you get that in choc full in this season. Like every season so far this creates more classic episodes, Tarrare, being it for me. Even RWPW, the lowest rated ep, is still hilarious and holds a lot of weight and relatability. But it does make the season feel a bit like filler and like a set up for something next season. Atlanta continues to be my favorite show on tv and continues to be the strangest, most unhinge shows out there. And I love it.Final Score7/10

Summary: When a Black man successfully sues a Tesla exec for reparations, white folks are forced to reckon with their slave-owning pasts Directed By: Hiro Murai https://en.wikipedia.org/wiki/Hiro_Murai ; Written By: Francesca Sloane https://www.imdb.com/name/nm4300986/ Mentioned in this episode: Antilynching Act Signed Into Law - https://eji.org/news/antilynching-act-signed-into-law The United States vs. Billie Holiday - https://www.hulu.com/movie/the-united-states-vs-billie-holiday-6f7be3b0-69c5-49ab-8472-2b5b1dabcfe8 Let the World See - https://www.hulu.com/series/let-the-world-see-93e89014-a92a-4fd7-897e-69835f1641a3 "Henrietta Wood sued for slavery reparations after the Civil War and won. Her descendants never knew "https://www.washingtonpost.com/history/2021/02/24/henrietta-wood-reparations-slavery/ History's Lost Black Towns - https://www.theroot.com/historys-lost-black-towns-1790868004 Dennis Haysbert's Influence on the 44th Presidency - https://www.bostonherald.com/2009/01/20/did-dennis-haysberts-24-president-pave-the-way-for-our-44th/ The Sistine Chapel - https://www.michelangelo.net/sistine-chapel/ The Power of Art - http://blog.paperblanks.com/2015/10/the-11-greatest-things-ever-said-about-the-power-of-art/ Slavery in Peru - https://www.oxfordbibliographies.com/view/document/obo-9780199766581/obo-9780199766581-0154.xml AfroPeruvianshttps://www.justice.gov/eoir/page/file/1031501/download#:~:text=By%20the%20nineteenth%20century%2C%20slaves,not%20finally%20abolished%20until%201854 Supporters say they have the votes in the House to pass a reparations bill after years of lobbying https://www.washingtonpost.com/nation/2022/02/25/reparations-bill-congress-support/ Despite racial reckoning, state efforts stall on reparationshttps://apnews.com/article/race-and-ethnicity-legislature-legislation-coronavirus-pandemic-california-dddb07baefbbc0a3f3484b7b7ee9cdf0 Rappin' Alanta's theme music "Galaxy Groove" was composed by Joy Clark -http://www.joyclarkmusic.com; Rappin' Atlanta's artwork is by Prime Vice Studios-http://www.primevice.com

Summary: The crew gets familiar with the antics and eccentricities of the ridiculously wealthy and connected and e'rybody got a subscription service. Directed by: Hiro Murai- https://en.wikipedia.org/wiki/Hiro_Murai Written by: Donald Glover- https://donaldgloverpresents.com/ and Taofik Kolade- https://www.imdb.com/name/nm3971571/ Joy Clark's Galaxy Groove is by Joy Clark http://www.joyclarkmusic.com Rappin' Atlanta artwork is by Prime Vice Studios http://www.primevice.com Mentioned in this episode: "Donald Glover dresses like a Korean Andre 3000" https://www.youtube.com/watch?v=qbCB1QTkFpE Nandos, a South African chicken restaurant https://www.nandos.com

Summary: We spend some time in Earn's subconscious as he continues to grapple with institutionalized racism. Directed by: Hiro Murai https://en.wikipedia.org/wiki/Hiro_Murai Written by: Stephen Glover Mentioned in this episode: https://en.wikipedia.org/wiki/Stephen_Glover_(screenwriter) https://www.facebook.com/watch/?v=10156111461123599 https://ronclarkacademy.com/ https://en.wikipedia.org/wiki/The_Ron_Clark_Story https://en.wikipedia.org/wiki/Hart_family_murders#:~:text=The%20Hart%20family%20massacre%20was,family's%20sport%20utility%20vehicle%20off https://jezebel.com/the-rise-and-fall-of-an-all-american-catchphrase-free-1729621311 https://newsone.com/4185919/lake-lanier-black-city-oscarville/ https://www.buzzfeed.com/alexalisitza/lake-lanier-told-yall-its-haunted https://www.theroot.com/the-case-for-washcloths-why-white-people-need-to-wash-1836011115 https://historycollection.com/ziryab-genius-cordoba-history-forgot/2/ https://www.netflix.com/title/81034518 https://www.youtube.com/results?search_query=Precious+Memories+Sister+Rosetta+Tharpe https://www.msn.com/en-us/news/us/residents-of-majority-black-town-face-ultimatums-and-takeover-if-they-don-t-pay-off-their-debt/ar-AAVDoe3?ocid=msedgntp&cvid=6505b04519ab46a19586fdad83d263a2

Summary: We rejoin the crew in the midst of their European tour experiences. Directed by: Hiro Murai https://en.wikipedia.org/wiki/Hiro_Murai Written by: Janine Nabers https://en.wikipedia.org/wiki/Janine_Nabers Mentioned in this episode: https://www.thespruceeats.com/the-story-of-sinterklaas-1128632 https://www.amsterdo.com/sinterklaas-and-black-pete-tradition-and-controversy/ https://www.religioustolerance.org/euthnl.htm#:~:text=Physician%20assisted%20suicide%20is%20legal%20in%20the%20Netherlands%2C,The%20actual%20number%20is%20believed%20to%20be%20higher. https://www.youtube.com/watch?v=gbxUlUp7EqI https://www.huzlers.com/tupac-shakur-secret-performance-for-illuminati-bilderberg-group/

I give a SPOILER Discussion to Atlanta S3: E1-3. Episode 1 Three Slaps written by Stephen and Donald Glover. Directed by Hiro Murai. Episode 2 Stinkerklass is Coming to Town written by Janine Nabers and Donald Glover. Directed by Hiro Murai. Episode 3 The Old Man and The Tree written by Donald Glover and Taofik Kolade. Directed by Hiro Murai. Follow me @quinten_dick on Instagram and Twitter!

Chris and Andy talk about Will Smith slapping Chris Rock and other moments from an otherwise boring Oscars (1:00). Then they talk about the first two episodes of ‘Atlanta' Season 3 (28:06) before they are joined by director Hiro Murai to talk about the difficulties of making seasons 3 and 4 of the show after such a long break and his work on one of the best shows of last year, ‘Station Eleven' (36:13). Hosts: Chris Ryan and Andy Greenwald Guest: Hiro Murai Producer: Kaya McMullen Learn more about your ad choices. Visit podcastchoices.com/adchoices

Several cast & crew members from ATLANTA chatted with Trey Elling and other reporters on the red carpet, prior to the screening of the first two episodes of Season 3 at SXSW 2022. The interview participants included creator and star Donald Glover ("Earn"), Zazie Beetz (Van), Hiro Murai (director & EP), Stephen Glover ("writer & producer), and Stefani Robinson (writer). Topics included: What it was like coming back to the ATLANTA world and those characters after the long hiatus (1:34) Goals for the finality of the series (2:07) Experience in the writers' room as the series has evolved (3:03) Were there any 'ripped from the headlines' topics in Season 3 (4:07) Donald's next big prediction (4:56) Any surprises for the fans in seasons 3 & 4 (6:01)

Station Eleven is an HBOMax series based on the book by Emily St. John Mandel. The story focuses on several characters who are survivors of a devastating flu pandemic that wipes out most of the human population, completely collapsing modern civilization. The series mixes together the storylines of characters whose past and present timelines interconnect, weaving together the time during the pandemic, the days and months afterward, and then how the characters have adapted twenty years into the future. Art, music and theater have thrived in a small band of actors and musicians known as the Traveling Symphony. Kirsten, played by Mackenzie Davis, is the main character and a lead actor in the Traveling Symphony, going from settlement to settlement performing Shakespeare. Each community still remains under threat of hostile invaders, and a dangerous cult whose beliefs are based on a story from a graphic novel written before the pandemic appears to be on the rise. Daniel Grant, CSC and Steve Cosens, CSC, both Canadian cinematographers, were hired as DPs for four episodes apiece for Station Eleven. They were happy to know that they'd be working closely together because they were familiar with each other's work and comfortable with each other's aesthetic. Executive producer Hiro Murai directed the first block of episodes- Episodes 1 and 3- with Christian Sprenger as the director of photography, and they established the initial look of the show. Murai and Sprenger shot two episodes in Chicago as COVID hit, and then production shut down for several months. Daniel and Steve were brought on to shoot the next blocks in Toronto, Canada, which felt weird and surreal as they developed the look and feel of a fictional post-pandemic world, while living through a real global pandemic. As Daniel and Steve began prep, they were able to contribute their own ideas for the look and feel of Year 20 in Station Eleven's post-pandemic world. Steve noted that the pacing of the show was very deliberate, and they would purposefully let shots hold for several beats. Each shot was nicely framed and the lighting was very naturalistic and organic- it was not a slick show with fast edits. With less humans around, they wanted to depict the earth returning to the natural world in the future, instead of the typical post-apocalyptic barren scorched landscape look. They wanted Station Eleven to feel positive and life-affirming, although still fraught with potential dangers. Since the main storyline follows a roving band of theatrical performers, the show was always on the move with many different locations, and Daniel and Steve had to fuse the challenges of the logistics with the creative. Many episodes required different seasons or the same location dressed for different years. The hardest episodes and locations to shoot took place at the airport, set during Station Eleven's pre-pandemic and then twenty years after the pandemic. The two cinematographers stayed in close contact and were true collaborators, sharing information and communicating to make it easier for each other as they switched off shooting in the airport location. Steve and Daniel would often have early morning phone calls to constantly feed each other information about the shoot day, and would watch each other's dailies to match each other's shots. Find Daniel Grant: https://www.danielgrantdp.com/ Instagram: @danielgrant_dp Find Steve Cosens: https://www.stevecosens.com/ Instagram: @cosenssteve You can see all episodes of Station Eleven on HBOMax Find out even more about this episode, with extensive show notes and links: http://camnoir.com//ep157/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Sponsored by Assemble: Assemble has amazing production management software. Use the code cinepod to try a month for free! https://www.assemble.tv/ Be sure to watch our YouTube video of Nate Watkin showing how Assemble works! https://youtu.be/IlpismVjab8

It's never easy being an artist, especially when you are working through a personal chaos. This is what we see in the artistry and life of Miranda Carroll. From her meet-cute with Arthur in a diner to her final moments of life, Miranda is a complex character with a life as complicated as the art she creates and the choices she makes. In this episode, Patrick and Angelica are joined by actor Danielle Deadwyler (Miranda Carroll in “Station Eleven”) and Episode 103 director Hiro Murai. Together they dig into Miranda's backstory, developing a character, and how to craft a love story without it taking over a story. See omnystudio.com/listener for privacy information.

Mackenzie Davis has been a favorite for a good while now, but it's especially exciting to see her filmography continue to grow with such a wide variety of projects, working with some of the most striking voices in the industry. Now that resume grows with HBO Max's extremely stirring adaption of Emily St. John Mandel's novel, Station Eleven, from showrunner Patrick Somerville with episodes directed by Hiro Murai, Jeremy Podeswa, Helen Shaver and Lucy Tcherniak. The story begins with the world on the cusp of a significant flu outbreak. The pandemic devastates civilization, completely obliterating the technology we rely on and our way of life in general. Twenty years in the future, Davis' character, Kirsten, is part of the Traveling Symphony, a group of actors and musicians who travel the region performing Shakespeare for various communities. Even though the group seems to have found great purpose in this new world, an unexpected encounter challenges them to reconsider what to hold onto from the path and how best to create a new future. With Station Eleven in the midst of its rollout on HBO Max, Davis joined us for an episode of Collider Ladies Night to talk about the mini-series and also to revisit the path she took to get there. Hear all about Davis' experience booking Drake Doremus' Breathe In, working with Ridley Scott on The Martian, making Station Eleven and so much more in this interview! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Wellington is first joined by special guest Serge Privert, a good friend of the show to review Guava Island; the 2019 musical film directed by Hiro Murai. Starring Donald Glover, Rihanna, Nonso Anozie and Letitia Wright, they dive into how this was a film that included a magnetic cast and had a good balance of reality and strong symbolism. They also discuss Donald Glover's amazing skills as an entertainer, the charisma he possesses and also analyzing Rihanna's character along with what they wanted to see more of; from her. In the second half, Wellington and Savon discuss Tyson Fury's 11th-round TKO victory over Wilder, expectations for upcoming fights for Canelo-Caleb Plant in November and Gervonta Davis-Rolando Romero in December. They also discuss Jon Gruden's resignation from the Raiders with his email scandal, the Bills' dominance displayed over the Chiefs and how impressive Georgia has looked all season. Finally, they review The Alchemist's This Thing Of Ours 2 EP, discuss the importance of high-level production and also briefly discuss Doja Cat's Planet Her album plus review Kehlani's latest single “Altar”.

Kritiken zu "The United States Vs. Billie Holiday", "Legion" und "Beckman" Review, Kritik Lockere Filmkritiken zum selbst mitmachen! Meldet euch via Mail (info@tele-stammtisch.de), Facebook, Twitter oder Instagram für den nächsten Podcast an! Website | PayPal | BuyMeACoffee Titel: United States vs. Billie Holiday Original: United States vs. Billie Holiday Startdatum: 27.5.2021 Länge(min): 130 FSK: keine Angabe Regie: Lee Daniels Darsteller: Andra Day,Tyler James Williams,Garrett Hedlund uvm. Verleih: Wild Bunch Germany Trailer Titel: Legion Original: Legion Startdatum: 9.2.2017 Länge(min): 27x60 FSK: 16 Regie: John Cameron,Hiro Murai,Dan Kwan uvm. Darsteller: Dan Stevens,Rachel Keller,Bill Irwin uvm. Verleih: 20th Century Fox Trailer Titel: Beckman Original: Beckman Startdatum: 6.5.2021 (VoD) Länge(min): 90 FSK: 16 Regie: Gabriel Sabloff Darsteller: William Baldwin,Burt Young,David A.R.White uvm Verleih:Tiberius Film Trailer Teilnehmer*innen: Andi Facebook | Twitter | Instagram Lida Website | Facebook | Twitter Moviebreak Website | Facebook | Twitter | Instagram Piet Facebook | Instagram | Letterboxd Frosti Twitter | Instagram Patrick Facebook | Twitter | Instagram Comic Cookies Website | Facebook | Twitter | Instagram | YouTube Katharina Facebook | Twitter Thank you very much to BASTIAN HAMMER for the orchestral part of the intro! i used the following sounds of freesound.org: 16mm Film Reel by bone666138 wilhelm_scream.wav by Syna-Max backspin.wav by il112 Crowd in a bar (LCR).wav by Leandros.Ntounis Short Crowd Cheer 2.flac by qubodup License (Copyright): Attribution 4.0 International (CC BY 4.0) Folge direkt herunterladen

This week The TV boys discuss, if not fan-boy over, Donald Glover. Not only is he one of the best actors, he is also the Grammy award winning artist Childish Gambino so listen in!

Santiago Isla se pasa por el Hotel para tomarse una copa y charlar sobre su nuevo libro: "Buenas Noches". También hablamos sobre Vinicius Jr., Calamaro, Kanye West, Ángela Molina, Bob Dylan, Buñuel, el Hôtel Costes y Oleiros. Sin orden ni concierto. Como todo lo que ocurre en este hotel. Notas del podcast:- This is America - Childish Gambino: https://youtu.be/VYOjWnS4cMY - Atlanta (Donald Glover, Hiro Murai): https://youtu.be/0O6rvprlzvc - No woman no cry - Versión psicodélica y trasnochada de Andrés Calamaro: https://youtu.be/CbYDF4C0Rw4 - Plástico Fino - Andrés Calamaro: https://youtu.be/68OFfEEwlAI - Meet me in the bathroom - Libro: https://www.amazon.es/dp/B0716BSS9M/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1 - Infidels - Bob Dylan: https://open.spotify.com/album/66zadu7BtUnpbkT4iAkaHy?si=8pBa_j3lS1qVPB3KOqUONQ - Closed on Sunday – Kanye West: https://youtu.be/MKM90u7pf3U - Ese oscuro objeto del deseo - Buñuel: https://www.filmin.es/pelicula/ese-oscuro-objeto-del-deseo - Hôtel Costes: https://www.instagram.com/hotelcostes/?hl=es

Dans l'épisode 5 de Karukerament, je m'interroge sur le regard que les autres communautés portent sur la Caraïbe. C'est l'occasion de discuter du film "Guava Island" de Hiro Murai. Mes recommandations : New Book in Caribbean StudiesSFHOMrepeatingislands.comshuganspice.comKnowyourcaribbean

Amy Seimetz started out writing, directing, and acting in short films and made her feature debut in a pair of films, Black Dragon Canyon and the indie cult hit Wristcutters: A Love Story. She appeared in films such as Gabi on the Roof in July, Tiny Furniture, You're Next, and The Myth of the American Sleepover before directing her own feature debut, Sun Don't Shine in 2012. Amy went on to co-create and executive produce the critically acclaimed Starz series The Girlfriend Experience. In 2018, Amy directed two episodes of the acclaimed FX series Atlanta and subsequently signed a first look television production development deal with the network. But yes, she continued acting throughout that time as well, and you’ve seen her in Upstream Color, Alien: Covenant, The Killing, Stranger Things, Wild Nights with Emily, and Pet Sematary. But the movie that Amy chose to discuss has nothing to do with any of that! She's chosen The Peanut Butter Solution, a Canadian children's movie from the eighties that most people thought they dreamed up. April and Amy dissect the crazy plot and how something this unconventional could be made for children. Amy discusses working on her debut Sun Don't Shine, collaborating with Hiro Murai and Donald Glover on Atlanta, and being directed by Madeleine Olnek on Wild Nights with Emily. Plus, they ponder the lessons on creative freedom that can be learned from children's films and how it's sometimes best to not think logically. You can check out Pet Sematary and Wild Nights with Emily in theaters now. If you haven't seen it yet, go watch The Peanut Butter Solution. With April Wolfe and Amy Seimetz. You can let us know what you think of Switchblade Sisters on Twitter or Facebook. Or email us at switchbladesisters@maximumfun.org. Produced by Casey O'Brien and Laura Swisher for MaximumFun.org.

Neste podcast, nossa Atração Principal tem dois filmes ligados pelo fato de serem não exatamente remakes, mas reimaginações: Dumbo (EUA, 2019), versão de Tim Burton para a animação clássica da Disney, agora com uma mistura de live action e animação computadorizada; e Suspiria (Itália/EUA, 2018), de Luca Guadagnino, baseado na obra-prima do horror dirigida por Dario Argento em 1977. Para o bate-papo, nós recebemos Ana Lúcia Andrade, professora de Cinema da Escola de Belas Artes da UFMG.  E tem mais! Na seção Corte Rápido, nossos comentários sobre os filmes "Guava Island" (EUA, 2019), musical de Hiro Murai, com Donald Glover e Rihanna, e "Cópias - De Volta à Vida" (Replicas, Reino Unido, 2018), ficção científica de Jeffrey Nachmanoff, com Keanu Reeves. Tem ainda o Recado Cinéfilo, espaço para a voz do ouvinte, através de e-mails, mensagens e comentários. Mande o seu para contato@cinematorio.com.br.   O cinematório café é produzido e apresentado por Renato Silveira e Kel Gomes. A cada episódio, nós propomos um debate em torno de filmes recém-lançados e temas relacionados ao cinema, sempre em um clima de descontração e buscando refletir sobre imagens presentes no nosso dia a dia. Confira a minutagem deste episódio, caso você queira ir direto ao ponto: 00:07:51 - Dumbo00:41:44 - Suspiria01:12:00 - Guava Island01:21:15 - Cópias01:36:58 - Recado Cinéfilo Visite a página do episódio em nosso site e confira links para diversos materiais extras.

Neste podcast, nossa Atração Principal tem dois filmes ligados pelo fato de serem não exatamente remakes, mas reimaginações: Dumbo (EUA, 2019), versão de Tim Burton para a animação clássica da Disney, agora com uma mistura de live action e animação computadorizada; e Suspiria (Itália/EUA, 2018), de Luca Guadagnino, baseado na obra-prima do horror dirigida por Dario Argento em 1977. Para o bate-papo, nós recebemos Ana Lúcia Andrade, professora de Cinema da Escola de Belas Artes da UFMG.  E tem mais! Na seção Corte Rápido, nossos comentários sobre os filmes "Guava Island" (EUA, 2019), musical de Hiro Murai, com Donald Glover e Rihanna, e "Cópias - De Volta à Vida" (Replicas, Reino Unido, 2018), ficção científica de Jeffrey Nachmanoff, com Keanu Reeves. Tem ainda o Recado Cinéfilo, espaço para a voz do ouvinte, através de e-mails, mensagens e comentários. Mande o seu para contato@cinematorio.com.br.   O cinematório café é produzido e apresentado por Renato Silveira e Kel Gomes. A cada episódio, nós propomos um debate em torno de filmes recém-lançados e temas relacionados ao cinema, sempre em um clima de descontração e buscando refletir sobre imagens presentes no nosso dia a dia. Confira a minutagem deste episódio, caso você queira ir direto ao ponto: 00:07:51 - Dumbo00:41:44 - Suspiria01:12:00 - Guava Island01:21:15 - Cópias01:36:58 - Recado Cinéfilo Visite a página do episódio em nosso site e confira links para diversos materiais extras.

Talkin' Hiro Murai's new film with Carolyn Hinds

This week, we're joined by Jon Shieber to review "Guava Island," the new Amazon film from Hiro Murai and Donald Glover. We also discuss the final season of "Game of Thrones" — our reactions to the first episode and our predictions for what comes next.

I had the pleasure of talking with Director Schuman Hoque about his new British Sci-Fi thriller Beyond Existence (Strike Media & Capital Films) which is in it's final crowdfunding process. As well, as reviews of the new films from Trevor Nunn and Hiro Murai. So it's a long #EchoChamber but a fun one f'sure! This week we have: Red Joan Release Date: 19th April 2019 Director: Trevor Nunn Cast: Judi Dench, Sophie Cookson, Stephen Campbell Moore, Tom Hughes & Tereza Srbova Credit: Trademark Films, Lionsgate Genre: Biography, Drama, Romance Running Time: 101 min Cert: 18 ---------------- Guava Island Release Date: 13 April 2019 Director: Hiro Murai Cast: Donald Glover, Rihanna, Letitia Wright & Nonso Anozie Credit: New Regency Pictures, Amazon Studios Genre: Comedy, Music, Thriller Running Time: 55 min Cert: 12a ---------------- ***Beyond Existence*** Capital Films is delighted that their latest film, Beyond Existence is now in the production phase of development. One year on from principal photography, they’re picture-locked, and they’re confident there is no other British Sci-Fi feature film like it in terms of narrative or cinematography. The final mission for the team is to now secure final funding to complete visual effects on the film. Watch the trailer here. To help contribute to the film, follow the link to their IndieGoGo campaign. ---------------- ***DOOZY*** You can view the trailer here! Book tickets for the upcoming tour and find out about special guests via the website. ---------------- *(Music) 'Bleed It Out' by Linkin Park – 2007

Donald Glover may be one of the most talented artists working today so when he drops a movie suddenly, you drop what you are doing and watch it. With the help of director Hiro Murai and his brother Stephen Glover writing, Guava Island brings a lot of talents to the table in hopes of crafting something that is both timeless and timely. Listen in as we review this film as well as talk Star Wars: The Rise of Skywalker and Disney+.

Opinion, thoughts and review of Movie Guava Island starring Donald Glover and Robyn Rihanna Fenty directed by Hiro Murai

I began 2018’s words of the weeks with a list of the books that grabbed my attention in 2017, and I am going to end the year with a similar list, of the books and media that most impacted my thinking this year. So, without further ado, my list, presented chronologically in the order I encountered these cultural objects.Lincoln in the Bardo, George Saunders I have been reading widely enough, for long enough, that it is rare for me nowadays to encounter a book—especially a mainstream, prize-winning book—that truly does things with its form that I have never encountered before. Lincoln in the Bardo was the first novel I read in 2018, and remains the most singular, for its odd ghostly dramatis personae, and for the hauntingly uncertain, but undoubtedly moving, father-son relationship that binds the whole. Like the other two “big novels” that are on this list and on many other year-end best-of lists, this one is deserving of all the praise it received.Black Panther (Ryan Coogler), “This is America,” Childish Gambino and Hiro Murai, “DAMN.,” Kendrick Lamar This trio of meditations on blackness, violence, and power in America in some ways spanned two years (“DAMN.” was released in 2017, and I first listened to it in earnest that summer), but each made me rethink artists and genres in the winter and spring of this year. I hadn’t thought that a Marvel fantasy could resonate so deeply with a cultural moment—though I remember reading Black Panther comic books as a young boy and wishing for a larger window into the alternate reality of Wakanda. Childish Gambino’s virtuosic turn—as a dancer, first and foremost—in the brilliant video for his song directed by Hiro Murai, may be the image I most remember from this year. And this spring, I loved having the opportunity to sit with Brandeis middle schoolers and discuss how Kendrick Lamar’s Pulitzer prize for “DAMN.” (the first for a non-jazz or classical music album, ever) speaks to our cultural moment as a country. Each of these three pieces of art capture something of the despair and the hope around race in America, in a way that I am sure will resonate for generations.Holy Ghost, David BrazilI’ll let the poetry speak for itself.I’m reaching for your hand in the dark Ireach and reach and is it found howshall I find you in this kid owhere in waste is wisdom hid“Kids” Swimming in the Rain (New and Selected Poems 1980-2015), Chana Bloch I want the language of loversbefore they touch,when their eyes telegraphverbs only, becauseeach word costs.“Crossing the table” Basketball and Other Things, Shea Serrano A gift from a dear colleague (who clearly knows me very well), Shea Serrano’s hilarity and surreality as a documenter of some of my favorite entertainment industries (including rap music, along with basketball) is unmatched. No book made me laugh more this year. Lifelong Kindergarten: Cultivating Creativity through Projects, Passions, Peers and Play, Mitchell Resnick Our summer all-faculty read, this book by the MIT Media Lab’s Resnick offers many colorful examples of the power of play in creative thinking and work. His was an inspiring world to dip into, and to bring back to ours at Brandeis. Adam, Ariel Schrag Schrag was a classmate of mine at Berkeley High School, but this book came my way by recommendation from a Brandeis parent. An at-times cringe-inducing, often hilarious, and always eye-opening account of a boy’s engagement with the queer and trans communities in New York City, this novel was a powerful counterpoint to the work we have been doing as a faculty and staff around inclusivity and gender identities in the 2018–19 school year. There There, Tommy Orange For me, having grown up in the milieu of the American Indian Movement in the East Bay in the 1980s, Orange’s account of the same (in the decade prior) rang incredibly true, and hit very close to home. Not since Welch’s Winter in the Blood have I read an account of modern Native American life that feels so vibrant, so challenging, and so true. This one also had strong curricular ties at Brandeis, with the work we have been doing as a school with Facing History and Ourselves in considering our First Peoples’ curricula.Hybrid Judaism: Irving Greenberg, Encounter, and the Changing Nature of American Jewish Identity, Rabbi Darren Kleinberg Darren, the head of school at Kehillah Jewish High School in Palo Alto, gave me his book on a visit together last spring, and I have toted it with me in my briefcase ever since. His carefully researched and frankly brilliant account of our complexities, our hybridities, and our relativities as a Jewish community has given me much food for thought, and resonates deeply with many of our challenges and opportunities here at Brandeis. Ceremonial, Carly Joy Miller Long rivulet of mestrikes the ram horn.My name hymnsgod-bright in the lungs:Loosen me,revenant.“Letter to a Body Made Breath”The Overstory: A Novel, Richard Powers I am ignoring my own chronology by ending here, but there is no more apt place to end a list of what I read, heard, and saw in 2018 than with Richard Powers’s towering, beautiful, incredible novel. Here is what I wrote about it upon returning back to school, after the summer:The book makes the case for an entirely different understanding of trees—their relationships to each other, how forests communicate together, how they are connected both above and below ground—and especially our relationship to them. It is also a heartbreakingly beautiful novel. I finished it and saw the landscape around me with new eyes, aware suddenly of how little I know about the trees of California, the urban forest in San Francisco, or even the trees around my house. In reading the book, I was reminded of the power of sharing knowledge, of exposing our kids and ourselves to new learning, of the possibilities opened by seeing the world anew.And that, after all, is the point of reading, listening, and looking—to learn, to grow, to see this amazing world of ours anew.

Let's see if this leaked trailer is ripe enough. Asher and Chad break down the leaked trailer for the Donald Glover/ Rihanna flick "Guava Island", featuring Hiro Murai's feature film directorial debut!Movie Trailer: https://www.youtube.com/watch?v=4qxi3yGbPGoFollow us on Twitter:Movie Night Autopsy SamChadJon

Ciara Lacy is a documentary filmmaker whose most recent film, Out of State, features the stories of kanaka maoli who have been exported to penitentiaries on the continental United States. She also talks about the personal process of filmmaking and what drives her. And makes me act silly. Out of State's FB page: https://www.facebook.com/outofstatefilm/  Some other key thoughts: -There being a restorative process to the creative element -Upcoming Project: Ninth Island https://www.facebook.com/ninthislandfilm/  -Upcoming Project: The Last Taxi Dance https://www.facebook.com/taxidancefilm/  -Pop culture obsession: music videos, especially the collabs between Childish Gambino and Hiro Murai.

Atlanta's Lakeith Stanfield Didn’t Even Know Donald Glover Was Playing Teddy Perkins.

Fahrenheit 451, with briefer takes on Dear White People (season 2), The Handmaid’s Tale (season 2), The New Girl (the final season), Avengers: Infinity War, and director Hiro Murai’s work on Barry and Atlanta, among other topics. Paul and Elgin review #Fahrenheit451: Fahrenheit 451 (29:30) on HBO, adapted and directed by Ramin Bahrani and starring […]

If you follow me on social media you might have noticed I haven’t really said or reposted anything about the post recent school shooting. I don’t… I’m not sure what to say. It’s not even the most recent mass shooting any more. So far in 2018 there have been 102 mass shootings in the United States as of this recording on May 20th 2018 if the definition is a single incident where 4+ people are injured or killed by a shooter. If the definition is that the shooter has to kill 3+ there have been 13. I don’t really feel like splitting hairs on the definition. I’m currently living in Baltimore where so far this year 106 people have been murdered 94 of those people were shot. I also lived in London and so far in 2018 there have been 63 homicides only 9 of which involved a shooting. The UK’s gun laws are pretty stringent and assume that you don’t need one putting the onus of proof on the party attempting to get a license—very much the opposite of the US just like our justice system supposedly assumes innocence until proven guilty and their assumes guilt until the defense can prove innocence. I say supposedly because we get that wrong a lot especially when we try people with black and brown skin. Anyway, this 63 homicides is actually a rise in crime for the British city, even without the terror attacks. You may be thinking that there is a world of difference between Baltimore and London and it is not just the accents. You wouldn’t be wrong but you wouldn’t be right. The racism, sexism, classism is still there they just have nationalized health care and tighter gun laws. Sure, I’d go back to London with its 17% sales tax and a public transit system that shuts down everything but a literal night bus. I’d go back to New York where I heard gun shots at night and even the rats might sexually assault you. I’d go to a hundred other city’s and still not fault Baltimore. We all have our shit, each and every one of the places I have lived has been deeply flawed and I could enumerate them for you but I have a bigger point here. This is America where even our presidents have been gun shot victims. That hasn’t been enough. And I… I don’t have the answer. References: Hinahosa, Maria and Julio Ricardo Varela. “#110: LIVE from Chicago, Suave’s Story.” In the Thick. Futuro Media Group. 7 May, 2018.:http://www.inthethick.org/episodes/ Berkowitz, Bonnie, Denise Lu, and Chris Alcantara. “The terrible numbers that row with each mass shooting.” The Washington Post. 18 May, 2018. :https://www.washingtonpost.com/graphics/2018/national/mass-shootings-in-america/?utm_term=.3bf146da955e Casciani, Dominic. “Gun control and ownership laws in the UK.” BBC. 2 Nov., 2018: http://www.bbc.com/news/10220974 Snead, Florence. “London murders: a list of the victims killed in the capital so far in 2018.” iNews. 18 May, 2018. :https://inews.co.uk/news/uk/london-murders-a-list-of-the-victims-killed-in-the-capital-so-far-this-year/ Bond, David. “Sharp jump in homicides and violent crime in London.” Financial Times. 26 April, 2018. :https://www.ft.com/content/4df0da0a-4940-11e8-8ae9-4b5ddcca99b3 Robinson, Melia, Skye Gould, and Samantha Lee. “There have been 101 mass shootings in the US so far in 2018—here’s the full list.” Business Insider. 18 May, 2018. :http://www.businessinsider.com/how-many-mass-shootings-in-america-this-year-2018-2 Childish Gambino and Hiro Murai. “This is America.” VEVO. 2018. :https://www.vevo.com/watch/childish-gambino/this-is-america-(official-video)/USRV81800280 Ballentine, Lee. “How many US presidents have been shot?” Quora. 26 Nov, 2017. :https://www.quora.com/How-many-US-presidents-have-been-shot

Cory and Che talk about a lot of things they're excited about on this episode including Legion, Jason Aaron's Avengers #1, Hiro Murai, and much more.  But with the good always comes some bad and thus they also discuss Tom King's Booster Gold, Hasbro acquiring Power Rangers, and what happened to Comedy Central. All-Old All-Good Book Club: The Incal by Alejandro Jodorowsky Curse of the Rewatch: You Got Served by Chris Stokes Subscribe: Itunes | Stitcher | Google Play Twitter: @NextTimeOnPod If you have any questions or comments please email nexttimeonpodcast@gmail.com Intro track: Blerds Beats by Baronhawk Poitier

Episode Image by @kasprim Theme song HoodGrown by David-James @davedashjames_ https://soundcloud.com/davedashjames Transition music Nathan Peters @mztrwlsn @mrwilsonbeats https://soundcloud.com/mrwilsonbeats **Special music: Andy Williams “Its the Most Wonderful Time of the Year” TAG THE ARTIST: @kasprim @pronzy_perez @saviondraws @kevineleventh @thatlaundry @obiaris @artbyfitz @gogogoose @bmoesart FOR US BY US: Food project http://thefoodproject.org/ http://thefoodproject.org/volunteer WORD ON THE STREET: Puerto Rico Enters a New Age of Austerity https://www.theatlantic.com/politics/archive/2018/05/puerto-rico-enters-a-new-age-of-austerity/559565/ Protest in Puerto Rico Over Austerity Measures Ends in Tear Gas https://www.nytimes.com/2018/05/01/us/puerto-rico-protests.html METGALA https://www.metmuseum.org/exhibitions/listings/2018/heavenly-bodies https://www.metmuseum.org/blogs/now-at-the-met/2018/heavenly-bodies-fashion-catholic-imagination-introduction https://www.harpersbazaar.com/fashion/designers/a11653331/met-gala-2018-theme/ https://www.vogue.com/slideshow/met-gala-best-dressed-celebrity-red-carpet-fashion How Painting Helped a Wrongfully Convicted Man Get out of Prison https://www.artsy.net/article/artsy-editorial-painting-helped-wrongfully-convicted-man-prison I’m Not Black, I’m Kanye Kanye West wants freedom—white freedom. https://www.theatlantic.com/entertainment/archive/2018/05/im-not-black-im-kanye/559763/ KING PINS: Hiro Murai http://hiromurai.com/about/ http://hmurai.tumblr.com/ Hiro Murai is a Tokyo-born filmmaker based ouf of Los Angeles. https://www.sfgate.com/entertainment/the-wrap/article/Who-Is-Hiro-Murai-Meet-Director-Behind-Donald-12895134.php https://www.thewrap.com/who-is-hiro-murai-director-donald-glover-this-is-america-childish-gambino-atlanta/ https://blavity.com/7-things-you-may-have-missed-in-childish-gambinos-this-is-america-music-video Childish Gambino - This Is America https://www.youtube.com/watch?v=VYOjWnS4cMY Earl Sweatshirt - Chum https://www.youtube.com/watch?v=FCbWLSZrZfw A Tribe Called Quest - Dis Generation https://www.youtube.com/watch?v=kQaSDJYwdh4 Michael Kiwanuka - Black Man In A White World https://www.youtube.com/watch?v=-TYlcVNI2AM Flying Lotus - Never Catch Me https://www.youtube.com/watch?v=2lXD0vv-ds8 Clapping for the wrong reason https://vimeo.com/83651386 UNSUNG HEROES/history moves: Yuri Kochiyama https://www.npr.org/sections/codeswitch/2014/06/02/318072652/japanese-american-activist-and-malcolm-x-ally-dies-at-93 https://zinnedproject.org/2016/05/yuri-kochiyama-was-born/ GOOD LOOKS (interview): https://kasprim.bigcartel.com/who-am-i REALTALK: Can you be pro black and still date outside your race ? https://youtu.be/ZdLfErCdykY ANNOUNCEMENTS: Listen to Lemon Scented 2 by David-James Rate and review and subscribe to us on APPLE podcast Check out white wall review ! Daughter of Contrast www.daughterofcontrast.com/ @daughterofcontrst Amber @ambersafro HIT US UP! If you’re an Artist or know an Artist to be featured on the show please send us an image of the work along with a short bio and social media handles. If you’re a small business owner or know of a local boston business to be featured on the show please send u a short message and social media handles. If you would like to be interviewed on the show please email us and send us a short bio and or media. And please please please send us topics for real talk to HoodGrownAesthetic@gmail.com or message us on instagram or here on SoundCloud Please Review, Rate and Subscribe to us on Apple Podcast!

On this musically-driven episode of The WAFLcast (that's right we covered music), the hosts covered Childish Gambino (artist/actor Donald Glover) and Hiro Murai's (main director of FX's Atlanta) collaborated music video "This Is America." Also discussed on the News segment, News News, now we are commanding spiders how to jump (weird right). Even weirder, if you're married is DJ Khaled right or wrong for no oral? Also credit goes to all musicians (Donald Glover, Celine Dion) for their tracks, we don't want trouble for discussing and reviewing. The views and opinions expressed by those on the WAFLcast are those of the authors and do not necessarily reflect the official policy or position of WAFL Productions or its affiliates. Any thoughts or opinions expressed are not intended to malign any religion, ethnic group, club, organization, company, individual or anyone or anything. Freedom of speech, y’all! And please if you haven't yet, listen, like, share, repost, follow, and rate our episodes! We want to hear from you, dear listeners! Follow us for more of that WAFL behavior at waflproductions.com And everything else WAFL on... Facebook: www.facebook.com/WAFLproductions/ Twitter: twitter.com/WAFLProductions Instagram: www.instagram.com/wafl_productions/

Sweeping award shows and racking up critical acclaim, FX's "Atlanta" is a masterpiece in tone. One of the masterminds behind its success is the show's director and co-executive producer, Hiro Murai. Hiro joins Michelle to break down his role on Atlanta and how he came to join forces with the show's creator Donald Glover. He highlights his career directing music videos and explains how his aesthetic in that genre translates to this narrative series.

We had the opportunity to see a couple episodes of "Atlanta" Season 2 and speak to some of the stars of the hit show, so of course, we are sharing the wealth with our listeners. The show premieres on 3/1, so before you watch it, hear our take on the series plus get insight on what Donald Glover and producers Hiro Murai and Stefani Robinson had to say.  To cap off the show, BrandenLSK also gave his opinion on Monique's fight with Netflix and her current media run. Hit us on twitter @day1radio to let us know if you agree or disagree.  Day 1 Radio podcast is available on Apple Podcasts, Stitcher and CLNS Mobile Media app. Follow us on Twitter, FB, and IG at @day1radio

This week Christian and Jared talk with creative producer Saul Germaine. Saul has worked with directors Alejandro Gonzalez Inarritu, Anton Corbijn, Grant Singer, Hiro Murai, Mark Romanek, Miles Jay and Olivia Wilde. Additionally, he has produced projects with artists like Jay Z, Justin Timberlake, Lady Gaga, Lorde, Red Hot Chili Peppers, Taylor Swift, The Weeknd and U2 and is a frequent collaborator with Anonymous Content. This week's Musicbed track is "Bound" by JMR. https://www.musicbed.com/songs/bound/27527 Goodthepodcast.com cubbysounds.com christianmschultz.com jaredhogan.com

It can be argued that Sofia Coppola is easily one of the most respected female directors of this generation. Growing up within the film industry, it is no surprise that many of her films touch on themes regarding the nature of fame. In episode five of Changing Reels we weigh the merits of The Bling Ring, Coppola's 2013 ripped from the headlines film about celebrity obsessed teens whose love of fame leads to them stealing from the very same stars they adore. We also discuss our short films picks of the week: Hiro Murai's Clapping for the Wrong Reasons and David Raboy's Giant.

Everything’s poppin’. Music video directors are winning awards at Sundance, there’s a new Hiro Murai video to watch, and best of all, Zayn (formerly of One Direction) has made it very clear he likes sex (a lot). Join us this week to celebrate!

Doug, Adam, and Adam from Fringe Music Fix celebrate the 100th episode of the IMVDb podcast with some of their favorite clips from past shows, including segments with Hiro Murai, Evidence, Emily Kai Bock, Dugan O'Neal, Saman Kesh, Ben Fee, Mayer/Leyva, Cameron Duddy, and Saul Levitz. Plus, Lady Gaga's latest epic and Shakira's "Empire" are discussed.

Our boys Hiro Murai and Ryan Reichenfeld join Doug and Adam for the whole episode to talk about maximizing their potential, 80's crash test dummy commercials, and joys of rotoscoping.

In episode 9, Doug and Adam talk to Hiro Murai, director of videos for artists like B.o.B., Usher, Lupe Fiasco, The Fray and more! Plus, Doug and Adam discuss the genre of funny music videos.