He was a handyman, which is why we also had his workshop in the basement. We packed his basement with all the survivalist’s gear and food we could find. One of the backstories for Hugh Jackman’s character in PRISONERS was that he was sober and a survivalist. Characters come to life while reading, and I try to build the interior around who I think they are. Galline: I pull most of my guidelines from the script.
Please tell us about some of your chosen guidelines for creating this authenticity. SET DECOR: You know Atlanta so well and have done numerous productions where you have brought us the reality of everyday life in a community, as well as subtlely defining it.Ī great example other than this film would be the depiction of a working-class community in Pennsylvania for PRISONERS. You can find almost anything here – though we are a little shy on palm trees. Atlanta offers quite a bit as far as options go. This enabled us to get the right look for Garden Heights, yet also find more upscale neighborhoods. Galline: The neighborhoods and homes we filmed in were very welcoming. It had the feeling we were looking for, and the city was very open to having us there.” “Atlanta is a very popular place to shoot because it has many different looks and we were able to find a match for Jackson, Mississippi as Angie had in mind for the book. He became close to Angie and also wanted to represent her book well. He strived to make the best film with the most awareness daily. George was very aware of the issues within this film. He reaches in and discusses things he knows about and trusts the rest to you if he doesn’t. He speaks with his whole body and you can’t help but get excited about the project or the set while talking to him. SET DECOR: Please tell us about collaborating with director George Tillman. Galline talks with SET DECOR about working with Tillman and Arnold to help bring to life Angela Thompson’s acclaimed best-selling novel. In order to do so, he relied on Production Designer William Arnold, Set Decorator Frank Galline SDSA International and their teams to create authentic environments that give a depth of history and insight into characters and their community.
STARR THE HATE YOU GIVE FULL
* Editor’s note: For full synopsis, see below.ĭirector George Tillman said, “I wanted to make a film that feels modern for a young audience, but, also for a universal audience that creates a dialogue about important issues about race, social justice, and identity.in order to move towards peace and change.” Now, facing pressures from all sides of the community, Starr must find her voice and stand up for what's right. The uneasy balance between these worlds is shattered when Starr witnesses the fatal shooting of her childhood best friend Khalil at the hands of a police officer. Starr Carter is constantly switching between two worlds: the working-class, mostly black neighborhood where she lives and the rich, mostly white, prep school she attends.
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