George was also involved with Starr’s bedroom, which, again, we based heavily on the book’s description. I did a show and tell with him for that set, so there wouldn’t be too many surprises. He was very clear and very specific about how it should feel and different things that should be in there. The set he was most concerned with and had the most to say about was Khalil’s bedroom. On more than one occasion, you could hear George say, “I want the grit. I would send him photos of the sets when I finished to be sure he would be good with them when he arrived. Because the book was so popular, we wanted to stay right with that fan base. Galline: George’s main requests were things that Angie had in the book. SET DECOR: Speaking of the director’s involvement, did he have any specific elements that he wanted you to include? Any specific requests/feedback? “This is just like my Gramma’s house” was heard more than once. Plastic upholstery over the seat cushions etc. Khalil’s grandmother should feel like his grandmother. That worked out pretty well.įor THE HATE U GIVE, we scouted several homes that lent me a great deal of insight to the interiors of Garden Heights. It took a bit of talking, as he was sure I was a scam artist but eventually he agreed. I went to a yard sale and convinced the homeowner to rent me his entire shop that I spied in his garage. 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.
#The hate you give khalil 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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