Top 83 Quotes & Sayings by Hiro Murai
Explore popular quotes and sayings by an American celebrity Hiro Murai.
Last updated on November 21, 2024.
I really enjoy blocking and staging. I think most of visual storytelling is camera placement and how to stage action around the camera.
I remember, when 'Atlanta' first happened, I didn't know what to expect. It felt like it was a lot of responsibility.
I thought there was a way of marrying what I wanted to do with filmmaking with pop videos, which I found out through a couple projects just wasn't possible. That's not saying anything about the artist. If you're making an Usher video, you're making an Usher video, not a film with an Usher song in it.
I just got a Filmstruck account so I can watch all of those Criterion movies streaming. I've been nerding out about that.
Once you go outside of Atlanta, there are still a lot of Klan rallies and whatnot. There are a lot of conflicting elements that are trying to solve itself in that city.
'Twin Peaks' was my gateway for David Lynch.
As an Asian guy, I would love to see a big blockbuster with Asian lead characters.
I like absurdist aesthetics. There's something about dream logic that's really fascinating, how it interweaves with narrative.
A TV show has to be a certain length and, you know, you have expectations from the viewers. You know, you want to see the characters again, or you want to see certain dynamics between the characters or certain kinds of storylines. And you kind of figure out how to best fit what you want to say into that format.
I grew up listening to hip hop and embracing black culture, probably because it was 'outsider art.'
I like stories where it feels like you're only seeing a small window of a bigger world.
I love David Lynch movies, and I like Haruki Murakami books.
I used to be terrified of heights as a kid.
If I were FX, I wouldn't have hired me.
It might sound naive, but for me, you know, for me, the important part is kind of making process. So I'm not super result oriented, and I just, like, kind of getting lost in the process of making something.
I think to truly not know what to expect out of the story - to create a world where nothing is guaranteed - is sort of the backbone of 'Atlanta.'
Most of the time, I can't listen to the song after the video's done. Sometimes I'll hear a song that I've worked on at a restaurant or on the radio, and I'll have this visceral physical reaction.
We always talk about how, obviously, there is still very in-your-face aggressive racism. But there's a lot of passive racism that, in the moment, you don't even realize is racist. You chalk it up as a strange interaction you had, and then you look at the context of it later on and realize the root of it was racism.
Two things - one is obvious: always keep making. The second thing, with regard to music videos specifically - the music video industry can be a place that takes advantage of young freelancers and filmmakers. Make sure you're making stuff that you're proud of and you can get behind.
TV is generally an unfriendly environment for directors because you're expected to come in and tell a story in the voice of the show that already exists and just fill in the blanks and then submit it back.
I usually work in music videos, where we shoot, like, 10 to 12 setups and 60 shots or something.
I like shooting locations just because too much control on the stage can be a bad thing.
In Japan, animation is a big part of your media diet. I moved out to Los Angeles at 9, and when I got homesick, I would watch anime.
A lot of weird things happen in life that are not always pertaining to your main objective.
I think music videos in particular and film in general - it's really good at communicating tone and feeling.
A lot of my personality and my affinity for certain pieces of pop culture and art all stem from a sort of Japanese aesthetic and way of thinking.
Regularly in music videos, I'll write the pitch and convince the artists that this is a good idea, and then I'm having to make concessions to meet in the middle.
Most of the time, I'm a little bewildered or sort of feel out of place.
I'll listen to a song so much that ideas start to form out of daydreaming. It's as if I'm reverse-scoring the track and building visuals around a specific beat or riff that's grabbed me.
It's very easy to fall into a rut where you're just making things that you don't believe in for other people.
Every time I've rushed into something, that's usually when I have regrets.
Your understanding of culture can be very skewed sometimes, depending on what you're taking in!
The weird thing about having an alligator on set is that you can't be in the direct line of sight, or they might start charging at you.
That feeling of wavering between reality and supernatural has always been really interesting to me.
I did a short film with Donald Glover for one of his Childish Gambino projects, and Flying Lotus was an actor in it.
Music videos were an outlet. They were the jobs most easily available to me, but creatively, they're also so free form; there are no rules whatsoever.
I've loved music all my life.
It's something that I've always been attracted to, that idea of letting everything happen in a single frame.
I'm a first-generation Japanese immigrant.
I was fortunate to work on a few episodes of 'Barry' right before we shot 'Atlanta.' That was where I got my training wheels for action coverage.
The most difficult thing about music videos is that a lot of young filmmakers come into the medium, and they have so many different ideas, but they need to understand what the musician wants.
Pilots are tricky because there are so many things you have to accomplish.
I got into film school thinking I was going to make features, like every other film geek.
Whether it's a TV show or a music video, the seed of the idea is what's driving my decisions, not the format or the outcome.
Part of the fun is finding out how elastic that box is and, you know, test the limits of what TV shows can do or what a music video can do.
In the case of, like, Childish Gambino, he is someone who is a writer by trade, so he is very meticulous about how he writes his ideas. I don't do this with a lot of artist, but he would give me a treatment that he wants to do, and I'll go off that; then I'll give him feedback and pitch him my ideas.
I'm one of those people who keep a dream journal.
I've never been robbed in person, but I've gotten my car broken into a couple of times.
I never thought of myself as a TV director.
I don't know why, but even my nighttime dreams are very, very rooted in reality. They just start to become surreal, little by little. That exact moment when you're about to realize that this might be a dream is my favorite thing.
'Atlanta' changes genres a lot per episode.
Directing action scenes is really just pure visual storytelling that just makes sense to me pretty intuitively.
In a lot of comedy shows, there's a safety net where you don't assume anything of real consequence will happen.
Some people draw a line between music videos and short films, looking down on music videos as a format, but there's so much potential in music videos.
I think a season of 'Atlanta' bounces back between classic sitcom structure and genre movies.
When we were making 'Teddy Perkins,' we were playing with a lot of horror tropes and things you might've seen in movies before, but we get the ability to subvert expectations or get a comedic element out of a horror moment.
FX is a network; that's their whole model, letting creators make the thing they want to make and then marketing it really well.
'Atlanta' is Wild West-y - every corner of the city is trying to get by under its own rules. There's no single narrative. At the outer edges, the overgrown parking lots and project blocks, the city is a few yards away from apocalypse, and if you slow down, it could engulf you.
I'm an immigrant, and I think being an outsider in your home is something that I really relate to.
I've always preferred being behind the camera.
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