The first part of that answer is he’s building Gilga, which is currently raising capital and recruiting collaborators across creative disciplines. And according to a man I just met named Connor – picture Jesus in denim, and as a white man – the other part of the answer is: olives, bananas, and coffee. Connor is here helping with the agricultural wing of Gilga. He rattles off the harvesting plan as he and Glover overlook one of the newly grubbed fields. “Coffee would be greeeat,” Glover mutters, squinting in reverie. He says he finally watched a documentary that Connor recommended called Regenerate Ojai, which is about the dangers of giving children fruit and vegetables sprayed with chemicals. “Any way I can help get more folks to see it, just say the word,” Glover says to Connor. White Jesus nods and thanks him.
Over the course of a week in February, Donald Glover and I spoke at length about all kinds of things: His multiple partnerships with Amazon Studios that allowed him to make Guava Island with Rihanna; Candace Owens; house parties in Hollywood; watching Saturday-morning cartoons; his father’s passing. We talked about the time he had to have emergency surgery on his face while filming the upcoming Mr & Mrs Smith series that he’s producing and starring in and the time The Weeknd asked him and his friends if they were “real n-ggas,” which apparently happened at Drake’s house.
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But 39-year-old Glover is mostly preoccupied these days with elevating taste and quality for the masses. It’s his favourite thing to talk about. The goal with Gilga, he says, is to only put out the freshest entertainment and art. “You know how you go to a farmers’ market and you ask for peaches, and they don’t have any because they’re out of season?” Glover says. “Peaches have a season! I’m not gonna sell you shitty peaches just because you want a peach now.”
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One of Gilga’s first projects will be a short film created by Malia Obama, who cut her teeth in the writers’ room for one of Glover’s Amazon projects. He’s been mentoring her. “The first thing we did was talk about the fact that she will only get to do this once. You’re Obama’s daughter. So if you make a bad film, it will follow you around,” says Glover, underlining the importance of quality.
“Understanding somebody like Malia’s cachet means something,” says Fam Udeorji, Glover’s longtime collaborator and creative partner at Gilga. “But we really wanted to make sure she could make what she wanted – even if it was a slow process.” He puts the Gilga mission this way: “It’s more about diversity of thought than just, like, diversity for optics. You know what I mean?”
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