Sun damage by harmony korine12/5/2023 So, narrative always felt like a place for disruption.”įor a long time, he tried to do this in conventional feature filmmaking, often hand in hand with studios. It’s almost as much about what’s missing as about what’s there. Then it jumps to like, you know, my grandfather on his deathbed.’ There’s a story. I was like, ‘Wow, this goes from me on the beach skateboarding in South Carolina in the ’80s. And, like, she’d put them all behind plastic. “And I was like: Why can’t you just make a film that consists entirely of those scenes? Why do you have to waste all this time with people having conversations at a coffee table, at a dinner table? I remember looking at these books that my mom made that were just photos of us as kids. “I would always just remember, like, one or two scenes that would stay with me,” Korine says. Korine’s films have always been a response to this feeling, that there were things to be made that did away with the artificiality, the contrivances of plot, of backstory, of context, and went straight to the good part. Even the dialogue, it all sounds like it’s written by the same person. “They just all feel like they’ve been so processed. Especially in the modern era of streaming and increasingly consolidated production, there was an artificial quality to movies that Korine couldn’t help but notice. “They became less and less interesting,” Korine says, lighting a cigar and staring at the ocean. But at some point, as he got older, his relationship to the movies changed. To ask what was fake and what actually happened, as I spent a lot of time doing in 2019, was to misunderstand the project, which was always about trying to bring into existence a category-less world Korine could sense right around the corner, a world he was doing his best to create in his life, his films, and his other artwork.Īs a student at NYU, Korine would often spend nearly all of his waking hours watching one film or another. Subsequent movies, like Gummo and Trash Humpers, went further, doing away with narrative almost entirely, even while Korine often employed nonactors and other techniques to make the films feel, well, real. Korine’s art has always pushed on reality in fascinating ways: Kids both starred and was about Korine’s real-life friends, and showed them exactly as they were, but in the context of a lurid and entirely fictional plot, which unnerved audiences then and made the film a sensation. Rereading what I wrote about our encounter now, I have the distinct feeling of missing the point. Korine has led many lives, all of them fascinating, and I spent a lot of time trying to pin him down on the details of those lives: Did he really punch Meryl Streep backstage at an appearance on the Late Show with David Letterman? Was Leonardo DiCaprio really a cameraman on Korine’s lost film, Fight Harm, a comedy consisting entirely of footage of Korine starting fights with strangers on the street? Why did the various houses he was living in have a way of burning down? And so on. I was there to write a profile of him loosely tied to the release of The Beach Bum, which stars Matthew McConaughey as a talented but reluctant poet. ![]() When I first met Korine in 2019, it was at his painting studio, which is in Miami’s Design District. ![]() ![]() Not to be reproduced without permission.The question is, says Korine, “How do you take the whole idea of entertainment, of live-action gaming, and create something new? The obsession here is that there’s something else after where we’ve been-that one thing is dying, and something new is being born right now.”
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