Harmony korine favorite films11/15/2023 ![]() ![]() When asked if his work is "quintessentially American": "I probably am the most uniquely American director in the world. Where you can just blindfold yourself, and put your hand in the movie, and pull out a scene, and get something from that scene, without having to see what came before or after it." Maybe I can take them out and put them together.' I wanted to make movies that were like that. 'Fuck, why'd they waste twenty minutes to get to that part? And then I have to waste another twenty minutes to get to that part? I just want to watch that part and that part. When asked about his screenwriting process: "With movies, as a kid, I always wanted to get to the good parts. Not because of a technique, but because he's just great, as a person. ![]() How you're prepared to dominate the situation. It's not so much a technique or it's not so much a way of doing things, it's what you are. They're a reflection of who you are as a human being. Why he's a great filmmaker:"The great films and the great directors, they're a reflection of the person. And then all the meaning is the residue of that. where the surface of it was like candy, or something. I wanted to infiltrate and subvert that shit in a deep way. On whether he was actively courting the mainstream with Spring Breakers: "I was sick of making movies that not many people see. I guess we were delusional but I thought we were going to reinvent the tap game." We would steal all these parking lot curbs, and buy tap shoes, and take the laces out. Their dad invented the Choose Your Own Adventure novel. I used to be very close friends with these two kids - both now in jail, on death row. I have a video, you can watch it, of me tap dancing, it's called Curb Dance. As a kid, I was obsessed with the Nicholas Brothers. On tap dancing, which has shown up in his work often: "I just always liked tap dancing. You're seeking oblivion, you know? Now it's a culture of display, a culture of performance. I called them up three months later, and they were like, 'Oh, we were going to call the FBI.' I was just living life. I remember one summer, I forgot to call my parents. It was before Internet and cell phones, you could just get lost for days, people didn't really care. On growing up: "I was a skateboarder, and my parents didn't care so much what I did, and I just lived out on the streets with my friends. And how does he do that? By saying things like the following: So what does a man do, when he doesn't want to respond honestly to anything? In Korine's case, he does what his films do: He subverts, contradicts, mythologizes, and turns everything into a form of absurd performance art. One night he said he still does acid, the next that he hasn't done drugs in years. When people would ask about his history, he'd cite memory loss, arguing, "I did a lot of drugs." Whenever someone prodded him about the meaning of the more abstract elements in his films, he'd say, "I'll never tell you." He cited Michael Mann's Miami Vice as an inspiration for Spring Breakers, a year after telling me personally that it wasn't. Not Korine, American indie cinema's perpetually addled, misbehaving, middle-aged enfant terrible ( Kids, Gummo, Julian Donkey-Boy, Mister Lonely, Trash Humpers, Spring Breakers). ![]() Some artists use interviews to illuminate their works, other use them as a form of promotion. That was made clear when he came to the Harvard Film Archive for two nights worth of question-and-answer sessions recently. And he doesn't want to answer your thoughtful ones, either. Harmony Korine doesn't want to answer your stupid questions. ![]()
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