![]() ![]() I felt certain people would know what I was talking about. HK: At the time I wrote that I was pretty messed up in the head. For me, the interesting parts of the poetry of art reveal themselves in mistakes, idiosyncrasies, and the interpretation of accidents.īLVR: When you put out that manifesto a few years back, did you want people to follow your lead? HK: That’s something I talked about a long time ago, and I still feel strongly about it. I like perfect nonsense.īLVR: This type of thinking sounds like it’s connected to the Mistakist Manifesto you put out a few years ago. ![]() I just never really cared about perfect sense. Or maybe it’s not nonsense so much as an imperfection, things that have an emotional sense, rather than any kind of laid-out logic or standard set of rules. HARMONY KORINE: Things that don’t always add up, jokes with no punch lines, or things where there are pages missing in all the right places. I have a certain idea of what that word means, but I’m wondering what your definition of it is. THE BELIEVER: You’ve said that your artistic goal is nonsense. If he was lying about anything, he lied joyously-in search of some pure entertainment. I interviewed Korine on the phone, while he was at home in Tennessee, near the neighborhood where Trash Humpers was filmed. Like Werner Herzog, a close collaborator and friend, Korine is less interested in clinging to meaning than he is in searching for it, wild and naked, in the worst part of town. Much of Korine’s work can be linked to his early “Mistakist” Manifesto, which describes art as an experiment with accident, rather than an expression of self. Throughout his life, Korine has created art in a variety of mediums-drawings and photographs for art galleries, fanzines with the poet Mark Gonzales, music videos, a fractured experimental novel, cameo roles for mainstream films, and Pass the Bitch Chicken, a collaborative book with the artist Christopher Wool. The entire film was edited with a couple of VCRs. The primary actors were Korine and his wife, Rachel, who slept under bridges for character development. This vision comes to a head in his new un-film, Trash Humpers, a disturbing and raw “home movie” about a gang of criminally insane elderly people who do terrible things to their neighbors (and hump trash). Two recent films, Julien Donkey-Boy and Mister Lonely, contain some of the most elegant, lush images in memory, and yet Korine’s bleak vision of reality aches persistently at their core. His work is distinctly American in its subject matter, but has almost no relation to American cinema. In both his life and work, Korine ignores coherent narrative, sense, and the line between fiction and truth, all in the pursuit of a purer form of entertainment, an experience untethered to culture or trends. These anecdotes, whether true or whoppingly fat lies, are a part Harmony Korine’s unified vision. After directing Gummo, a dirty collage of a film about backwater life, he told interviewers that he hoped the film would play in shopping malls, that his next project was an adaptation of Joyce’s Ulysses starring Snoop Dogg (as Leopold Bloom), and that, during the shooting of the film, he had found “a piece of a guy’s shoulder in a pillowcase.” ![]() ![]() Later, he told Roger Ebert that he had lost touch with his father but had recently spotted him on Canal Street selling turtles. After writing the screenplay for Kids at nineteen, Harmony Korine appeared on Late Night with David Letterman and talked about his father’s friendship with the legendary tap dancing duo the Nicholas Brothers. ![]()
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