DOCSLIB.ORG

Txt Henric F

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Txt Henric F Larry Clark : “an eye in the storm” (un oeil dans la tempête) Interview by Raphael Cuir (06.02.07) Raphael Cuir: Your photographic work has been related to that of Robert Frank and Diane Arbus, do you souscribe to these connections ? Larry Clark: People like Robert Frank inspired me. But I was really influenced more by people like Lenny Bruce. He was all about the truth and he cut through the bullshit and he was always commenting on the hypocrisy of America, which I was living and seeing, that was important to me, so I was really influenced by those kind of people. RC: - Concerning the Tulsa series, you were really part of the scene you photographed, you were really into it, having drugs and sex with those people on the photographs – how did you manage though, to take the photographs ? LC: Well, you know I’ve had a camera in my hands since I was super young. And then I just had this epiphany one day that I could photograph my friends, cause I’ve never seen anything like this. I was coming out of the 1950s where everything was repressed and back then in America, there was no talk of drugs and things like that, it wasn’t suppose to exist, but it did exist. I was just kind of practicing my photography at first and if you look at the Tulsa book its mostly rooms. So we’re talking about fairly small confided spaces and the Leica was very quiet, I couldn’t have done it with a simple reflex camera, where the mirrors smash together, the Leica was very, very quiet and everybody got used to it pretty quickly. It was more like, if I didn’t have my camera, it was “Larry where’s your camera?” as opposed to, “you gonna take my picture?”. I was just part of the scene, and it was very organic, it really came from a place where there was no thought ever to show the pictures or publish the pictures or anything for a while, and it was very intimate in that way, and I’m very close to the people with a 50 mm lens, so I’m like right here. RC: For you there’s a cinematic quality in the Tulsa series ? LC: The book is laid out like a film, you’re seeing the same people over a period of years so it becomes visual anthropology. I was seeing it as a film, I mean I was in the scene, but I was able I think to be two people at the same time. I had lived in Tulsa and when I was 18, I went to a photography school for two years, which was in the basement of an art school. And my friends were artists students who were sculptors and painters, and I realized what was going on, and I saw that you can use anything for self expression and I happened to have a camera – I would have preferred to have been a painter or a sculptor, anything but a photographer a writer even – but I happened to have a camera. RC: I was wondering how the drugs would affect your perception and if you could feel it ? LC: I became much more focused; very, very focused. I mean, I was a very hyper kid, super hyper kid. Many kids today if they show any sign of being hyper active, they give them Ritalin to slow them down or to calm them down they give them some kind of speed. When you have ADD or something, your brain is moving so quick that you can’t focus, you know ? There is too many things going on, and the speed like levels you out or equals you out. And so maybe, just by accident, I fell into this world of drugs that calmed me down a bit, and leveled me out and gave me this terrific focus where I could make these photographs. RC: It’s kind of the reverse of what you’d expect ? LC: There is this calm in the storm, in the eye of the storm, that I would find through speed. So I was actually self-medicating myself without knowing what I was doing. And I think that calmness enabled me to make photographs, like in the book, especially when there was so much going on, and even when there wasn’t a lot going on, it was all, I guess, interesting to me. RC: How did you shift from photography to movie, how did you decide that the next thing had to be a movie, especially a movie like KIDS, which was certainely not the easiest way to start as a film maker ? LC: I always wanted to be a film maker, but I was so involved in the lifestyle and got so crazy with the lifestyle of the outlaw and drugs and drinking, that I wouldn’t have been able to make a film, I was just too fucked up. So finally, I just said its now or never, I want to make a film. I saw some films that were being made… People called me up and said “you got to see Gus Van Sant's Drugstore Cowboy, this guy’s doing you”, so I went to see the film and it was a good film. But my reaction was this guy is on my turf, I should be doing this. So I just decided I was going to make a film and I went on a personal kind of rehabilitation, I cleaned myself up and got myself together. I knew that I had to clean up my image to get anybody to give me money to make a film and to be taken seriously. I’d done a lot of crazy things, this is a reputation I still have. But I came out and was able to do this and I’d done so much autobiography that I wanted to make a film that wasn’t about me at all. I had three kids then and my son was twelve. He was approaching adolescence and my daughter was younger and I have another daughter who’s older from the outlaw years. And I said, well I want to make a film about contemporary teenagers that I really didn’t know anything about, that wasn’t about me and that’s kind of what started it. I explored that and looked around, and I thought that the skateboarders were the most interesting certainly, visually exciting and interesting and they were treated like outlaws and everybody was afraid of them and hated them. Adults and cops were freaked out by skateboarders, and I decided that it was because they had so much freedom that they could go anywhere and do anything and were totally self reliant, so I started exploring that world. I hung out with skaters from around the country for about three years before I got the idea for the film RC: But KIDS doesn’t seem to be so much about skating ? LC: I wanted to show what was going on with this group of downtown skaters in New York I met, and there is very little skating in that film but it’s actually a skateboard film, a film with almost no skating in it. Everything in that film was true and I’d seen a lot of it happen and I knew for a fact that there were also other things happening and I wanted to show this life, but I didn’t have anything to hook it on. I understood if I made a film that showed all of these scenes without some kind of hook that it wasn’t going to work very well. I knew this kid, this 15 year old kid, in Washington Square. And safe sex was being discussed constantly because they were going to give out condoms in the high schools in New York. The catholic church was against it and there was this controversy, it was front page headlines, and the planned parenthood organization was going around New York and giving away free condoms, that summer, to everybody, and kids were walking around with strings of condoms around their necks and condoms everywhere and safe sex. And this one kid I’m talking to he says, “I practice safe sex, I only fuck virgins.” And over the summer I watched him deflower a couple of virgins and he would take these young girls, he was very young himself, and he was very nice to them. And so I got this idea about a girl who gets AIDS from one sexual encounter, which is the only thing in kids totally made up. RC: Why do you call yourself a moral filmmaker? LC: Well there’s a moral center to all the films. I think : consequences, you know ? Since the Tulsa book, I’ve been called many, many names, “pornographer”, “child pornographer”, “garbage”, “trash”, “he’s romantizing drugs”, and on and on and on… But there is a moral center to all the work and the moral center is consequences. Consequences for everything that we do, and that’s just a fact. RC: There is the question of the aesthetic of violence, if you wrap violence in aesthetic then you might give it some appeal, it’s like legitimizing it … ? LC: I think that regarding the violence that is shown in my films and in the photographs there is always a price to pay for looking at the work.
Load more

Recommended publications
  • HARMONY KORINE: Shooters
    G A G O S I A N G A L L E R Y July 24, 2014 EXTENDED! UPDATED PRESS RELEASE GAGOSIAN GALLERY 821 PARK AVENUE T. 212.796.1228 NEW YORK NY 10021 E. [email protected] HOURS: Tue–Sat 10:00am–6:00pm SUMMER HOURS (Through August 29): Mon–Fri 10:00am–6:00pm HARMONY KORINE: Shooters Through Tuesday, July 29, 2014 Gagosian New York is pleased to present “Shooters,” an exhibition of recent paintings by Harmony Korine. From Kids (1995), a meditation on New York City youth, to Spring Breakers (2012), a contemporary film noir in which four college freshwomen are drawn into a murderous labyrinth of events, Korine’s films of the past twenty years merge reality with fiction and shaky “footage” with precise editing, holding viewers’ attention to the split second and thereby suspending disbelief. His heady mix of the unplanned, the seductive, and the outlandish crystallizes in his lesser-known paintings. Bypassing brush and art paint in favor of squeegees, leftover household paint, and masking tape, he creates loosely sequential images that echo the sonic and visual leitmotifs of his films. In Starburst paintings, he sticks overlapping segments of masking tape to the center of an unprimed canvas, then uses a broom to spread primary red, yellow, and blue dyes over the surface. The tape is removed to reveal bright, irregular stars shining through colorful mists; the final compositions are characterized by a spontaneous, explosive radiance. Loop Paintings are the result of a process somewhat related to filmmaking: Korine cast young men and women, made them up as elderly people, and photographed them in alleyways.
    [Show full text]
  • Aaron J. Petten
    Aaron J. Petten The Ohio State University Telephone: 614.292.7481 Department of History of Art E-mail: [email protected] 305 Pomerene Hall 1760 Neil Avenue Columbus, OH 43210 Education 2012 Ph.D. Film Studies Title: The Grotesque and / in / through Film Supervisors: Dr. Paul Dave, Professor Mike O’Pray, Dr. Andrew Stephenson Examiners: Professor Julian Petley, Professor Martin Barker, Dr. Valentina Vitali University of East London School of Arts & Digital Industries 4-6 University Way London E16 2RD United Kingdom 2000 M.A. Film & Television Studies Universiteit van Amsterdam International School for Humanities and Social Sciences Prins Hendrikkade 189-B 1011 TD Amsterdam The Netherlands 1999 B.A. Interdisciplinary Studies (Cinema Studies & Popular Culture) Temple University The College of Liberal Arts 1114 West Berks Street Philadelphia, PA 19122 U.S.A. Employment History 2014 Lecturer The Ohio State University Department of History of Art 217 Pomerene Hall 1760 Neil Ave. Columbus, OH 43210 U.S.A. Aaron J. Petten Curriculum Vitae Page 1 of 6 2005-2010 Permanent Lecturer University of East London School of Architecture & Visual Arts (Now School of Arts & Digital Industries) 4-6 University Way London E16 2RD United Kingdom 2004 Sessional Lecturer University of East London School of Humanities & Social Sciences (Now School of Arts & Digital Industries) 4-6 University Way London E16 2RD United Kingdom 2001-2005 Sessional Lecturer University of East London School of Architecture & Visual Arts 4-6 University Way London E16 2RD United Kingdom Publications • “The Narrative Structuring and Interactive Narrative Logic of Televised Professional Wrestling.” New Review of Film and Television Studies 8.4 (2010).
    [Show full text]
  • A Collection of SUPREME Skateboards & Accessories
    A Collection of SUPREME Skateboards & Accessories New York A Collection of SUPREME Skateboards & Accessories of SUPREME Skateboards & A Collection 10 December 2019 17615 A Collection of SUPREME Skateboards & Accessories AUCTION 26 November – 10 December 2019 Bid Online at christies.com/handbagsonline (Lots 190–295) This Sale will begin closing at 10 am EST on 10 December 2019 with Lot 1 REGISTER AND BID www.christies.com/handbagsonline In sending absentee bids or making enquiries, this sale should be referred to as 17615 VIEWING Friday 6 December 10.00 am - 6.00 pm Saturday 7 December 10.00 am - 6.00 pm Sunday 8 December 10.00 am - 6.00 pm Monday 9 December 10.00 am - 6.00 pm Tuesday 10 December 10.00 am - 5.00 pm SPECIALISTS CLIENT SERVICES Tel: +1 212 636 2000 Caitlin Donovan Email : [email protected] Head of Sale Tel: +1 212 641 3734 POST-SALE SERVICES [email protected] Ariel Chen Tel: +1 212 636 2339 Madeline Lee Hideko Nara Junior Specialist Tel: +1 212 636 2341 Tel: +1 212 641 7572 Post-Sale Coordinators [email protected] Payment, Shipping, and Collection HEAD OF SALE MANAGEMENT Tel: +1 212 636 2650 Devon Elovitz Email: [email protected] Tel: +1 212 641 5776 [email protected] CONDITIONS OF SALE Our Conditions of Sale • Buying at Christie’s INTERNATIONAL BUSINESS DIRECTOR contain the terms of our contract with you. Anoushka Mohamed By registering to bid in this auction and/or by bidding on any lot(s) in this auction, you agree GLOBAL MANAGING DIRECTOR to be bound by those terms.
    [Show full text]
  • What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
    What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs.
    [Show full text]
  • “Highlights of a Trip to Hell” Contextualizing the Initial
    “Highlights Of A Trip To Hell” Contextualizing the Initial Reception of Larry Clark’s Tulsa by William T. Green A thesis project presented to Ryerson University and George Eastman House, Intentional Museum of Photography in Film In partial fulfillment of the requirements for the degree of Master of Arts in the program of Photographic Preservation and Collections Management Rochester, New York, United States and Toronto, Ontario, Canada, 2013 © William T. Green 2013 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. William T. Green I further authorize Ryerson University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my thesis may be made electronically available to the public. William T. Green ii Abstract Released in 1971, Tulsa, American artist Larry Clark’s career-launching first photobook, is today remembered as marking a watershed moment in American photography. This paper travels back to the era that Tulsa was first published to examine the book’s initial critical reception and significance within that specific cultural and artistic climate. It presents an abbreviated overview of Tulsa’s gradual creation; illustrates the ways in which the book was both similar to and different from other commonly cited contemporaneous works; and surveys its evolving status and reputation throughout the 1970s and into the early 1980s, when its second edition was published.
    [Show full text]
  • Larry Clark, Invité D'honneur
    Communiqué de presse n°2 – Journées cinématographiques dionysiennes LARRY CLARK, INVITÉ D’HONNEUR DES 18es JOURNÉES CINÉMATOGRAPHIQUES DIONYSIENNES Larry Clark © Javier Ortega 18 ans, et toujours REBEL REBEL ! Les Journées cInématographiques dionysIennes revIennent du 7 au 13 févrIer 2018 au cinéma L’Écran de Saint-Denis (93). Pour cette 18e édition intitulée REBEL REBEL, elles dresseront un grand panorama de la rébellion à l'écran, avec plus de soixante-dix films (inédits, avant-premières, classiques) et de nombreuses rencontres en présence de cinéastes, critiques ou membres de la société civile. Le photographe et réalIsateur amérIcaIn LARRY CLARK sera l’InvIté d’honneur. Il accompagnera une rétrospectIve de ses fIlms (Kids, Bully, Ken Park, Wassup Rockers...), ainsi que ses deux derniers fIlms Inédits tournés en toute indépendance, Marfa Girls 1 & 2, et un long métrage surprIse. Pour clore en musique cette édItIon de la majorIté, les Journées cinématographiques dionysIennes REBEL REBEL accueilleront les musIcIens de Wassup Rockers pour un concert final. www.dIonysIennes.org RelatIon Presse : Géraldine Cance - 06 60 13 11 00 - [email protected] LARRY CLARK, INVITÉ D’HONNEUR « De ses clichés noir et blanc du début des années 1960 aux longs métrages qu’il réalise depuis 1995 tels que Kids (1995), Bully (2001) ou Ken Park (2002), Larry Clark, internationalement reconnu pour son travail, traduit sans concession la perte de repères et les dérives de l’adolescence. » Musée d’Art Moderne de la Ville de Paris, lors de la première rétrospective de ses photographies en France, en 2010. Le photographe et réalisateur Larry Clark est né en 1943 à Tulsa aux États-Unis.
    [Show full text]
  • FOR IMMEDIATE RELEASE Larry Clark Los Angeles 2003-2006 February 6Th – March 14Th 2008
    FOR IMMEDIATE RELEASE Larry Clark Los Angeles 2003-2006 February 6th – March 14th 2008 Simon Lee Gallery is pleased to announce its forthcoming exhibition of new photographs by the renowned American photographer and filmmaker Larry Clark. Los Angeles 2003-2006 reflects the artist's life-long interest in the subject of today's youth within a marginalized urban environment. In this particular body of work, we witness the physical transformation of Jonathan Velasquez throughout the period of his adolescent years. Jonathan, a teenager living in South Central Los Angeles whom the artist encountered by chance, inspired Clark to write and direct the film Wassup Rockers . In this obsessive four year photographic chronicle of Jonathan's life, we experience not so much the unfolding of a series of portraits but rather the weaving of the subject's personal life within the context of a particular social milieu common to so many of today's urban youth subcultures. Building upon Larry's previous photographic accomplishments beginning with Tulsa , Teenage Lust , 1992 , the Perfect Childhood , punk Picasso , and in film with Kids , Bully , Ken Park and Wassup Rockers this series of photographs further probes with equal intensity and unabashed honesty the often subtle, often glaring changes that all youth, and in particular Jonathan, go through in their teenage years. The close-up shots, the fulllength frontal views, the groupings of Jonathan with his friends all combine to portray the vulnerability as well as the subjects’ expressions of newfound individuality, vitality and independence of life style. The large scale pigment prints reflect a departure for Clark from the more spare and documentary sensibility that characterize his earlier work, and in so doing allow for a more tender and evocative exploration of his subject.
    [Show full text]
  • UNIVERSITY of CENTRAL OKLAHOMA Edmond, Oklahoma Dr
    UNIVERSITY OF CENTRAL OKLAHOMA Edmond, Oklahoma Dr. Joe C. Jackson College of Graduate Studies Keyholes A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of MASTERS OF FINE ARTS IN CREATIVE WRITING By Henry Alexander Shafer 2013 ACKNOWLEDGEMENTS I would like to thank the following professors, classmates, and fellow writers for their influence, encouragement, and expertise in craft and editing during the creation of this collection: Allison Hedge Coke, James Daro, MFA, Dr. Matt Hollrah, Dr. Christopher Givan, Dr. Tim Petete, Dr. Steve Garrison, Corey Mingura, Adam Michael Wright, Kathy Judge, Ryan Burkholder, Jordan Gilbert, and Jennifer Maib. To Jasmine Elizabeth Smith, my muse, best critic, contemporary, confidant, and source of endless encouragement and love, this collection would absolutely not have happened without you. To my mother, Jackie Arnold-Shafer, my father, Randy Shafer, and my step-mother, Cheryl Shafer for supporting me through all of my endeavors (especially when I step far out on a limb). Also, I would like to thank my friends, who are more like brothers for their loyalty and reading when I ask: Zach Moore, Skyler Smith, Justin Davis, Nate Terrill, and Chance Pickett. A special thanks to J.L. Morrissey for reminding me of Larry Clark. And finally, I would like to thank Billy Childish, Charles Bukowski, and Larry Clark for creating fearless and bold art, which will never cease to inspire me. TABLE OF CONTENTS ABSTRACT OF THESIS vi INTRODUCTION 1 BIBLIOGRAPHY OF READINGS 14 KEYHOLES 18 UNTITLED, 2013: –BASED ON THE PHOTOGRAPHY OF LARRY CLARK 20 1.
    [Show full text]
  • The Casting Director Guide from Now Casting, Inc
    The Casting Director Guide From Now Casting, Inc. This printable Casting Director Guide includes CD listings exported from the CD Connection in NowCasting.com’s Contacts NOW area. The Guide is an easy way to get familiar with all the CD’s. Or, you might want to print a copy that lives in your car. Keep in mind that the printable CD Guide is created approximately once a month while the CD Connection is updated constantly. There will be info in the printable “Guide” that is out of date almost immediately… that’s the nature of casting. If you need a more comprehensive, timely and searchable research and marketing tool then you should consider using Contacts NOW in NowCasting.com. In Contacts NOW, you can search the CD database directly, make personal notes, create mailing lists, search Agents, make your own Custom Contacts and print labels. You can even export lists into Postcards NOW – a service that lets you create and mail postcards all from your desktop! You will find Contacts NOW in your main NowCasting menu under Get it NOW or Guides and Labels. Questions? Contact the NowCasting Staff @ 818-841-7165 Now Casting.com We’re Back! Many post hiatus updates! October ‘09 $13.00 Casting Director Guide Run BY Actors FOR Actors More UP- TO-THE-MINUTE information than ANY OTHER GUIDE Compare to the others with over 100 pages of information Got Casting Notices? We do! www.nowcasting.com WHY BUY THIS BOOK? Okay, there are other books on the market, so why should you buy this one? Simple.
    [Show full text]
  • 329 Sterbak F
    art press 333 interview Larry Clark l’œil du cyclone Interview par Raphaël Cuir Il y a presque un an, était présenté au Festival de Cannes, Destricted, programme de sept courts métrages signés par Marina Abramovic, Matthew Barney, Gaspar Noé, Richard Prince, Marco Brambilla, Sam Taylor- Wood et Larry Clark. Il s’agissait de répondre à l’incitation des producteurs, Mel Agace et Neville Wakefield : aborder la sexualité «de facon explicite», autrement dit, brouiller la frontière entre art et pornographie. Ce programme sort maintenant en salles en France (le 25 avril) et bientôt en DVD (en octobre). Bonne occasion pour réaliser notre vieux rêve de rencontrer Larry Clark, il faut dire, le plus explicite de tous (1). Les images de la série Tulsa (1963-1971) ne sont peut-être plus aussi subversives qu’il y a une quarantaine d’années. Pour autant, elles n’ont rien perdu de leur intensité. Cette violence, Larry Clark dit qu’il faut en payer le prix, c’est-à-dire le prix émotionnel. C’était autrefois le retour du refoulé, l’autre face du rêve américain dont certains, certaines, ne sont pas revenus. C’est encore, aujourd’hui, ouvrir «en entier la nature humaine à la conscience de soi !» (G. Bataille). «On ne peut pas savoir ce que peut le corps» (B. Spinoza), il faut chercher, et nous n’avons pas fini d’être étonnés (F. Nietzsche : «L’étonnant c’est le corps.»). L’adolescence est un des moments privilégiés de cette quête avec la découverte des nouvelles possibilités qu’offre la maturité corporelle.
    [Show full text]
  • CMP Press Release
    3834 Main Street California Museum of Photography Riverside, CA 92501 Sweeney Art Gallery 951.827.3755 Culver Center of the Arts culvercenter.ucr.edu sweeney.ucr.edu University of California, Riverside cmp.ucr.edu artsblock.ucr.edu PRESS RELEASE For Immediate Release California Museum of Photography at UCR ARTSblock presents Unruly Bodies: Dismantling Larry Clark’s Tulsa Selections from the Permanent Collection of the California Museum of Photography June 10, 2016-January 28, 2017 Reception: Thursday, June 9, 6-9pm Reception is FREE and open to the public The California Museum of Photography presents Unruly Bodies: Dismantling Larry Clark’s Tulsa, on view at the museum from June 10, 2016 through January 28, 2017, featuring works from the museum’s permanent collection. The exhibition is guest curated by graduate students from the Department of the History of Art and the Public History Program as advised by Susan Laxton, Assistant Professor of the History of Art at UCR. Unruly Bodies will be celebrated during a public reception on Thursday, June 9, 6-9pm, and will be accompanied by public programming and a publication of student writing. This exhibition is a historically informed reassessment of the artist Larry Clark’s controversial first book, Tulsa (1971), a set of 50 images depicting a tight circle of friends and drug addicts in Tulsa, Oklahoma, photographed over a span of nine years (1963-71) by one of their number, Clark himself. On first appearing, the exposé was hailed as “a devastating portrait of an American tragedy” and embraced as an artistic watershed of participant-observer oriented personal documentary.
    [Show full text]
  • Only the Lonely
    34 MISTER LONELY Screen International February 2, 2007 SET REPORT Samantha Morton and Denis Levant ONLY THE in Mr Lonely LONELY It’s been a long road back for indie wunderkind Harmony Korine, but his new project finds him brimming with enthusiasm and working with a starry cast. He tells FIONNUALA HALLIGAN how the dark years helped create his “best work” t has been a decade since Gummo and a good sional Madonna impersonator) and Abraham Early highs eight years since Julien Donkey-Boy, and Lincoln (Richard Strange). Mister Lonely is being readied for Cannes Harmony Korine is finally back behind the Running through this story, somehow and after a lengthy spell in the film wilderness, Icamera with Mister Lonely. He co-scripted — Korine will not be drawn — is the Panama Korine is definitely back — he has two more the story about celebrity impersonators — the thread which features magician David Blaine projects ready to roll, with which Agnes B wants key characters being “Michael Jackson” and and Werner Herzog. to be involved. Agnes, a grandmother, helped “Marilyn Monroe” — with his younger brother At $8.2m, Mister Lonely is a considerable the troubled 34-year-old get his life back on Avi, the first time the writer of Kids has collabo- step up for a Harmony Korine project, although track after they first met at Venice at the premiere rated on a screenplay. That, however, is possi- admittedly it is only his third as director. It is of Julien Donkey-Boy. bly the least unusual part of Mister Lonely. being produced by the French fashion designer “She let me lean on her.
    [Show full text]