![]() ![]() ![]() “He plays with the idea of what people imagine him to be, and kind of takes it into another radical direction.” Snoop Dogg Is…Lingerie “I always like playing with the real actor persona, the pop persona, what’s authentic to the person, and then push it out to the stratosphere,” he said. By bringing McConaughey back to his stoner roots in a post-McConaissance era, Korine said he hoped to achieve a similar effect. In “Spring Breakers,” Korine sought out established cultural figures whose images he could rework, providing subversive new material for pop star Selena Gomez and Disneyfied teen stars Ashley Benson and Vanessa Hudgens. “That, I’m not getting into,” Korine said. He declined to elaborate on the explicitness of the scenes, and demurred when asked if McConaughey wore a prosthetic or exposed himself on camera. “You’d get a crowd around the schlong,” Korine said, laughing. With reports of the production circulating in local newspapers, locals and tourists often noticed McConaughey in character, wandering the scene. So we wanted to tap into that, the essence of his character, someone taking in and putting out all the time. “That’s probably one of the purest things you can do simultaneously as a human - drinking and peeing. “A lot of the time we were just filming him drinking and peeing,” Korine said. That presented a unique challenge for the production, which Korine shot all over Key West and Miami, with one recurring motif finding Moondog drinking and urinating off various boat docks. Moondog may be a stoner, but he drinks a lot, too. “Our daughter was just six months old, and when she saw her mother pull her face off she went crazy.Harmony Korine Reveals Terrence Malick Wrote a Script He Wants Him to Direct McConaughey Peed a LotĪs Moondog, McConaughey plays a carefree man whose ambling adventures suggest The Dude from “The Big Lebowski” stumbling into a Cheech and Chong picture. That’s actually my wife there”-he pointed to a figure in an ancient-Greek-crone mask. He said, “It’s from a still from my film ‘Trash Humpers’ that creeped me out, of Brian Kotzur sitting on a toilet. Korine halted in front of a disturbing image half smeared over with black paint. A year ago, when his studio grew overstuffed, he began inviting other artists to take a look, and soon Larry Gagosian was on the phone. He came to notice as the writer of the 1995 film “Kids,” about feral tweens, but is best known as the writer-director of “Spring Breakers” (2012), a trancey, boobs-saturated meditation on feral college girls who head to Florida for fun and instead meet James Franco. Korine, a scruffy yet tidy child of the counterculture-the writer Jim Carroll cut his umbilical cord-still bears tattoos from his skateboard gang, but now that he’s forty his beard is daubed with gray. It’s like writing a novel with pages missing in all the right places.” “Then, finally, I got into this whole checking madness, because I’ve long been interested in loops, mistakes, trancey repetition. I started to feel bored with it and put it aside for a few years.” The hovering women smiled understandingly. There are three or four paintings underneath here-these weird dogs, a mushroom cloud, and a caveman. “I use whatever the Salvation Army leaves out-house paint and hairbrushes and steak knives and squeegees-and I might toss the canvas in the yard and stomp on it. “The paint’s still wet on this one,” he said. He examined “Tornado Check,” a large canvas covered with a checkerboard of tiny, woozy, red and white squares. “Zooters are potheads,” Korine explained. Virginia Coleman, in brown, said, “Chrissie?” Chrissie Erpf, in black, purred, “ ‘The Zooter.’ ” He stopped before a jaunty red canvas and asked, “What’s the title on that one?” He’d only recently, and hastily, titled his pieces. ![]() His hazel eyes were wide, and he held his arms out with his fingers spread, like a small boy boarding an escalator. Korine’s first big solo show, “Shooters,” was about to open in the gallery’s space, and he kept remarking that he’d just got off the plane from Nashville. Weaving backward, two docents in dark couture led Harmony Korine through the white labyrinth of offices and private exhibition areas at the Gagosian Gallery on Park Avenue. Harmony Korine Illustration by Tom Bachtell ![]()
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