![]() ![]() I thought there was always some essence of violence in the purest form of comedy, like WC Fields slipping on a banana peel, and I thought the repetition of getting into fights would be funny. I just wanted to make what I thought would be the greatest comedy of all time. What made you want to make it and why was it never completed? In the late 1990s, you set about making the movie Fight Harm, where you'd provoke strangers to the point that they would beat you up. It was exciting because I was finally getting to do what I wanted, but at the same time, it was crazy-I started getting into narcotics, and there was a wildness to it all. ![]() It was a surprise, maybe, to my parents or to the people who grew up around me because I was mostly a delinquent, but for me, it wasn't a surprise because I knew I needed to make things at that point. Was is it daunting making movies at such a young age? You wrote Kids at 19 and were directing at 24. ![]() I thought I could contextualize that and put it into, but we found his family, and he'd died, and the family didn't want to give us the rights. It was a repetition of him just saying the same thing over and over again and hearing the cops talk to him-a beautiful image of gold flecks of paint and dust flying out of his mouth. I had a segment from the show that was about glue sniffers, which I re-edited so it was just a kid sitting on a stump with gold paint in his mouth. I read that the TV show Cops was a big inspiration. I knew the only reason I'd ever get a chance to make Gummo was because of the success of Kids, so when New Line Cinema financed it, it was more like, "Here, take this money, and hopefully you'll have, like, the residue of the success of the last film." But I was really focused on trying to create something specific that had to do with something that was a vision inside me. I remember giving the script to Miramax, because the studio had produced Kids, and I don't think any of them even made it past page eight. Harmony Korine: Yeah, I don't think there was any understanding before, or even after, on the part of the studios or people who financed the movie. I'd imagine, after writing Kids, the studios were anticipating something vaguely similar, not a nonlinear art film. VICE: Let's start with your directorial debut, Gummo. We talked about his films, his lost years, and his love of the TV show Cops. I recently met with Korine at the Gagosian Gallery in London, where he's exhibiting Fazors, his new series of paintings. ![]()
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