Harmony Korine INTERVIEW
1995年6月罗杰•伊伯特对哈莫尼•科林的一个采访。
半吊子英文渣翻的，应该有一些不太对的地方。
谢谢Anovia❤。
哈莫尼•科林已经看到了电影的未来，是他。没有人如此年轻，聪慧，富有创造性和灵感。当然不是已35岁的昆汀•塔伦蒂诺。
H：我的意思是，他比我大15岁。完全是不同世代了。有人写，“在戛纳电影节，我们不需要另一个罗宾逊（创造奇迹的男孩）。”但是我是，好吧，我不认为他是个男孩，看起来他不属于我这一代。没有人在我这一代做电影，没有人像我一样年轻。
R：休斯兄弟呢？①
H：他们比我老。
R：他们大概23岁。
H：仍然比我老，艺术电影领域没有青少年。
R：确实，可是你也不是。
H：我是，在18或19岁时我写了自己的剧本，我确证自己是史上最年轻的。
哈莫尼•科林是《半熟少年》的编剧，这部电影给在正午阳光下打瞌睡的戛纳，带来了生气与争议性的话题。由拉里•克拉克执导的这部电影，关注了一群曼哈顿青少年沉浸在性爱、酒精、毒品、摇滚乐和滑板中的漫长一天，毫无目标的暴力和绝望。做出你的选择：它是（1）精确地表达了无望一代的强烈呼救声，或者（2）一部触碰到青少年色情的愤世嫉俗的剥削片。在戛纳，以上看法都有着各自的捍卫者，而我倾向于认可前者。
这部影片尚未评级。它的成本是7万美元，于一月圣丹斯电影节期间引起轰动后被米拉麦克斯影业以350万美元购买。如果它得到一个NC-17的评级，迪士尼可能将不会允许子公司米拉麦克斯发行它。它可能会被出售给其他经销商，有传闻说，米拉麦克斯的创始人哈维和鲍勃•温斯坦会组成独立公司来发行它。
这部电影的守护者说，那些未满17岁的人应当观看它，因为在这个充斥着艾滋病的年代，它会对混乱性行为的危险性拉响警报。攻击者们引用弗朗索瓦•特吕弗的话，说反战电影是不存在的，因为它们都让战争看起来令人兴奋。这部电影如此偏执于黑暗、野蛮的态度，即便色情和暴力的熟练辩护士们也会瞠目结舌。对许多在戛纳的影评人来说，《半熟少年》可能会持续令其困惑—对他们的工作而言，他们是否已经太老了。可以肯定的是，在今年的戛纳电影节没有其它电影拥有像哈莫尼•科林这样的守卫者。我想，他现今21岁，即便这个年龄在他看来都已太老。
想要成为电影导演的著名摄影师拉里•克拉克，在华盛顿广场公园的滑板族人群中找到了哈莫尼•科林。16岁时，科林已在保罗•施拉德的《迷幻人生》—一部由苏珊•萨兰登主演的影片中担任制片助理的工作，并在高中辍学之前完成了剧本。他辍学，就像逃离任何一个试图定义他的“群体”一样，包括他的家人和同辈人。
《半熟少年》在戛纳放映后的第二天，我们在海港背后的影节宫，米拉麦克斯的游艇上谈论了它。科林跪坐在沙发上，啜着干姜水，语速很快，就像一个刚看完《星际迷航》想要讲给你听的孩子。
如果他写的是另一种不同类型的电影，我不会问以下的问题。
R：你的家庭背景是怎样的呢？
H：我有一个不错的家庭。但从我小的时候起，我就只想独处。在学校也一样，我坐在教室里，老师们总教一些我知道的事情，或者总是试图操纵我的想法，或者......我的意思是，我爱我的父母，但一切总是一成不变，人们总是告诉我该做什么，我受不了那些，我想成为我自己。我搬到了祖母家，她并非高龄，但已经话都说不清楚，有时会跌倒。我可以做任何我想做的事。我在那里自己学东西。试着上大学，但我恨它。看起来我似乎放弃了所有事情。我只是喜欢自己去尝试。
R：你的父母呢，他们做什么？
H：他们做各种事情。现在住在纳什维尔，卖童装，做各种不同的事情。
R：Harmony是你最开始的名字吗？
H：我出生时就叫Harmony，当我还年幼时这名字显得很怪异，我总是因为这个名字被人欺负…13岁时，我把名字改成了Harmful。我认为它是一个强硬的名字，所以在法律上进行了更改。然后，我不知道，欺负并没有停止，所以….就法律上而言，我的名字仍然是Harmful，但我已经说过还是会改回Harmony。在我还小的时候，我的父母是马克思主义者，之后他们成了托洛茨基主义者。我并没有时常与他们保持联系。来这里之前我告诉了我妈，她热衷于给我一些振奋人心的鼓励之类的。我曾经看到我爸在运河街，卖一些像乌龟的东西。
R：他卖乌龟？
H：很像海龟，那种很小的乌龟？很有趣。
R：那你呢？过着你在《半熟少年》里所描述的那种生活吗？
H：是的，我是多数事件的目击者。我的意思是，这部电影中的所有角色都是以我认识的孩子为原型的。我特别为他们写了这部电影。很显然它经过了小说化的处理，但它是基于真实素材的。
R：它相当可怕。
H：我不认为它代表了所有的青少年。我只是觉得，它是一小部分。但同时我认为它无处不在。我想，无论你走到哪里，即使是在美国农村和中部地区，任何地方，总有孩子是这样生活的，甚至在法国也一样。我们邀请一些海滩来的15岁滑板少年们观看了这部电影，然后他们说，这是我最喜爱的电影，这是我的生活。
我想，哈莫尼基本上是在说，不要迁怒于“传信者”。《半熟少年》是一部关于现实中的孩子们在街区社会中脱离了规则、界限或父母的真实生活的纪录片。哈莫尼•科林自他们之间游历而返写了这个故事。他说他的下一个电影剧本《天地无伦》，同样由拉里•克拉克执导，故事将发生在家庭中，人物类似于《半熟少年》。但在《天地无伦》开拍之前，他将执导自己的第一部电影《奇异小子》。也许会在今年夏天开机。这个名字来自马克思兄弟中那个不想成为喜剧演员，想卖女性内衣的第五人，② 但它并不是关于马克思兄弟的电影：它关乎美国中产阶级。关于俄亥俄州一个遭受飓风侵袭的小镇，它没有主要角色，是完全随机的。
科林害怕被和同龄的电影人相比较，就好像害怕被划入任何团体中。他害怕人们将他与昆汀•塔伦蒂诺，罗杰•阿夫瑞，凯文•史密斯和其他在录像带租赁店成长起来，手持数码摄像机的录像带小子们相比较。
H：我不是一个录像带小子。我的灵感来源并不只有电影。我也从其它地方获得灵感。昆汀•塔伦蒂诺似乎对其它电影太过在意，他像搅拌机一样引用其它电影。在观看时它仿佛真的很有趣，但接下来，我不知道，它是空虚的。某些引用是单调的，只是流行文化而已。
H：你可以从其他电影里获得启发，但不能仅仅是衍生。我认为这是一些录像带小子们的问题所在。我甚至不怎么喜欢看录像带。我认为应该在大银幕上看电影。如果你看一下他们的电影，所有这些录像带小子的电影在我看来就像是在......看电视，你明白我的意思吗？
必须说，《半熟少年》看起来并不像在看电视。它在放映时就像透过一扇与生活毫无缝隙的视窗。经过筛选，我跟许多对片中主角泰利（Telly）不负责任的性生活做出激烈反应的富有经验的观众谈了谈。他们“知道”他是一个演员，是剧本的一部分，但他们对电影的反应就像是把它当成了一部纪录片。如果没有让这些观众愤怒过了头，这会是对电影的较高评价。
H：写这个故事时，我并没有想过令人们震惊，我甚至没有想过传递信息。我想制作一部电影，我希望它看起来就像你在看一幅图画，当中没有任何价值评断。我痛恨现今好莱坞所生产出的一切垃圾。它贬低观众。它们告诉你何谓正确地思考。它们将这些信息砸在你头上，然后就什么也不剩了。不确定的部分并没有留白，它们都满满地填塞给了你。所有我喜爱的电影总会保留一些空白，一些令我好奇的东西。这正是我在《半熟少年》中想要做的。我觉得大家对这部电影如此恼怒的一个原因在于它没有给你一个明确的YES或NO—这是坏的，这是好的。如果你认定什么样的观念你就会吸收什么样的信息，但如果你不能看到冲击，你将不会收获任何东西。
科林一直在说话，我开始得到这样的想法：他不想归属于把他视作其中一员的任何团体。
H：我只是不希望成为任何“世代”中的一部分，我要做的是人们以前从未见过的东西。
他所提到的“世代”包含了所谓的计算机行家，电脑的一代。
H：我不知道这些。这就像柏拉图的洞穴什么的—合成的存在。我想，如果我迷上电脑，我也许会成瘾。就像在现实生活中，我有这么多麻烦。在早晨醒来时，我觉得那么难过，有时候只是活着这件事就会让我沮丧不已。那是另外一个令人抑郁的世界。
他也没有打算找一个经纪人。
H：我无法忍受。只是觉得每个人都在试图窃取你的灵魂，并破坏你。我宁愿放弃也不愿被破坏。我不愿这样，我宁可坐在房间里唱歌或做点什么。
注：
① 阿尔伯特•休斯/Albert Hughes和艾伦•休斯/Allen Hughes是一对双胞胎兄弟，于21岁时拍了处女作《Menace II Society》。1972年出生，哈莫尼是1973年出生。,
② 甘默•马克思/Gummo marx
HARMONY KORINE INTERVIEW
Roger Ebert / Rogerebert.com / June 4, 1995
Harmony Korine has seen the future of the cinema, and it is him. Nobody else is as young, as bright, as original, as inspired. Certainly not Quentin Tarantino, who is ancient at 35.
“I mean, he’s 15 years older than me. That’s a totally different generation. Someone wrote, ‘We don’t need another Boy Wonder at Cannes.’ And I was, like — well, I don’t think he’s a boy, and it’s like, he’s not MY generation. There’s no one making movies that’s my generation, you know; no one’s as young as me.”
Well, the Hughes Brothers.
“They’re older than me.”
They’re about 23.
“That’s still older than me. ‘Cause no one’s a teenager in art movies.”
That’s true. You’re not, either.
“But I was. I wrote my screenplay when I was 18 or 19. I was the youngest in history; I looked it up.”
Harmony Korine is the writer of Kids, which, in a year when Cannes drowsed and twitched in the midday sun, at least provided life and controversy. The movie, directed by Larry Clark, follows a group of Manhattan teen-agers through one long day of sex, booze, drugs, rock ‘n’ roll, skateboards, aimless violence and despair. Take your choice: It is either (1) a searing and accurate cry for help from a generation without hope, or (2) a cynical exploitation film that skirts the edges of kiddie porn. Both views had their defenders at Cannes; I tend toward the first choice.
The film has not yet been rated. It cost $70,000, and was bought for $3.5 million by Miramax after its sensational reception at the Sundance festival in January. If it gets an NC-17 rating, which is likely, Miramax will not be allowed to release it by its parent company, Disney. It may be sold to another distributor, or, one hears, Miramax partners Harvey and Bob Weinstein may form a separate company to release it.
The supporters of the film say it SHOULD be seen by those under 17, because it sounds an alarm about the dangers of promiscuous sex in the age of AIDS. The attackers quote Francois Truffaut, who said there is no such thing as an anti-war film because all movies make war look exciting. The film is so unrelenting in its dark, savage attitudes that even skilled apologists for sex and violence are struck dumb; for many of the movie critics at Cannes, Kids may at last have been the film that made them wonder if they were getting too old for their jobs.
What is certain is that no other film at Cannes this year had a defender quite like Harmony Korine. He is now, I think, 21 years old, although for Korine even that age seems so advanced that he is not quick to claim it.
Larry Clark, a celebrated photographer who wanted to direct a feature, found Korine in Washington Square Park, hanging out with a loosely knit crowd of skateboarders. He discovered that, at 16, Korine had talked himself into a job as a production assistant on Paul Schrader’s Light Sleeper, a Susan Sarandon film, and had written screenplays in high school — before dropping out of high school, as he has dropped out of every other institution that tries to define him, including his family and his own generation.
The day after Kids played at Cannes, we talked about it on the Miramax yacht, out in the harbor behind the Palais des Festival. Korine had his legs doubled under him and was kneeling on a couch, sipping ginger ale, talking fast, like one of those kids who wants to explain a Star Trek movie to you after you’ve seen it.
I wouldn’t ask this of somebody who had written a different kind of film, I said, but … what kind of a family background do you have?
“I have a pretty good family. But ever since I was little I just felt like I wanted to be on my own. It was the same thing about school. I was sitting in my classrooms, and I would feel the teachers were never telling me anything I didn’t know, or they were always trying to dictate to me how I should think, or …
“I mean, I love my parents, but it’s always been the same thing; it’s always been people telling me what to do and I JUST CAN’T STAND THAT. So I wanted to be on my own. I moved to my grandmother’s house and she was pretty much — she’s kinda — not senile, but she really can’t speak very well and she falls down sometimes and I could like, do whatever I wanted to, you know. I was out there and I was learning things on my own. I tried college and I hated that. I seem to quit everything I do. I just like finding things out on my own.”
Your parents. What do they do?
“They do different stuff. Now they live in Nashville, and they like, sell children’s clothing. But they do different things.”
Was Harmony the name you started out with?
“I was born Harmony and it was weird because when I was a little kid, I was picked on so much that when I was 13 I changed my name to Harmful. I thought it was a tougher name, so I had it legally changed. And then, I don’t know, it just didn’t seem to catch on, so … legally, my name is still Harmful, but I just said I’ll go back to Harmony. My parents were Marxists when I was little and then they became Trotskyites. I really haven’t kept in touch with them. I spoke to my mom before I came here; she like tried to give me a pep talk or something. Once I saw my dad on Canal Street; he was selling like turtles.”
He was selling turtles?
“Like sea turtles, those little turtles? It was pretty funny.”
And you, like, sort of lived the life that you portray in Kids?
“Yeah, I’ve pretty much been witness to most of the stuff. I mean, all the characters in the movie were based on kids I knew. I wrote it specifically for the people that are in the movie. I mean, it’s fictionalized obviously, I made it up, but it’s all based on stuff.”
It’s pretty frightening.
“I don’t think this is representative of like, all teen-agers. I just think like, this is a small segment. But at the same time it’s like I think this is taking place everywhere. I do think that kids are living like this wherever you go, even in rural areas across America, middle America, anywhere. Like even here in France, we invited some 15-year-old skateboard kids from the beach to see the movie, and afterwards they went, like, ‘Dis ees my favorite movie. Dis ees my life.’”
What Harmony was basically saying, I guess, was, don’t shoot the messenger. Kids is a docudrama about how real kids really live in a street society without rules or boundaries or parental presence. And Harmony has traveled among them and returned to write the story. His next screenplay, he said, is named Ken Park, will also be directed by Clark, and will take place inside the homes of the same kinds of characters who are in Kids.
But before that movie is made, he will direct his own first film, Gummo. It starts shooting this summer, maybe. The name comes from the fifth Marx brother, the one who wanted to sell women’s lingerie instead of being a comedian. But it’s not about the Marxes: “It’s about middle America. It’s about this small town where this tornado hit in Ohio and it’s not really one main character; it’s just totally random.”
Korine’s terror of being included in any group extends to his fellow filmmakers. He recoils at being compared with Tarantino, Roger Avary, Kevin Smith and other video brats who grew up in video stores and with camcorders in their hands.
“I’m not a video brat. I don’t derive all my inspiration through movies. I get it from a lot of other places too. Quentin Tarantino seems to be too concerned with other films. I mean, about appropriating other movies, like in a blender. I think it’s like really funny at the time I’m seeing it, but then, I don’t know, there’s a void there. Some of the references are flat; just pop culture.
“You can be inspired by other movies but not be derivative. I think that’s a problem with a lot of the video kids. I don’t even like video. I think you should see movies on the big screen. Because if you look at their movies, all these video brats, their movies to me look like … television, you know what I’m saying?”
Kids, it must be said, does not look like television. It plays and feels like a seamless window on life. After the screening, I talked with many sophisticated viewers who reacted personally to the irresponsible sex life of Telly, the central character. They “knew” he was an actor, in a scripted part, and yet they reacted to the film as if it was a documentary. This would have been high praise for the film, if it hadn’t made them so angry.
“I didn’t think about shocking people when I wrote it,” Korine said. “I didn’t even think about a message, you know. I wanted to make a movie and I wanted it to be like you’re just looking at a picture; like there’s no judgment. Because what I hate is all the crap that comes out of Hollywood right now. It’s belittling to the audience. They tell you exactly what to think. They pound you over the head with these messages and then there’s nothing left. There’s no margin of the undefined; it’s all there for you. In all my favorite films there’s always something missing. Something to make me curious. I wanted to do that with Kids. I think one of the reasons why everyone’s so angry is because it doesn’t give you a definitive YES or NO — this is bad, this is good. If you have any kind of sense you’ll take away some kind of message, but if you can’t see past the shock, you’re not going to get anything.”
As Korine kept talking, I began to get the idea: Like another of the Marx Brothers, he did not want to belong to any club that would have him as a member.
“I just don’t want to be a part of any of those ‘generations,’ you know. What I’m gonna do is like stuff that people have never seen before.”
He includes the so-called Digerati, the computer generation: “I don’t know anything about that. That’s like Plato’s cave or something — the synthetic existence. I think that if I got into computers, I’d maybe get addicted or something. I have so much trouble with just like the real life, you know. Waking up, I feel so sad in the morning or something; I get so depressed just being alive sometimes. That’ll just give me a whole ‘nother world to get depressed about.”
Nor does he plan to get an agent: “I couldn’t stand it. I just feel like everyone tries to steal your soul, and corrupt you. I’d rather quit than be corrupted or anything. I’d just rather not do it, you know. I’d just rather sit in my room and sing or something.”
半吊子英文渣翻的，应该有一些不太对的地方。
谢谢Anovia❤。
哈莫尼•科林已经看到了电影的未来，是他。没有人如此年轻，聪慧，富有创造性和灵感。当然不是已35岁的昆汀•塔伦蒂诺。
H：我的意思是，他比我大15岁。完全是不同世代了。有人写，“在戛纳电影节，我们不需要另一个罗宾逊（创造奇迹的男孩）。”但是我是，好吧，我不认为他是个男孩，看起来他不属于我这一代。没有人在我这一代做电影，没有人像我一样年轻。
R：休斯兄弟呢？①
H：他们比我老。
R：他们大概23岁。
H：仍然比我老，艺术电影领域没有青少年。
R：确实，可是你也不是。
H：我是，在18或19岁时我写了自己的剧本，我确证自己是史上最年轻的。
哈莫尼•科林是《半熟少年》的编剧，这部电影给在正午阳光下打瞌睡的戛纳，带来了生气与争议性的话题。由拉里•克拉克执导的这部电影，关注了一群曼哈顿青少年沉浸在性爱、酒精、毒品、摇滚乐和滑板中的漫长一天，毫无目标的暴力和绝望。做出你的选择：它是（1）精确地表达了无望一代的强烈呼救声，或者（2）一部触碰到青少年色情的愤世嫉俗的剥削片。在戛纳，以上看法都有着各自的捍卫者，而我倾向于认可前者。
这部影片尚未评级。它的成本是7万美元，于一月圣丹斯电影节期间引起轰动后被米拉麦克斯影业以350万美元购买。如果它得到一个NC-17的评级，迪士尼可能将不会允许子公司米拉麦克斯发行它。它可能会被出售给其他经销商，有传闻说，米拉麦克斯的创始人哈维和鲍勃•温斯坦会组成独立公司来发行它。
这部电影的守护者说，那些未满17岁的人应当观看它，因为在这个充斥着艾滋病的年代，它会对混乱性行为的危险性拉响警报。攻击者们引用弗朗索瓦•特吕弗的话，说反战电影是不存在的，因为它们都让战争看起来令人兴奋。这部电影如此偏执于黑暗、野蛮的态度，即便色情和暴力的熟练辩护士们也会瞠目结舌。对许多在戛纳的影评人来说，《半熟少年》可能会持续令其困惑—对他们的工作而言，他们是否已经太老了。可以肯定的是，在今年的戛纳电影节没有其它电影拥有像哈莫尼•科林这样的守卫者。我想，他现今21岁，即便这个年龄在他看来都已太老。
想要成为电影导演的著名摄影师拉里•克拉克，在华盛顿广场公园的滑板族人群中找到了哈莫尼•科林。16岁时，科林已在保罗•施拉德的《迷幻人生》—一部由苏珊•萨兰登主演的影片中担任制片助理的工作，并在高中辍学之前完成了剧本。他辍学，就像逃离任何一个试图定义他的“群体”一样，包括他的家人和同辈人。
《半熟少年》在戛纳放映后的第二天，我们在海港背后的影节宫，米拉麦克斯的游艇上谈论了它。科林跪坐在沙发上，啜着干姜水，语速很快，就像一个刚看完《星际迷航》想要讲给你听的孩子。
如果他写的是另一种不同类型的电影，我不会问以下的问题。
R：你的家庭背景是怎样的呢？
H：我有一个不错的家庭。但从我小的时候起，我就只想独处。在学校也一样，我坐在教室里，老师们总教一些我知道的事情，或者总是试图操纵我的想法，或者......我的意思是，我爱我的父母，但一切总是一成不变，人们总是告诉我该做什么，我受不了那些，我想成为我自己。我搬到了祖母家，她并非高龄，但已经话都说不清楚，有时会跌倒。我可以做任何我想做的事。我在那里自己学东西。试着上大学，但我恨它。看起来我似乎放弃了所有事情。我只是喜欢自己去尝试。
R：你的父母呢，他们做什么？
H：他们做各种事情。现在住在纳什维尔，卖童装，做各种不同的事情。
R：Harmony是你最开始的名字吗？
H：我出生时就叫Harmony，当我还年幼时这名字显得很怪异，我总是因为这个名字被人欺负…13岁时，我把名字改成了Harmful。我认为它是一个强硬的名字，所以在法律上进行了更改。然后，我不知道，欺负并没有停止，所以….就法律上而言，我的名字仍然是Harmful，但我已经说过还是会改回Harmony。在我还小的时候，我的父母是马克思主义者，之后他们成了托洛茨基主义者。我并没有时常与他们保持联系。来这里之前我告诉了我妈，她热衷于给我一些振奋人心的鼓励之类的。我曾经看到我爸在运河街，卖一些像乌龟的东西。
R：他卖乌龟？
H：很像海龟，那种很小的乌龟？很有趣。
R：那你呢？过着你在《半熟少年》里所描述的那种生活吗？
H：是的，我是多数事件的目击者。我的意思是，这部电影中的所有角色都是以我认识的孩子为原型的。我特别为他们写了这部电影。很显然它经过了小说化的处理，但它是基于真实素材的。
R：它相当可怕。
H：我不认为它代表了所有的青少年。我只是觉得，它是一小部分。但同时我认为它无处不在。我想，无论你走到哪里，即使是在美国农村和中部地区，任何地方，总有孩子是这样生活的，甚至在法国也一样。我们邀请一些海滩来的15岁滑板少年们观看了这部电影，然后他们说，这是我最喜爱的电影，这是我的生活。
我想，哈莫尼基本上是在说，不要迁怒于“传信者”。《半熟少年》是一部关于现实中的孩子们在街区社会中脱离了规则、界限或父母的真实生活的纪录片。哈莫尼•科林自他们之间游历而返写了这个故事。他说他的下一个电影剧本《天地无伦》，同样由拉里•克拉克执导，故事将发生在家庭中，人物类似于《半熟少年》。但在《天地无伦》开拍之前，他将执导自己的第一部电影《奇异小子》。也许会在今年夏天开机。这个名字来自马克思兄弟中那个不想成为喜剧演员，想卖女性内衣的第五人，② 但它并不是关于马克思兄弟的电影：它关乎美国中产阶级。关于俄亥俄州一个遭受飓风侵袭的小镇，它没有主要角色，是完全随机的。
科林害怕被和同龄的电影人相比较，就好像害怕被划入任何团体中。他害怕人们将他与昆汀•塔伦蒂诺，罗杰•阿夫瑞，凯文•史密斯和其他在录像带租赁店成长起来，手持数码摄像机的录像带小子们相比较。
H：我不是一个录像带小子。我的灵感来源并不只有电影。我也从其它地方获得灵感。昆汀•塔伦蒂诺似乎对其它电影太过在意，他像搅拌机一样引用其它电影。在观看时它仿佛真的很有趣，但接下来，我不知道，它是空虚的。某些引用是单调的，只是流行文化而已。
H：你可以从其他电影里获得启发，但不能仅仅是衍生。我认为这是一些录像带小子们的问题所在。我甚至不怎么喜欢看录像带。我认为应该在大银幕上看电影。如果你看一下他们的电影，所有这些录像带小子的电影在我看来就像是在......看电视，你明白我的意思吗？
必须说，《半熟少年》看起来并不像在看电视。它在放映时就像透过一扇与生活毫无缝隙的视窗。经过筛选，我跟许多对片中主角泰利（Telly）不负责任的性生活做出激烈反应的富有经验的观众谈了谈。他们“知道”他是一个演员，是剧本的一部分，但他们对电影的反应就像是把它当成了一部纪录片。如果没有让这些观众愤怒过了头，这会是对电影的较高评价。
H：写这个故事时，我并没有想过令人们震惊，我甚至没有想过传递信息。我想制作一部电影，我希望它看起来就像你在看一幅图画，当中没有任何价值评断。我痛恨现今好莱坞所生产出的一切垃圾。它贬低观众。它们告诉你何谓正确地思考。它们将这些信息砸在你头上，然后就什么也不剩了。不确定的部分并没有留白，它们都满满地填塞给了你。所有我喜爱的电影总会保留一些空白，一些令我好奇的东西。这正是我在《半熟少年》中想要做的。我觉得大家对这部电影如此恼怒的一个原因在于它没有给你一个明确的YES或NO—这是坏的，这是好的。如果你认定什么样的观念你就会吸收什么样的信息，但如果你不能看到冲击，你将不会收获任何东西。
科林一直在说话，我开始得到这样的想法：他不想归属于把他视作其中一员的任何团体。
H：我只是不希望成为任何“世代”中的一部分，我要做的是人们以前从未见过的东西。
他所提到的“世代”包含了所谓的计算机行家，电脑的一代。
H：我不知道这些。这就像柏拉图的洞穴什么的—合成的存在。我想，如果我迷上电脑，我也许会成瘾。就像在现实生活中，我有这么多麻烦。在早晨醒来时，我觉得那么难过，有时候只是活着这件事就会让我沮丧不已。那是另外一个令人抑郁的世界。
他也没有打算找一个经纪人。
H：我无法忍受。只是觉得每个人都在试图窃取你的灵魂，并破坏你。我宁愿放弃也不愿被破坏。我不愿这样，我宁可坐在房间里唱歌或做点什么。
注：
① 阿尔伯特•休斯/Albert Hughes和艾伦•休斯/Allen Hughes是一对双胞胎兄弟，于21岁时拍了处女作《Menace II Society》。1972年出生，哈莫尼是1973年出生。,
② 甘默•马克思/Gummo marx
HARMONY KORINE INTERVIEW
Roger Ebert / Rogerebert.com / June 4, 1995
Harmony Korine has seen the future of the cinema, and it is him. Nobody else is as young, as bright, as original, as inspired. Certainly not Quentin Tarantino, who is ancient at 35.
“I mean, he’s 15 years older than me. That’s a totally different generation. Someone wrote, ‘We don’t need another Boy Wonder at Cannes.’ And I was, like — well, I don’t think he’s a boy, and it’s like, he’s not MY generation. There’s no one making movies that’s my generation, you know; no one’s as young as me.”
Well, the Hughes Brothers.
“They’re older than me.”
They’re about 23.
“That’s still older than me. ‘Cause no one’s a teenager in art movies.”
That’s true. You’re not, either.
“But I was. I wrote my screenplay when I was 18 or 19. I was the youngest in history; I looked it up.”
Harmony Korine is the writer of Kids, which, in a year when Cannes drowsed and twitched in the midday sun, at least provided life and controversy. The movie, directed by Larry Clark, follows a group of Manhattan teen-agers through one long day of sex, booze, drugs, rock ‘n’ roll, skateboards, aimless violence and despair. Take your choice: It is either (1) a searing and accurate cry for help from a generation without hope, or (2) a cynical exploitation film that skirts the edges of kiddie porn. Both views had their defenders at Cannes; I tend toward the first choice.
The film has not yet been rated. It cost $70,000, and was bought for $3.5 million by Miramax after its sensational reception at the Sundance festival in January. If it gets an NC-17 rating, which is likely, Miramax will not be allowed to release it by its parent company, Disney. It may be sold to another distributor, or, one hears, Miramax partners Harvey and Bob Weinstein may form a separate company to release it.
The supporters of the film say it SHOULD be seen by those under 17, because it sounds an alarm about the dangers of promiscuous sex in the age of AIDS. The attackers quote Francois Truffaut, who said there is no such thing as an anti-war film because all movies make war look exciting. The film is so unrelenting in its dark, savage attitudes that even skilled apologists for sex and violence are struck dumb; for many of the movie critics at Cannes, Kids may at last have been the film that made them wonder if they were getting too old for their jobs.
What is certain is that no other film at Cannes this year had a defender quite like Harmony Korine. He is now, I think, 21 years old, although for Korine even that age seems so advanced that he is not quick to claim it.
Larry Clark, a celebrated photographer who wanted to direct a feature, found Korine in Washington Square Park, hanging out with a loosely knit crowd of skateboarders. He discovered that, at 16, Korine had talked himself into a job as a production assistant on Paul Schrader’s Light Sleeper, a Susan Sarandon film, and had written screenplays in high school — before dropping out of high school, as he has dropped out of every other institution that tries to define him, including his family and his own generation.
The day after Kids played at Cannes, we talked about it on the Miramax yacht, out in the harbor behind the Palais des Festival. Korine had his legs doubled under him and was kneeling on a couch, sipping ginger ale, talking fast, like one of those kids who wants to explain a Star Trek movie to you after you’ve seen it.
I wouldn’t ask this of somebody who had written a different kind of film, I said, but … what kind of a family background do you have?
“I have a pretty good family. But ever since I was little I just felt like I wanted to be on my own. It was the same thing about school. I was sitting in my classrooms, and I would feel the teachers were never telling me anything I didn’t know, or they were always trying to dictate to me how I should think, or …
“I mean, I love my parents, but it’s always been the same thing; it’s always been people telling me what to do and I JUST CAN’T STAND THAT. So I wanted to be on my own. I moved to my grandmother’s house and she was pretty much — she’s kinda — not senile, but she really can’t speak very well and she falls down sometimes and I could like, do whatever I wanted to, you know. I was out there and I was learning things on my own. I tried college and I hated that. I seem to quit everything I do. I just like finding things out on my own.”
Your parents. What do they do?
“They do different stuff. Now they live in Nashville, and they like, sell children’s clothing. But they do different things.”
Was Harmony the name you started out with?
“I was born Harmony and it was weird because when I was a little kid, I was picked on so much that when I was 13 I changed my name to Harmful. I thought it was a tougher name, so I had it legally changed. And then, I don’t know, it just didn’t seem to catch on, so … legally, my name is still Harmful, but I just said I’ll go back to Harmony. My parents were Marxists when I was little and then they became Trotskyites. I really haven’t kept in touch with them. I spoke to my mom before I came here; she like tried to give me a pep talk or something. Once I saw my dad on Canal Street; he was selling like turtles.”
He was selling turtles?
“Like sea turtles, those little turtles? It was pretty funny.”
And you, like, sort of lived the life that you portray in Kids?
“Yeah, I’ve pretty much been witness to most of the stuff. I mean, all the characters in the movie were based on kids I knew. I wrote it specifically for the people that are in the movie. I mean, it’s fictionalized obviously, I made it up, but it’s all based on stuff.”
It’s pretty frightening.
“I don’t think this is representative of like, all teen-agers. I just think like, this is a small segment. But at the same time it’s like I think this is taking place everywhere. I do think that kids are living like this wherever you go, even in rural areas across America, middle America, anywhere. Like even here in France, we invited some 15-year-old skateboard kids from the beach to see the movie, and afterwards they went, like, ‘Dis ees my favorite movie. Dis ees my life.’”
What Harmony was basically saying, I guess, was, don’t shoot the messenger. Kids is a docudrama about how real kids really live in a street society without rules or boundaries or parental presence. And Harmony has traveled among them and returned to write the story. His next screenplay, he said, is named Ken Park, will also be directed by Clark, and will take place inside the homes of the same kinds of characters who are in Kids.
But before that movie is made, he will direct his own first film, Gummo. It starts shooting this summer, maybe. The name comes from the fifth Marx brother, the one who wanted to sell women’s lingerie instead of being a comedian. But it’s not about the Marxes: “It’s about middle America. It’s about this small town where this tornado hit in Ohio and it’s not really one main character; it’s just totally random.”
Korine’s terror of being included in any group extends to his fellow filmmakers. He recoils at being compared with Tarantino, Roger Avary, Kevin Smith and other video brats who grew up in video stores and with camcorders in their hands.
“I’m not a video brat. I don’t derive all my inspiration through movies. I get it from a lot of other places too. Quentin Tarantino seems to be too concerned with other films. I mean, about appropriating other movies, like in a blender. I think it’s like really funny at the time I’m seeing it, but then, I don’t know, there’s a void there. Some of the references are flat; just pop culture.
“You can be inspired by other movies but not be derivative. I think that’s a problem with a lot of the video kids. I don’t even like video. I think you should see movies on the big screen. Because if you look at their movies, all these video brats, their movies to me look like … television, you know what I’m saying?”
Kids, it must be said, does not look like television. It plays and feels like a seamless window on life. After the screening, I talked with many sophisticated viewers who reacted personally to the irresponsible sex life of Telly, the central character. They “knew” he was an actor, in a scripted part, and yet they reacted to the film as if it was a documentary. This would have been high praise for the film, if it hadn’t made them so angry.
“I didn’t think about shocking people when I wrote it,” Korine said. “I didn’t even think about a message, you know. I wanted to make a movie and I wanted it to be like you’re just looking at a picture; like there’s no judgment. Because what I hate is all the crap that comes out of Hollywood right now. It’s belittling to the audience. They tell you exactly what to think. They pound you over the head with these messages and then there’s nothing left. There’s no margin of the undefined; it’s all there for you. In all my favorite films there’s always something missing. Something to make me curious. I wanted to do that with Kids. I think one of the reasons why everyone’s so angry is because it doesn’t give you a definitive YES or NO — this is bad, this is good. If you have any kind of sense you’ll take away some kind of message, but if you can’t see past the shock, you’re not going to get anything.”
As Korine kept talking, I began to get the idea: Like another of the Marx Brothers, he did not want to belong to any club that would have him as a member.
“I just don’t want to be a part of any of those ‘generations,’ you know. What I’m gonna do is like stuff that people have never seen before.”
He includes the so-called Digerati, the computer generation: “I don’t know anything about that. That’s like Plato’s cave or something — the synthetic existence. I think that if I got into computers, I’d maybe get addicted or something. I have so much trouble with just like the real life, you know. Waking up, I feel so sad in the morning or something; I get so depressed just being alive sometimes. That’ll just give me a whole ‘nother world to get depressed about.”
Nor does he plan to get an agent: “I couldn’t stand it. I just feel like everyone tries to steal your soul, and corrupt you. I’d rather quit than be corrupted or anything. I’d just rather not do it, you know. I’d just rather sit in my room and sing or something.”
