He showed me a bound manuscript that he said was a book of poems that he wrote entirely on his iPhone, using the Tom Hanks typewriter app. The manuscript's title was Destiny's Aborted Child. Korine led me back out of his studio, through the empty mall, to an unfinished outdoor balcony on the building's second floor.
From the concrete at our feet, he picked up a mostly smoked nub of a discarded cigar off the ground and lit it. We blinked in the sun. Korine and his family moved down to Miami from Nashville six or seven years ago. That's mostly what drew me to it in the first place: the redness of the sky, palm trees, salt water, the breeze, the iguanas, flamingos, the extreme wealth, the extreme hood—all smacked up against each other.
I like places that are undefinable. The history is only like years here, so it's really just inventing itself. I could never live in Europe or somewhere like that, because the history is so foreboding. In Miami, he said, he could smoke cigars, ride his bike on the boardwalk, go fishing in the Keys, visit the dog track. His kids could go outside.
He could spend most of his time painting and enjoying an unobserved life. For money, he directed music videos and commercials—one or two a year, for companies that he didn't find it humiliating to work for. He shot a Gucci campaign last month, he told me. Like Moondog in The Beach Bum , Korine seems to make the work he's best known for only when he's compelled to. I never really understood the directors who have, like, ten projects lined up.
I don't really trust those types of people. How do you map it all out like that? I can't trust you. How do you know what you're gonna be like tomorrow? Shortly after Korine made Spring Breakers and then moved to Miami, he tried to make a violent gangster movie called The Trap.
But he couldn't get the schedules of the actors he wanted—at various times, both Jamie Foxx and Benicio Del Toro were attached to the project—to line up; by the time he could, he'd moved on. I wanted to laugh. It's almost like a chemical reaction. As a young filmmaker, Korine often talked about how bored he was with conventional Hollywood films. He still feels that way. They were good.
But I wanted it to only be pure joy, where you can just watch a scene and laugh. That's why I loved Cheech and Chong so much. Because you could just stop and start anywhere, and they're always funny. Korine's definition of humor is not the same as most people's. In The Beach Bum , which is cheerful and even wholesome by the standards of Korine's often harsh past work, Moondog and Efron's character tip over a guy's wheelchair and rob him, among other dubiously moral acts.
Korine's films, since the very beginning, have been full of people behaving badly in front of an appreciative camera—a world of id, without a superego in sight. There's no self-censor. He's just a sensualist. Whatever feels good, he just acts on it. So he does good, and he does bad. When Korine was growing up, vaudevillians were his heroes. Fields falls down some steps. Buster Keaton robs the bank teller.
It's a comedy. It's a heightened reality. It's not really real, in a way. Korine was so impatient when he was a young filmmaker that his movies would be full of scenes that only distantly related to one another, so powerful was his urge to always see something new or exciting.
He's not much more patient now, but he is more interested in narrative and plot than he used to be, so he now films his movies three or four times—he'll shoot the same scene over and over, in different locations. So, like, the first part of our conversation is here. The next part is in the studio, but it's really all just one scene. He pointed to a white box, with a black rubber glove pooled on top of it, which had been resting on the floor since before we got out here.
It had been at our feet the whole time, sitting in the dust and the sun. His talent—in the movie, he wins a great prize for his work—is incidental, even counterproductive, to living that life. It's like a hassle. You know what I mean? It's a burden. It's like a guy who's born seven foot three. He knows how easy it is to dunk a basketball. Everyone just wants to see him dunk. But he doesn't really want to dunk. Korine, of course, could've been describing himself. His appetite for destruction makes him a birther of creations.
He's inconsiderate, fair-weather, a great liar, will never promise anything, is non-possessive and has no affiliations. He needs controversy. To him, a boring person is a sinner. He needs the world to feed him and he wants to eat. It premiered at the 24th Telluride Film Festival on August 29, During the screening, numerous people got up and left during the initial cat drowning sequence. Three months later, Werner Herzog called Korine to give praise to the film overall, especially the bacon taped to the wall during the bathtub scene.
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