EXCERPT from an issue of ROLLING STONE, August 1, 1974
The wiretaps in question started soon after the Times reported on May 9th, , 1969, that American B-52s were secretly bombing Cambodia. The fact that high explosives were raining down from the sky had been no secret to anyone in Southeast Asia or the Soviet Union – only the American people had not been told of a holocaust being carried out in their name. The United States was illegally committing acts of war against an avowedly neutral country.
frm: The Case Against Kissinger by John D. Marks
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EXCERPTS from a HARMONY KORINE interview
“What I’m concerned with is the presentation of reality,” says Korine.
“I want to present my films as real and organic, while, simultaneously, I’m actually manipulating everythng you see. [Gummo might look in places like fly-on-the-wall documentary, but it was mapped out, scene by scene, though more as a montage than as a linear narrative.] I want people to feel like the images fell out of the sky. Ultimately, I’m a trickster.”
His employment of non-actors in Gummo, particularly the casting of a Down’s Syndrome sufferer in the role of a retarded teenage prostitute, led to inevitable accusations of exploitation. “I think that notion is, of itself, ridiculous,” says Korine. “For a start, it suggests that people with handicaps are too stupid to know what a movie is. Is it exploitation to use someone with an illness to play someone with an illness? Or is it exploitation to get Dustin Hoffmann or Tom Hanks to fake it? I mean, you won’t see any slobber on Tom Hank’s face, no blood or shit on his underpants. What you will see is the lovable Hollywood-style eccentric schizophrenic, all exaggerated ticks and twists. That’s real exploitation. That’s real ego.”
“It would have been so easy to be sleazy,” he grins, “but it’s much more challenging to set that up and then go off in the opposite direction. People never credit me for that, because they’re too busy complying with the ongoing Gumpification of cinema and of life. America simply isn’t ready for realism. It wants the simple message spelled out in big letters. When I read the critics’ line that there is no morality in my films, I think, ‘Where do these people live?’ Where I come from, people do not pay for their sins in an obvious way, and people do get away with doing bad stuff. Plus, morality is relative, anyway. What’s bad to you and me might not be bad to a kid trapped in a violent family in a dead-end town. If your father beats up on your mother every night and you witness that from a very early age, you can get inured to the pain and suffering, and then start to think, ‘This is how things are.’ If that’s how you’re raised, what’s the first thing you’re gonna do when you get married at 18?”
from: Sean O’Hagan article on HK, Guardian Weekend, March 13, 1999
posted by Ian 7/10/2003 11:25:00 AM