Why You Actin’ ‘Spicious?
In anticipation of the most electrifying teensploitation film in, well, ever, I spoke to the artist, writer, and filmmaker Harmony Korine for Filter. (Bonus: I also spoke to James Franco, who is a revelation in the film and whose interview appears as a sidebar.) We spent plenty of time on Spring Breakers but also tried to unpack each of his features. Of particular interest to me was whether his fascination with fringe characters was an outgrowth of his own feelings of isolation—either as an filmmaker or just as a person.
The isolation or underlying sadness of the artists in Mister Lonely—did that come from life experiences?
I don’t exactly know the answer to that. I’m not exactly sure where anything of mine comes from. I don’t do any type of self-analysis. I try not to know anything about myself, as far as that type of thing goes.
Why is that?
I don’t really know. It’s hard for me to say.
It’s just: You’re fascinated with outsiders, and now you’re making a film with pop starlets. Granted, their characters manage to find the fringes of society, but it’s a departure from, say, Trash Humpers, or the Dogme 95 approach. Were you trying to make something spectacular?
I just conceived it like a piece of pop poetry… I had this image of girls in bikinis and pink ski masks with unicorn patches on a white beach holding guns. I wanted the colors to be bursting like an electric neon painting. I liked the idea of a film being like candy-coating, like these girls. And then all the message and the feeling is the residue of that. I told Benoît [Debie, cinematographer behind Enter the Void] that I wanted to light the whole thing with Skittles. I wanted the tone and ambiance to be the star, like you could touch it. Same with the sound: an audio barrage. I wanted the whole film to be experiential from beginning to end, very quick, and then just disappear into the night. To hit you and then evaporate.
Read the entire interview, “This Is 40? The Spiritually Triumphant Films of Harmony Korine,” but beware that there are some potentially NSFW photos alongside it.
3:52 pm • 18 March 2013
A modern rarity: perfect barrels at Oz’s iconic Kirra pointbreak, captured at 240 frames per second by Talon Clemow. Via Surfer’s Journal.
10:36 am • 18 March 2013 • 9 notes
From the right vantage point, the images in Yao’s New Landscapes series bear a striking similarity to classic Chinese landscapes, from their wispy clouds floating between mountain peaks, right down to the presence of traditional red “appreciation seals,” small stamps that historically functioned as signatures for artists and studios. But those bucolic settings are in fact digitally altered composite photographs of mounds of garbage covered with green mesh. That pastoral hillside? It’s more like a landfill. That babbling brook? A littered roadside.
I wrote about Yao Lu’s New Landscapes for CoExist.
7:38 am • 18 March 2013
"We had people telling us how they learned a lot about geographic visualization in the process," says Wichary. "We’ve heard from people contacting their city officials to release their neighborhood data to the public—and even from city officials themselves. We’ve also, naturally, witnessed a lot of complaints about the shapes and names of neighborhoods, and our answer is always the same: it’s all open data, so just send us your changes. If Click That ’Hood convinces someone about the value of open source projects, or the importance of open data, that’s already a victory."
I wrote about Code for America’s Click that ‘Hood game, a mapping tool that teaches local geographies, for CoExist.
9:31 am • 15 March 2013 • 1 note
"The name is meant to probe what’s at stake with regard to production, consumption, and waste," says Hallacher. "My goal was to discover inconsistencies in production versus consumption at a local level. In the states I worked with, more beef is produced than the population of that state could consume. This means the American beef industry is dependent on its product traveling around the country and beyond, creating an environmentally and financially costly system behind eating beef." Nebraska, for instance, produces 70 times the beef its population consumes.
I wrote about Sarah Hallacher's “Beef Stakes,” in which the artist sculpts clay into U.S.-state-shaped steaks, for CoExist. The project is a visual feast, from her convincing renderings of meat to her handsomely designed faux supermarket packaging.
It’s also a reminder that regardless of the popularity of locally sourced meat, most of our meat (and food in general) travels great distances between farm and table.
8:59 am • 12 March 2013 • 1 note
Here are five common usage mistakes, brought to you by DFW.
Via Open Culture
10:01 am • 9 March 2013
Gay Telese’s outline for his 1966 profile of Frank Sinatra
Listen to Talese read from the classic profile of Sinatra here.
Read the piece in its entirety over at Esquire here.
Gay Talese’s outline for “Frank Sinatra Has a Cold,” 1966, written on a shirt board.
8:58 am • 20 February 2013 • 615 notes
Lost Angeles (at Elysian Park Trail)
1:07 pm • 16 February 2013