![]() HK: Yeah, I think your films always have that, right? The camera’s always almost in human form. GN: In my case it’s more evident than in yours, a subjective perception of your own life. GN: How personal is Trash Humpers? How much does it talk about your own life? Do you like the camera to be an active participant in your films? One of the world’s greatest pimps.īoth Trash Humpers and Enter the Void rely on first-person camerawork. GN: He was a real fan, and a film buff and a great pimp. HK: Yeah, and although he was not Jewish he had tattooed the number of Primo Levi on his body. GN: I remember that guy he had a motor scooter and he was reading Primo Levi books. HK: Do you remember one guy we went to see, this guy who’s a bodyguard for prostitutes? From time to time he would introduce me to prostitutes, and the prostitutes would say “Well, there’s things I always refuse to do.” And I’d ask them what, and they’d say, “Well, they want to buy the used condoms and swallow them in front of me.” Can you imagine doing a movie about a guy’s perversions? He’d put on something like a velvet curtain, and when I stood up I noticed that there were some feet coming out. ![]() And the sofa was kind of weird, kind of moving, so I put my hands on it, and it was a guy pretending to be a sofa. GN: No no no no no no no! I met him accidentally – I went to a nightclub, I was kind of wasted and wanted to sit down. HK: Remember you told me something a long time ago that’s stuck with me, that you knew this guy here in Paris and one of his favourite things to do was pretend that he was a chair? But then a lot comes from people we know, right? HK: That definitely seems like Enter the Void. GN: I guess for Enter the Void the idea was some drug experiences that you haven’t seen portrayed. Last time there was a story in the newspapers about a guy in Japan who goes to a cliff to stop people committing suicide, telling them that life is good. I put them in boxes and then can’t find the boxes. GN: Yes, but usually I then lose the clips. Maybe she has a really incredible home life. And then I’ll start thinking it would make an amazing film to follow her. HK: For me it’s usually, I’ll be walking down the street and I’ll see some woman with rollers in her hair, and she has boxing gloves and she’s punching herself. Gaspar Noé: I don’t have so many thoughts usually it’s a newspaper or something that sticks in your mind for a long time. Harmony Korine: So Gaspar, do you come up with stories while you’re walking down the street? It turned out that not only were the two already familiar but that Korine was then visiting an art show in Noé’s Paris – and no soon had we wished it than the pair had met up and delivered us the following audio recording.Īs you’ll hear, the quality is on the guerrilla side: we’re not quite sure where in Paris they convened against a very audible backdrop of howling dogs, baying crows and what sound like steel saw-mills, but perhaps best not to ask. Trash Humpers is reviewed in our July 2010 issue. ![]() But we should refrain from over-rationalising the idea.)Įnter the Void is reviewed in our October 2010 issue. (Both films are, in their different ways, envelope- and button-pushing experiments with cinematic form and content, bravura if not infantile back-alley portraits of lowlife dereliction and excess. ![]() We’re not sure why, but when we noticed that Gaspar Noé’s Enter the Void was due for UK cinema release in the same week as the DVD debut of Harmony Korine’s Trash Humpers, we wondered what would happen if you put the two indie wunder-bad boys together in a room. ![]()
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