Korine cut the film on two VCRs to instill an approximate randomness. If there is some strong, palpable, raw quality in the moment then I won't question it." Korine himself plays as one of the Trash Humpers. Korine says that he didn't think traditionally about scenes, sounds, or color during filming, but more about being true to a feeling. We'd get these big tractor tires and make a nest to sleep in." Korine adds, "it was pretty intense because there were no breaks. "We would just walk around and sleep under bridges or behind a strip mall somewhere. "Once everyone was in their character and their costume, and I had figured out the structure of it, the randomness, the anti-aesthetic, it was really the performers, the Trash Humpers, walking around at night, videotaping each other doing these things," Korine recalled. Before filming, Korine shot lo-fi images of people in costumes late at night to help find his aesthetic. Like Julien Donkey-Boy, the script was merely a collection of written down ideas. As a self-proclaimed "mistakist artist", Korine encouraged spontaneity. Upset over the bureaucracy in producing his previous and still most expensive feature, Mister Lonely, Korine aimed to make his next film as fast as he could, analogous to the free-form immediacy of painter and canvas. You almost have to squint to see things through the grain and the mist. There was a strange beauty in the analog. Everything needs to be so high-definition. "There was something interesting about certain images or scenes bubbling up to the surface." On the rationale for using VHS as the medium for Trash Humpers, Korine stated "There's this obsession nowadays with technology and the fact that everything looks so clear. He remembers his first camera, given to him by his father, and reusing the tape over and over again. He has described them as "the neighborhood boogeymen who worked at Krispy Kreme and would wrap themselves in shrubbery, cover themselves with dirt, and peep through the windows of other neighbors." Putting these two ideas together, Korine found conception for the film.Īs a child of the 1980s, Korine grew up in the age of VHS. They began to resemble human form, beaten, abused and "very humpable." Korine remembered, as a teenager growing up in Nashville, a group of elderly peeping toms who would come out at night. Overhead lights beamed down upon the trash in a Broadway-style that Korine found very dramatic. Walking his dog late at night in the back alleys of his hometown of Nashville, Korine encountered trash bins strewn across the ground in what he imagined as a war zone. A recurring chant is, "Make it! Make it! Don't fake it!" There is very little dialogue throughout, and much of it is incoherent. All their activities involve elements of peer pressure or ritualistic antics. The characters participate in a variety of depraved and unpleasant activities, like making two men (wearing hospital gowns and adjoining hats) eat pancakes covered in dish soap. They interact with a young boy, both mocking him for failing to shoot baskets and encouraging his own violent and disturbing tendencies. The gang is shown trespassing, partaking in vandalism, destruction of property, and disturbing the peace. The film opens with multiple shots of a gang of elderly individuals masturbating to trash, a motif that recurs throughout the film. Shot on worn VHS home video, the film features a "loser-gang cult-freak collective" living in Nashville, Tennessee. Trash Humpers is a 2009 American experimental film written and directed by Harmony Korine.
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