YAM: Was there a reason you filmed your segment in anamorphic widescreen?
HK: I’ve been doing that on a lot of my films lately. Even my new movie, Spring Breakers. I just like the 2.35 scope.
Movies to me are more of a feeling. I like the idea of not always knowing what I'm watching. There's something interesting when you can go from something that's more written, more set up and then have it blend into something that's completely spontaneous and real and natural, but then never really know which is which. I like the idea of never being comfortable when you watch a movie. I don't want you to be able to just sit there and relax. I want the films to be more sensory. I want them to kind of go through you. I want them to be something more.
"Hector was the name that was written for him. Harmony kept suggesting and suggesting and then just [going with the idea that] it would be more interesting to play with the idea that it's some version of me. Part of me has that impish vibe, the jester. There were plenty of times when I was genuinely concerned, because it could backfire. That's the nature of doing an experiment."
"It was a magical moment," Kilmer says of Blaine introducing him to Korine. "Harmony's really a storyteller. ... David Blaine is the same. David is hard to stop. I would say he's a better storyteller than a magician. David shuts up when Harmony starts. I'm wildly entertained by [Korine]. Sometimes he'll tell stories about addiction or robbing -- it's just madness. His wife is just trying to will it out of reality like it didn't really happen.
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