Ken park movie james t scene
I ran out and grabbed him one night to get his info because I wanted him to be in the film, just to have a tuba player in the movie. The tuba player is just a guy who would come to the street I lived on at midnight playing the tuba, and I would give him coins. He’s not mute at all, he can talk, and he actually sings John Lee Hooker with the guy playing the baby tuba. We both figured that I was strongest with just my “Larry Clark look.” Rockstar doesn’t talk in the film, and my idea was that he can talk but he just doesn’t choose to. Michael Pitt helped me with the character Rockstar. Maybe the movies’ll get better as my mind gets hazier. I just turned 73, so my mind’s going a bit, but I’m fine. So I figured out with Michael… Michael Pitt. I’m playing Rockstar, but the way Rockstar was written, he walks around saying kind of gibberish poetry and I’m not an actor and I didn’t want to do that anyway. And then I got the one on my finger, which I get complimented on all the time by old people, young people, bus drivers. The first one I got looking that way, and when I look at it, it’s upside-down to me, so then I had a second one on so I could see it too.
I got this in the film… and then I got this. I liked Lukas’s tattoo-he had this little skull on his finger and I liked it, so I got that. Like when we see Rockstar getting the matching tattoo with Math…
The Smell of Us is something else again, in terms of characters being where they logically should not actually be, or these jagged little scenes that pop up where you leave it to a viewer to connect them to the rest of the story, or not. The Smell of Us is maybe the most stylistically radical thing that you’ve ever done, while Marfa Girl certainly does have that improvisatory quality about it but still sticks to the basic tenets of psychological realism. It’s interesting to look at Marfa Girl and The Smell of Us side by side.