“I think it’s a tool… I don’t necessarily think it’s an existential crisis. I think if you’re looking at it as a creative tool, it’s very exciting,” he told the press conference.
“We really saw it almost like the frosting on the cake. It’s just another layer. It’s another paintbrush. It’s another colour. It’s another way to integrate imagery and sounds and to kind of play with the form.”
Set against the backdrop of Miami’s criminal underbelly and revolving around a veteran hitman, the multi-layered film has been shot entirely through a thermal lens and has been likened to a video game by Korine rather than a traditional movie.
The Spring Breakers director attended the press conference wearing an intricate horned mask, alongside special effects director Joao Rosa and Eric Kohn, who was announced this week as the Head Of Strategy and Development, Film at the filmmaker’s new multidisciplinary design collective EDGLRD.
Rosa developed Korine’s comments on AI.
“In the beginning phase where, when we were not trying to make a film, we were experimenting with many clips and at some point, and that was before AI was being talked about as much as it is now, it was barely a thing. I saw it as the only way to achieve the amount of volume of effects that we wanted to do with this footage,” he said.
It allows you to do things that were impossible… we cannot ignore it… it’s exciting.”
Harmony said that while the mixed media work Aggro Dr1ft broke the rules of traditional filmmaking it still made sense for it to play it on the big screen within the context of a film festival like Venice.
“There are no rules. I’ve been coming to Venice since… Gummo, my first film, was here. There’s no rules to anything. Nothing is defined anymore, nothing is linear. Maybe we’ll do it differently next time but with Aggro we were like, let’s bring it to Venice. “