LAFF ‘08 INTERVIEW | “Dirty Hands: The Art & Crimes of David Choe” Director Harry Kim by indieWIRE (June 24, 2008)
A scene from Harry Kim's Dirty Hands: The Art & Crimes of David Choe." Image courtesy of the Los Angeles Film Festival.
[EDITOR’S NOTE: indieWIRE is profiling the Narrative and Documentary Competition filmmakers who are screening their films at the Los Angeles Film Festival as world premieres.] Director Harry Kim‘s “Dirty Hands: The Art & Crimes of David Choe” is premiering in the Documentary Competition of the Los Angeles Film Festival. The film details Los Angeles-based artist Choe from 2000 to 2007, a period of “adventure and excess” that captivated close friend Kim, as well as the time that Choe rose to fame and fortune in the art world. Kim captures everything from jail sentences to an addiction to shoplifting to a journey to wrestle pygmies in the heart of the Congo. He talked to indieWIRE about their experience and the film’s screening at LAFF. What initially attracted you to filmmaking? I would have to answer this in two parts. Like most kids, I was just exposed to the bigger budget Hollywood type films. There was a 99 cent double feature theater near my house in K-town to which my brother and I would go see whatever they had every two weeks. They had mostly R rated films and was a great thing for a nine year old kid. I was really confused when I saw “Blue Velvet” there. Then while in high school, my brother came back from college and started exposing me to more independent/foreign/artistic films from Tarantino to Kurosawa etc. Luckily I had some good video stores around and rented whatever I heard of. That was my early film education. Then while in college, I went to a local college film festival and I saw a slew of cheaply made student films. That’s when I realized that this was something I could do also. What was the inspiration for this film? “Dirty Hands” is a biopic so the inspiration is right there in the subject matter. David Choe himself draws intense enthusiasm from his fans so much of what drove the project was really his life events and his energy. Please elaborate on your approach to making the film… I didn’t set on making a feature length film about David Choe’s life. The film evolved along as I reset benchmarks of expectations about the film as events occurred. My cinematographer, Johnny Granado, started following David Choe in 2000, back when I was in film school. Back then, I talked to David and decided to follow him for two weeks with a camera. I mixed Johnny’s footage and mine to make a short 10 minute documentary on David’s street art called “Whaled and Orgies.” For the next couple of years, Johnny followed David around while I rarely shot David’s life. By 2003, I talked with David about making him the subject of my school thesis. I only planned on making a 30 minute documentary that covered his art, how and why he made it, and to show, honestly, how he was living during that time. This is where I struggled to get his girlfriend, Mylan, on camera. She was integral to his life at that point. Then he went to prison in Japan and came back a changed man and went into hiding.
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