The Smell of Us
Larry Clark, the iconic and often controversial filmmaker behind Kids, Ken Park, and Bully, offers a fascinating glimpse into his creative process and his enduring fascination with youth culture in this in-depth interview. We delve into the stylistic choices of The Smell of Us and the intriguing development of Marfa Girl 2, a sequel that revisits characters, including the captivating Mercedes Maxwell, years after the original story concluded.
Clark reflects on the improvisational nature of his filmmaking, particularly when comparing Marfa Girl to the more radical The Smell of Us. He notes, “It’s interesting to look at Marfa Girl and The Smell of Us side by side. 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. 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.”
This stylistic departure is evident in the film’s fragmented narrative and unconventional character placements, pushing the boundaries of traditional cinematic storytelling. Clark’s openness to improvisation is further highlighted in his discussion about the character of Rockstar, played by himself. Initially envisioned with gibberish poetry, the character evolved into a silent observer, a figure shaped in collaboration with Michael Pitt. Clark explains, “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. So I figured out with Michael… Michael Pitt. 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.”
The collaborative and spontaneous nature of Clark’s filmmaking extends to the very fabric of The Smell of Us. He recounts how the absence of writer Mathieu Landais during filming in Paris necessitated on-the-fly script revisions and improvisations. Despite initially declining a writing credit, Clark acknowledges the significant contribution of these improvisational elements, stating, “The script was good but wasn’t great. That happens in some films. I’m to the point where I can take a screenplay, and even if it’s not very good, if I’m interested in something that’s going on, I know when I make the film that I’m going to change it to make it the way I want to. So I’m always doing that, I’m always looking for something that I can improv on, if I think of something I’ll just do it right then and will improv it.”
Interestingly, while The Smell of Us embraced improvisation, Clark clarifies that his earlier, seminal work, Kids, was rigorously scripted. Harmony Korine wrote the screenplay, and Clark insisted on adherence to the script, dismissing the notion of improvisation for the young cast. He contrasts this with Another Day in Paradise, where James Woods’s improvisational prowess significantly shaped the film.
James Woods and Melanie Griffith in Another Day in Paradise, showcasing improvisational acting.
Clark shares an anecdote about Woods’s improvisational approach, “We would start doing a scene as written, and there’s like one sentence out of the scene, one little piece of scene that worked, and I said: “Start there and then improv.” And that was the challenge to Melanie [Griffith], Melanie did not want to improv at all.” This anecdote highlights Clark’s directorial flexibility and his willingness to adapt his methods based on the strengths of his actors.
Returning to The Smell of Us, Clark discusses the film’s provocative scenes, including one where the character Math reacts to a morning erection with cold water. He defends the scene’s ambiguity and its connection to the character’s sexual frustration, stating, “Mathieu wakes up and he was pissed off that he had a hard-on and he puts cold water on it to make it go down. It was all connected to what his character was doing, sexually. He wasn’t enjoying it. And that was what it was for. I don’t think the audience has to understand it, it’s a good scene.” This underscores Clark’s commitment to portraying complex and sometimes uncomfortable aspects of human experience, even if they are not immediately understood by every viewer. He also expresses delight that the inclusion of Cab Calloway in the scene introduced the iconic jazz musician to a younger generation, emphasizing the timelessness of artistic expression.
The interview touches upon the intersection of fashion and film in The Smell of Us, a recurring theme in Clark’s work. He mentions collaborations with figures like Diane Pernet and Natalia Brilli, explaining that the fashion element was specifically tied to the character of Marie and her immersion in the fashion world. The decision to shoot a fashion show scene during Paris Fashion Week adds a layer of authenticity to the film, blurring the lines between fiction and reality.
A scene from The Smell of Us featuring the Rad Hourani fashion show, captured during Paris Fashion Week.
Clark elaborates on a particularly memorable line from the film, “It’s 2013, everyone’s gay,” and the impromptu addition of a suggestive follow-up question. This moment exemplifies Clark’s penchant for capturing raw, unscripted reactions and injecting spontaneity into his films. He reveals, “Me being me, just before we’re ready to shoot it, I think to myself: ‘What if she asks him if he wants a blowjob?’ I took her aside and asked her to say that, and I didn’t tell the kid, Terin Maxime. So she said my improv line, and you can see the look on his face when he goes: “Yeah.” It was great. It was real, a real scene.”
The conversation shifts to the controversies surrounding The Smell of Us, particularly the reported distancing of actor Lukas Ionesco and his mother from the project. Clark acknowledges the challenges of working with young actors and the pressures they face, stating, “Well, you know, the kid’s a kid. He wanted to make the film, and there were no surprises. He knew exactly what he had to do, and all those difficult scenes with him were rehearsed.” Despite any behind-the-scenes friction, Clark praises Ionesco’s performance and expresses hope for his well-being.
However, the most exciting revelation for fans of Larry Clark and Marfa Girl is the discussion of Marfa Girl 2. Clark announces the sequel, driven by the unresolved questions left by the original film. He explains, “Last summer, I made Marfa Girl 2, a sequel to Marfa Girl because in Marfa Girl there are so many unanswered questions about the future. The film ends, and all these things have happened, and the film’s over, and you don’t know how it’s going to effect these people in the future, what’s going to happen.”
Crucially, Clark confirms the return of Mercedes Maxwell and Adam Mediano, now older and reprising their roles. He notes, “Mercedes Maxwell and Adam Mediano are 18 now. They had actually just had their 16th birthday when we made the film.” This continuation of their stories promises to explore the long-term consequences of the events in Marfa Girl and delve deeper into the lives of these characters as they navigate adulthood. The improvisational approach that defined Marfa Girl was also central to the sequel, with Clark admitting, “I totally made it up. I had no ideas, no script, no nothing. But I had the money.” This spontaneous filmmaking style suggests that Marfa Girl 2 will retain the raw and unpredictable energy of its predecessor.
Mercedes Maxwell in Marfa Girl, a character revisited in the sequel Marfa Girl 2.
Clark teases plot details for Marfa Girl 2, hinting at developments involving the character Miguel from the first film and the evolving relationship between Adam and Mercedes Maxwell. He reveals, “In the first one, the woman with the kid that seduces Adam on his 16th birthday, and he says, “Ah, Miguel is going to kill me.” Miguel is the father of her kid, and he’s in the penitentiary, and in Marfa Girl 2, he’s out. He’s home. Adam and Mercedes are together and married.” These plot points suggest a dramatic and complex narrative that builds upon the foundations laid in Marfa Girl.
Beyond Marfa Girl 2, Clark shares his plans for a new film project, Five Women, set in Paris. This upcoming project signals a shift in focus, exploring the intertwined lives of women of different ages. Reflecting on his extensive career and experiences, Clark muses, “I’m in a very good period because now, I mean, I’ve lived quite a long time, and had pretty crazy times. It’s not so difficult anymore to write. When you’re young and you haven’t had many experiences, it’s different, but once you’ve experienced as much as I’ve experienced, and want to write and tell stories, it’s really fun.”
Finally, Clark addresses the enduring nature of youth culture and its portrayal in his films. He argues for a continuity in the experiences of young people across generations, stating, “There’s a continuity. Kids are the same because, no matter how much they know, how much they Google, and how much they see, you have to experience it. They’re OK. It’s all the same. They’re fine. Kids today are fine, it’s their world, they’re born into it. They don’t know any other world.” This perspective underscores Clark’s consistent interest in capturing the authentic realities of youth, regardless of changing times and technologies. His films, including the upcoming Marfa Girl 2 featuring Mercedes Maxwell, continue to offer a provocative and insightful look into this ever-evolving cultural landscape.
