From interviews with writer/director Harmony Korine about *Spring Breaker*s, it appears ambiguity and reaction were the goals rather than the delivery of a message:
"I make films so there is a reaction and the reactions are extreme,"
says Korine, sucking on a strawberry in the London office of the
film's PR agency. "But this one is just amped up to ten." GQ
But that's why you make films; to provoke some kind of discourse. Or
you hope that it has something that is emotionally confusing to
people. I purposefully try to make films in that grey area, where
things are morally ambiguous. It's like life: good people do horrible
things and bad people do good things, and there's beauty in horror and
horror in beauty. Very rarely are things so clearly defined. GQ
... it was never meant to be a kind of documentary or an exposé on
something. And it is more like a reinterpretation of those things.
It’s something that’s more like a pop poem, or almost like the real
world but pushed into something more kind of — I don’t know —
hyper-poetic. And […] it works on its own logic. So I would say […]
it’s connected to the culture, and maybe there’s a zeitgeist in some
way. But it’s also something separate. Daily Free Press
Yeah, I mean … it was never meant to be a documentary or an essay. It
was meant to be kind of a pop poem, or an impressionistic
reinterpretation. It was more of this idea of something that was more
experiential, like a ride or a video game that was more manic and
physical. So once we got into the edit room — as I started to develop
it — the movie had this really liquid narrative and this energy. This
film that was closer to a sort of drug trip, more hallucinatory, with
a kind of peak, a transcendence, you just disappear for a little while
… and then you’re back. So once I started to figure that out, it kind
of led itself. But I was never interested in being ironic or making
these characters seem like a joke. Stereogum
I liked spring break. I like it as a backdrop for the beginning of the
film. I liked that it was kind of over the top … and that people would
see it as a completely base and vile rite of passage for young people.
But while I was collecting imagery and photographs of that time, there
was all this hyper-violent and hyper-sexualized imagery with all these
innocent, childlike details … like in the nail polish, in the book
bags, the bikinis, in the beer bongs, on the Mountain Dew bottles. I
started to like that there was this kind of coded inner vernacular. I
kind of thought of spring break as a metaphor for what happens in the
rest of the film. What I most wanted to explore was Alien’s world —
the trap houses, that kind of beach noir, the violence, the
dilapidated rotting yachts in the backyards of these houses in
Florida. Stereogum
People get pissed at the film and stuff, and it’s like why does
everybody need it to deliver a message about really obvious things …
don’t you know that killing is bad? Why do you need me to tell you
what to think all the time? Why can’t you just dream on it? Why are
people so scared of going to places where they’re forced to reconcile
what they know or come up with their own feelings or forge their own
connections? People get pissed when it’s not all one way, when
someone’s not all bad or all good. But that is not interesting to me.
It’s too easy to judge people and condemn people.Stereogum
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