Kids': The Oral History of the Nineties' Most Controversial Film. It was the summer of 1.

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Bill Clinton was president, Rudy Giuliani was mayor of New York, and OJ Simpson was on trial. That summer’s youth- oriented movies included Pixar's first movie Toy Story, the Disney musical Pocahontas — and Kids, in which wayward, stoned teens fuck each other senseless and head- stomp random strangers. It might be hard to remember just how notorious Larry Clark's indie- skater odyssey was. The movie grossed a modest $7 million at the box office that summer — a wild success when you account for the fact that it seemed no one would be able to sell a single ticket without going to jail. There were threats of child obscenity.

There were accusations of pornography. There was a crippling MPAA rating of NC- 1. In- between updates on Johnny Cochrane and Kato Kaelin, it was fodder for outraged reports on CNN. And somehow it never seemed like much ado about nothing.

Kids felt dangerous. Two decades later, it still does. From the beginning, this Grimm fairy tale for the doom generation came with a great story, the one about the legendary photographer who met a 1.

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But it was actually more like a dozen stories converging around this film, along with one of the greatest gathering of amateurs in film history. It was the 5. 2 year- old Clark's first movie. It was Harmony Korine's first anything. Chloe Sevigny had previously been a shopgirl; Rosario Dawson had previously been in junior high. Watch Sir Vioz. Some of the actors became stars.

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Others went back to the streets. Some, like Spirit Award winner Justin Pierce and skate legend Harold Hunter, are no longer here at all. The following is a narrative woven together from interviews with nine of the most prominent players in the Kids story, conducted over the past month in person, by phone, by email, and with elements added from the author's public discussion after a 2.

Brooklyn's BAMcinemafest. We would warn you about the explicit language and content to follow, but fuck that. This is Kids. You know what you're getting into. Park Life. Harmony Korine (Screenwriter): I had just graduated from high school, and had moved from Nashville to New York for NYU's writing program. I didn't have any money, so I would commute from my grandmother's house in Queens to school each morning. I had been going up to New York ever since I was a kid — my parents were both from there — just hanging out on the streets and skateboarding, spending summers alone.

I'd known a lot of those kids in the movie, like Harold and Justin, and we would just hang out, sleep on rooftops. So when I moved up there for college there was already a crew of kids.

Leo Fitzpatrick (Actor, "Telly"): I'm from New Jersey, the youngest of five kids. Like most single moms, my mother thought my brothers and sisters would be watching me — but they were all teenagers, so they were all fucking off partying, and I was left to my own devices. Luckily I had discovered skateboarding. What I liked about skating was that everybody sort of formed this mutant family of fucked- up kids, roaming the city like a pack of wild dogs.

And nobody liked them — they were kinda like the Bad News Bears. I really gravitated towards that. I remember the first day I came to New York: There was a weird, dangerous element to it. People would throw bottles at you from out of their windows for skating in front of their buildings. Chloe Sevigny (Actor, "Jennie"): I moved to New York from Connecticut in the summer of '9. I graduated from high school.

I was working at Liquid Sky [a downtown rave retailer], living in Brooklyn Heights with five other kids who all worked for [nightclub impresario] Peter Gatien at different clubs. So you can only imagine what my life was like — having a free pass, entry into all of the clubs in NYC, working at rave central. I never really thought I was a club girl, but I was really into going out and being in a scene. I couldn’t get enough of the weirdos and freaks. Chloe Sevigny. Everett. Korine: I didn't have a place to go between classes, so I would spend all day on the streets, or wasting time in movie theaters.

There would be places you could go on St. Marks Place where you could watch double features for three dollars, or I would go to the media library and watch films. So I was starting to think in that way.

But I was also a kid who had just left Nashville. I was figuring it all out.

I was still in it. Fitzpatrick: Larry was always lurking around. Nobody really knew what his deal was, because he was 5.

Now, kids don't trust adults, especially adults with cameras. But he would hang out with this young photographer named Tobin Yelland, who said no, he's okay, he's with me. Larry was hanging out with the best skateboarders, like Mark Gonzales and Julien Stranger and John Cardiel — all these amazing guys I idolized. So I broke my skateboard, we all go back to his house and he gives me a board. Like, here you go kid.

I was like, that guy is cool. Korine: I was between classes, sitting by the fountain in Washington Square Park, and Larry was walking around taking pictures of skaters. He was sitting next to me, and I asked him about his camera — I saw he had a Leica. And from there we started talking, and he said he's a photographer and wanted to make a movie. I said that's what I do — I want to make films.

I used to carry around VHS copies of movies I made in high school; if I saw somebody I recognized on the street, I would just run up to them and hand them the film. So when I was talking to Larry I just pulled out one of the films from my backpack and handed it to him.

I didn't really know anything about contemporary art, and wasn't familiar with his photographs, so I wasn't sure what was real and what wasn't real. I remember asking people if they knew who he was, and they were like, yeah, he's famous. Fitzpatrick: In order for Larry to photograph something, he has to be part of it. He can't just be an observer. So, at 5. 0 years old, he taught himself how to skateboard so he could keep up with everybody.

None of us knew what an artist was. We didn't understand that there were cool adults, adults that think teenagers have something of value. Our whole life was getting kicked out of spots, being told we were losers. And Larry was like no, what you guys are doing is cool. He was actually curious about what we had to bring to the table.

The smartest thing he did with the film was have Harmony write it. Because he knew that he needed a kid to write Kids. Korine: I had put my number on the videotape, and got a phone call that he liked [my stuff]; he wanted to see if I could write. By this strange coincidence I had just written a script for a school assignment, about a kid whose dad takes him to a prostitute on his 1.

Larry seemed excited by it. He said he had this idea to make a movie about a kid, Telly, who takes girls' virginities, like a kind of virgin surgeon. I was a huge fan of My Own Private Idaho and Drugstore Cowboy, and I started to realize that it was all real when I met Gus Van Sant at Larry's apartment in Tribeca, because he wanted to produce it. I figured it should take about a week to write. There was a very simple outline that Larry had come up with, but otherwise I really didn't know what would happen from page to page. I just sat down and let it fly.

Larry Clark (Director): He was writing about a lot of real people. Taking all these experiences that he knew about — and I knew some of it — that happened over three or four years, and just cramming it all into a 2. Which makes for a great movie. A rollercoaster ride."We wanted to make an insider's look at gnarly adolescent culture that you'd never get to see otherwise — like The Real World pushed into something hyper and insane."Korine: They were the voices that were in my head, the voices that my friends spoke.

I would sit down and write 1. She would give me fruit, slice up some kiwi, and made me this steak that tasted like a leather shoe.