Harmony Korine
Birthday: 4 January 1973, Bolinas, California, USA
Height: 173 cm
Harmony Korine was born in Bolinas, California, in 1973. His family moved to the east coast of the United States when he was five, and he spent his early years in Nashville, Tennessee, and New York. A ...Show More
[on his life after directing Gummo (1997) ] I felt like Clint Eastwood except you know, from a diffe Show more
[on his life after directing Gummo (1997) ] I felt like Clint Eastwood except you know, from a different time and different place. I'm thinking about the Clint Eastwood with the orangutan [Every Which Way But Loose (1978)]. It's hard to say things without coming off in a certain way, but at a young age, I felt very driven. All I ever wanted to be is a soldier of cinema. Hide
When I was a child the temptation to sin was always a romantic option. This romantic option lead me Show more
When I was a child the temptation to sin was always a romantic option. This romantic option lead me to the cinema, a place where sin was welcome. Hide
What I remember myself from films, and what I love about films, is specific scenes and characters.
What I remember myself from films, and what I love about films, is specific scenes and characters.
I never really feel wrong while making movies. I know myself and I know that my intentions are pure Show more
I never really feel wrong while making movies. I know myself and I know that my intentions are pure and I'm on the side of righteousness... I always wanted the films to play in malls, and I wanted as many people as possible to see them. I never want them to be marginalized in the kind of rarefied, elitist world. I always have hopes that the films will permeate culture in a big way. A lot of times I'm wrong, but it's always the hope. Hide
Cinema sustains life. It captures death in its progress.
Cinema sustains life. It captures death in its progress.
[on his cinematic inspirations for Spring Breakers (2012)] A lot of it came from things I'd experime Show more
[on his cinematic inspirations for Spring Breakers (2012)] A lot of it came from things I'd experimented with when shooting ads and trying different techniques. The movie I watched most, believe it or not, was Michael Mann's Miami Vice (2006). The reason I love his movies, and that movie in particular, is I could feel the place. When I watch that film, I don't even pay attention to what they're saying or the storyline. I love the colors, I love the texture. [2012] Hide
I never cared so much about making perfect sense. I wanted to make perfect nonsense. I wanted to tel Show more
I never cared so much about making perfect sense. I wanted to make perfect nonsense. I wanted to tell jokes, but I didn't give a fuck about the punch line. Hide
[on his unfinished film "Fight Harm" where he randomly picked fights with real people] I wanted to m Show more
[on his unfinished film "Fight Harm" where he randomly picked fights with real people] I wanted to make the great American comedy that would just consist entirely of me getting beat up, like a condensed slapstick comedy where you slip on a banana peel. I was really just trying to give people the greatest laugh of their life. Hide
After 100 years, films should be getting really complicated. The novel has been reborn about 400 tim Show more
After 100 years, films should be getting really complicated. The novel has been reborn about 400 times, but it's like cinema is stuck in the birth canal. Hide
If Richard Wagner lived today, he would probably work with film instead of music. He already knew ba Show more
If Richard Wagner lived today, he would probably work with film instead of music. He already knew back then that the 'Great Art Form' would include a sort of fourth dimension; it was really film he was talking about. Hide
When I'm directing films, I mostly try to create an environment on set that mimics what's in my mind Show more
When I'm directing films, I mostly try to create an environment on set that mimics what's in my mind, as to the tone and feel of things. I try to create a place where you feel that anything's possible. Everyone's in character all the time to a degree, everyone's in costume all the time. You want to create an environment where these characters really exist, and then it's about me finding it. A lot of times, I'll give six or seven different scripts out with alternate endings, with different character lines, with different pieces of dialogue. A lot of times, the actors think they're working on different films.[2008] Hide
[on meeting David Blaine] The first time I hung out with him, he took me to this condemned building, Show more
[on meeting David Blaine] The first time I hung out with him, he took me to this condemned building, and it had a pizza oven [inside], and he crawled into the pizza oven and turned the heat on to 400 degrees, or something like that, and he stayed in it for, I guess, a half hour. He came out, and except for one or two second-degree burns, he was unscathed. You meet a lot of musicians and filmmakers and actors, but it's rare to meet someone who can step inside a pizza oven and take the heat. I was intrigued by that. Hide
[on Mister Lonely (2007)] I basically started thinking in terms of images that really have nothing t Show more
[on Mister Lonely (2007)] I basically started thinking in terms of images that really have nothing to do with anything. Just simple images. I started dreaming about flying nuns, falling out of airplanes and praying the whole way down and surviving. Then I started to fixate upon specific images and characters. One of them was the idea of a Michael Jackson impersonator walking the streets of Paris. I had these different images although they really don't have anything to do with one another. But I knew that there was something in there that I was trying to get out, a unified idea, but I wasn't sure how to say it. [2007] Hide
Harmony Korine's FILMOGRAPHY
All
as Actor (20)
as Director (2)
as Creator (3)
