Quotes by: Harmony Korine
I was born 'Harmony,' and it was weird because when I was a little kid, I was picked on so much that when I was 13, I changed my name to Harmful. I thought it was a tougher name, so I had it legally changed. And then, I don't know, it just didn't seem to catch on, so... legally, my name is still Harmful, but I just said I'll go back to Harmony.
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'd always heard stories about how Harpo Marx was the most talkative of the Marx brothers. I found it interesting that someone you never got to hear speak in films would never not speak in real life.
When I was a child, the temptation to sin was always a romantic option. This romantic option led me to the cinema, a place where sin was welcome.
I've never actually directed anything I haven't made up. I've never adapted anything.
If I see something that's morally ambiguous or ambiguously beautiful or has some pull in some way, I won't censor myself; I always run towards the light.
I never liked socially conscious rap. I like rap that's physical, that's about a beat and bass and repetition.
I was free when I was 12 because I got my first skateboard. I've been free ever since.
I've always - honestly - never thought of myself as an independent director.
Skateboarding was everything to us growing up. It changes the way you see the world: you spend all day looking for ditches.
I had these experiences as a kid; I remember certain things happening in school that were horrifying that I would see, certain things of violence or certain things of cruelty, but around that, something might happen afterwards to cause everyone to laugh, and that always blew me away.
I never cared about making one coherent masterpiece with a conventional narrative. I always wanted my movies to have images falling from all directions in a vaudevillian way. If you didn't like what was happening in one scene, you could just snooze through it until the next scene.
My knock with filmmaking is the whole bureaucracy around it, so in some ways, staying outside of it is easier for me.
I have a pretty good family. But ever since I was little, I just felt like I wanted to be on my own. It was the same thing about school.
Ever since I was little, I would just make stories up in my mind. It was based on people I saw in the street or someone I would talk to, or I would hear a specific voice.
I've just always liked watching people dance. I can't explain it. It used to just make me laugh.
When I was a kid, I loved Nicholas brothers films. It was like skateboarding. Even Gene Kelly: I always preferred him to Fred Astaire, just because he was more athletic, like skateboarding.
I use to live on this street when I was a kid where there was an old person retirement home, and all of the old people would listen to that band Herman's Hermits, and they would wear white nursing shoes. And they would throw away stacks of VHS tapes, and I would go through the trash and take them.
I don't even know how people read new fiction anymore because there's so much old fiction that exists that seems great that's unread. It's overwhelming to me. But, I mean, I do read. But there probably haven't been many people less literate than me that have been in 'The Paris Review.'
I'm not a video brat. I don't derive all my inspiration through movies. I get it from a lot of other places, too.
Here's the thing that people don't understand: I don't really care. I've never been a careerist. It's not a strategy. I react to certain characters and story lines and specific mode of filmmaking.
I studied writing at NYU. I graduated high school in Nashville and then went to the creative writing program, and in the first year, that's when I wrote 'Kids.'
I've never had to pitch a movie to a studio. I usually just let people read the script, then I cast it. I always think pitching is for baseball.