Harmony Korine Quotes

When I'm writing a script, before I can write dialogue or anything, I have two or three hundred pages of notes, which takes me a year. So, it's not like "what happens next." I've got things that I'm thinking about but I don't settle on them. And if I try to write dialogue before then, I can't. It's just garbage.

I think about my films for a long time, maybe years, but I write them in days.

I always think that the writer is doing the vast majority of the director's work, in a sense. If you're a writer who is also going to direct, you're doing all your preparation: You're already visualizing everything, you're imagining how the lines are going to be read, you see the blocking in your head, and you know the rhythm and the pacing.

Much of the activity we think of as writing is, actually, getting ready to write.

I want to write and direct, but I don't think if I did it for 100 years I would ever come close to putting something out there that gives a feeling of all-encompassing and joyous.

Before I undertake a lengthy project, I have usually given much thought to it over a period of years. My files are filled with likely subjects - which perhaps, one day, I will develop.

I'm not nervous if I think about something for nine years and then I don't write it. Even if it fades it doesn't concern me. It'll come back if it's worth it.

I think ultimately it's just time management. You're just doing a lot more stuff. You're doing the same stuff, you're writing and you're producing, but it just comes with a lot of other things. A lot of long term thinking and plotting things out for the future, bringing elements together. I have a lot of support.

It's a little bit like talking about the life of writing. The life of writing may be about many things, but it always begins with the writer. With the kernel of an idea, or a character, or an idea or a theme, or even an outcome. But for documentary photographers, photographs begin at that intersection of the real world and the imaginative inner world.

During the course of the year a number of ideas just come up automatically. I could be walking down the street. Or shaving. An idea will hit me and I'll write it down. Then, when I'm ready to write, I check my little matchbooks and napkins and find that it is good or it's pretty terrible. There are other times when I don't have any ideas and I'll go into a room and close the door and I sit and sweat it out for a day or a month and eventually I come up with [something].

It's rare you get an idea from a dream. I can't really recall a story that ever worked out that way. I think in 35 years of writing, that I've ever had a dream that held up. They're much too dislocated

When I journal, I write about images that I've seen that I think might make good stories. I write about things that I hear that I think I can turn into a story. I write about the story that I'm working on and where I think it might go.

If I come across an issue, or something I feel strongly about, and I happen to think of a song that would go in that direction, then I do it. But that's not what I start out, necessarily, to do. Sometimes I may have an idea for a song - "Well, I'm going to write about a thing.

I think every writer's had the experience of having a really good idea, waiting to write it, and then once you write it, you're like, "Oh I kind of got past the sell by date on this." I'm not connected to the initial spark that was the idea. A lot of that's about staying open.

I think it is harder to write a story that appeals to the intellect. But, when you tie onto one, you can do it quite deeply. It really depends on the type of idea you have to begin with.

I think there's something strange about writing a script I've written many, many scripts - dozens and dozens of scripts - and every time I start one, I think to myself: 'why in the world do I think I know how to do this?'

Writing has got to be an act of discovery....I write to find out what I'm thinking about.

I have time to write 1-2 novels per year, and get roughly novel-sized ideas every month. I have to perform triage on my own writing impulses.

Ideas are cheap. I have more ideas now than I could ever write up. To my mind, it's the execution that is all-important.

I started working on how I would direct this a year before we started shooting "All We Had" and I was prepping, acting, and directing sort of at the same time. I knew that I didn't want to hold people up on set.

During the first five years that I was writing the series, I made plans and wrote small pieces of all the books. I concentrate on one book at a time, though occasionally I will get an idea for a future book and scribble it down for future reference.

Planning to write is not writing.

You've got to concentrate on the business of entertaining and writing songs. Always think different from the next person. Don't ever do a song as you heard somebody else do it.

I just feel like it's so amazing every few years when I'm not making a film to act and basically go back to film school and just watch other filmmakers work and try to be a part of somebody else's vision. So I feel like you do use two very different parts of your brain, and it's great to be able to jump back and forth.

I explained to Amazon that I don't like outlining or projecting what something's going to be. I like to allow a story to arise as I'm writing scripts. I find it horrible when I try to think of something for the plot without really being on the ground and seeing where it goes. I was really resistant to do the mini-bible. So I gave them something, but I really didn't want to do it that way.