Harmony Korine Quotes

People who are making films today are too concerned with mechanics - technical things instead of feeling.

The richest source of creation is feeling, followed by a vision of its meaning.

For me, Corsica is a place that I visited with my friends, maybe five or six times over the years, and I'm so happy there that I wanted to make a painting about it almost just to share with my friends, but it's so difficult when all your feelings are one way, and they're very sort of happy and pleasant. It's impossible to make a painting about it.

The poems ... are moments when I had the intensity to see, and the energy to build, some careful analog that completed the seeing. ... All I have been left is the exhausting habit of trying to tack up the slack in my life with words.

I could make a film in front of a wall if I knew how to find the data of man's true humanity and how to express it.

I focus on the task and try and do it as best we can. And we're constantly evolving it, because it's my way of trying to make sense of all these ambivalent feelings I have.

Maybe you're a singer or not, but what taps into the soul leads to the heart, and that's really what I came away with, with the starting point for the record being that I could speak as a human being and feel things very deeply.

He wished she knew his impressions; but he would as soon have thought of carrying an odour in a net as of attempting to convey the intangibilities of his feeling in the coarse meshes of language. So he remained silent.

An artist must learn to be nourished by his passions and by his despairs.

It is only when an actor feels that his inner and outer life on the stage is flowing naturally and normally, in the circumstances that surround him, that the deeper sources of his subconscious gently open, and from them come feelings we cannot always analyse.

Art is the ability to communicate through an intermediary and to convey one's feelings through an isolated object. It's inspiration and incubation. Putting my subjective feelings into an objective form and then on to you for a subjective interpretation.

What I want to express is a feeling-various emotions that I am experiencing at the time-whether it is anger or hope or anything else, and from different angles. I construct a collection and it takes concrete form. That's probably what appears conceptual to people because it never starts out with any specific historical or geographical reference. My point of departure is always abstract and multileveled.

grievance does not make for great art.

I am unable to make any distinction between the feeling I get from life and the way I translate that feeling into painting.

Roman Polanski actually said as much to me once. He had his head in his hands, and I said, "Roman, I've got to tell you, as an actor, seeing the director with his head in his hands... Look, I really want to do what you want me to do." And he went away and he came back, having obviously thought about what I said. And he said, "When my head is in my hands, I'm closing my eyes and trying to remember what I saw in my head, before any of the stuff."

The mature person becomes able to differentiate feelings into as many nuances, strong and passionate experiences, or delicate and sensitive ones, as in the different passages of music in a symphony. Unfortunately, many of us have feelings limited like notes in a bugle call.

sometimes words are not big enough to contain all the feelings you are trying to pour into them.

What is the point of trying to put down on paper emotions that are too complex, too huge, too overwhelming to be confined by an alphabet? Love isn't the only word that fails. Hate does, too.

Writers often write their best when they are feeling their worst

I spent my entire youth writing slowly with revisions and endless rehashing speculation and deleting and got so I was writing one sentence a day and the sentence had no FEELING. Goddamn it, FEELING is what I like in art, not CRAFTINESS and the hiding of feelings.

I think the great artists (..) have always thought with the heart.

Sometimes, you can incorporate things that you've experienced in your life and use that. And, other times, you just know what that feeling of hurt, love, anger and depression is, and you do whatever it takes to get there in your mind, and use it to your advantage, whichever way it works best.

The oldest emotion in the world may be that of being moved; but to describe it-just to name it-must have been like trying to catch something invisible.

Sometimes I think as an artist you tend to go toward the heartbreak and the sadness because those are the deepest and heaviest emotions you can pull out as an entertainer and as a singer.

Then you learn about composition, you learn about old masters, you form certain ideas about structure. But the inhuman activity of trying to make some kind of jump or leap, where , the painting is always saying, 'What do you want from me? I can only be a painting.' You have to go from part to part, but you shouldn't see yourself go from part to part, that's the whole point.