Harmony Korine Quotes

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.

Ulrik Ottinger was the most real and experimental of all the German New Wave directors. She was probably the most out-there, too. She's a fascinating artist in that world.

I went to film school, and I came in when video art was king, weird stuff was king, and there, you don't have a script as your bible.

I don't think 'Road' is an experimental film.

Though finally overwhelmed by a preening lassitude, 'Hotel' is never less than fascinating, breaking into multiscreen scenarios like Mr. Figgis's 2000 experiment, 'Timecode.'

I think always my interest in making movies is to have something really technical mixed with something that was not so formal...something free.

[W]hen the coyote falls, he gets up and brushes himself off; it's preservation of dignity. He's humiliated, and it worries him when he ends up looking like an accordion. A coyote isn't much, but it's better than being an accordion.

I think it would be great to make a $2 million or $3 million art movie where nobody would really have to go to it. I thought that would be a good project to work on . . . do something really artistic.

Short stories do not say this happened and this happened and this happened. They are a microcosm and a magnification rather than a linear progression.

The trouble with fiction," said John Rivers, "is that it makes too much sense. Reality never makes sense.

In an episodic treatment, such as a teleplay is, you have the ability to do what you can do in a novel, which is flash back and flash forward in the same instant, in the same scene, in the same voice.

I'm not putting up with this," she continued. "You can't even go out and buy a solar system without worrying I'll fall apart. How are you supposed to get anything done?" "Actually, I'm not in the market for a solar system right at the moment.

I've been making films with almost no dialogue (laughs), so sound and music become a very powerful character to tell the story. It's almost like with sound and music and images, it's your tool to tell the story, especially when I decide to structure the film in a way that usually goes against the conventions of the three-act structure which most films are made out of.

I do worry about how newspapers respond to falling circulation figures. I'm not sure that the answer is for newspapers to try to cater to whatever seems to be the fad of the day.

When I started my goal was to make a successful underground movie. I started making movies in the mid-60s. Underground cinema then only lasted about two or three years.

I find Hollywood gives these pat stories, and they're reassuring stories, and I don't really want to give people that. Hollywood does all that work. I'm offering, sometimes, an alternative to that. The answers aren't black-and-white. There may not even be answers in certain instances. The ground is not necessarily solid, either. So you've got to keep awake the whole time, even after the movie is over.

Eraserhead is my most spiritual movie. No one understands when I say that, but it is.

('Eraserhead') may seem like a dark film, but my father and I watch it, and all we do is laugh. It was Disneyland everyday on the set. That's when I fell in love with film.

Do not be afraid to throw yourself on the Lord! He will not draw back and let you fall! Put your worries aside and throw yourself on him; He will welcome you and heal you.

Just be yourself and everything will fall in line, the way it's supposed to be. If you're yourself, that's the best thing you can do, because you can never go "damn if I'd only been myself." Live an authentic life and you don't have to worry about your reputation.

The ninety percent of human experience that does not fit into established narrative patterns falls into oblivion.

I scan the room. Catherine is writing quickly, her light brown hair falling over her face. She is left-handed, and because she writes in pencil her left arm is silver from wrist to elbow.

I think we do need to worry about a food shortage, but we also need to worry about the quality of the food. A lot of the stuff that's marketed to us tastes delicious because it fools our bodies. It fools our bodies into thinking that a particular mix of fat and salt and sugar is good for us. In fact, it isn't. That's why you're seeing in the United States life expectancies are declining, particularly in rural areas. You're seeing life expectancies falling in part because of diet.

We ride and never worry 'bout the fall. Guess that's just the cowboy in us all.

One of the high points in my career came from a time I had with Tim Conway on a film when I had him fall down with laughter. I had this scene with him where I was this mechanic down fixing his car. I can't remember what my line was as written, but they were okay with me doing a made-up line. So Tim asks me what's wrong with his car, and I look up and say, "Well, looks like you got a squirrel caught up in there."