Harmony Korine Quotes

Shooting at night in Los Angeles is amazing. The city shuts down at 10 P.M. every night, and a whole different cast of characters comes out.

I like to keep my feet on the sidewalk.

I love driving in the city at night.

I've always been drawn to city skylines.

I can't get enough of London! I love all the picnic benches, the old-school phone booths and parks in the middle of the city.

Cities, like cats, will reveal themselves at night.

Left Bank Astana was beautiful at night, each building, it seemed, with its own nighttime color scheme and the street lamps all going full blast.

What's fun about shooting exteriors on the street in Toronto is that there are cable cars.

I like shooting on location in New York City.

In daily or everyday life, I am so impressed with tiny details, like when I look up at a street lamp falling on the street, it seems to have meaning or so much information in it.

For whatever reason I love big-city skylines. I've always been fascinated by them.

I'll just walk around New York and watch people on the streets.

Now I'm writing about contemporary Los Angeles from memory. My process was to hang out, observe, research what I was writing about, and almost immediately go back to my office and write those sections. So it was a very close transfer between observation and writing.

I like shooting in New York because I have such a connection to the city. I have so many memories there.

Most inspiration still comes from bicycling around San Francisco. This city never fails to inspire me. It is one of the most vibrant cities - especially visually - with a constant influx of young energy arriving daily. I love it.

I'm greedy about cities - I like to form my impressions of them on my own, and on foot as far as possible, looking and listening, having conversations with bridges and streets and riverbanks, conversations I tend not to be aware of until a little later, when I find myself returning to those places to say hello again, even if only in memory.

I grew up in the suburbs, so I remember arriving at Waterloo and seeing Big Ben and the coloured lights on top of the Southbank Centre and thinking, 'Wow!'

As we moved along in a little procession, I was delighted with the illumination of the streets. So many lamps, and they burned until morning, my father said, and so people did not need to carry lanterns.

We forget just how painfully dim the world was before electricity. A candle, a good candle, provides barely a hundredth of the illumination of a single 100 watt light bulb.

I have always been very intrigued by the outside of buildings. I can just walk down the street and be content with watching facades. I don't have to go inside.

Even in New York, there are a lot of very attractive girls pedaling around. That just happens to be one of the nice sights in our city, seeing a young woman on a bike.

The greatest work of art about New York? The question seems nebulous. The city's magic and majesty are distilled in the photographs of Alfred Stieglitz and Paul Strand.

When I came to New York and I opened the window of the thirty-fifth-floor apartment, there's light pollution and fog, and I couldn't see my star. So I drew it on my wrist with a pen, but it kept washing away. Then I went to a tattoo parlor on Second Avenue and had it done.

New York is perfect for Tanizaki because it's filled with so many dark spaces.

In New York, the street adventures are incredible. There are a thousand stories in a single block. You see the stories in the people's faces. You hear the songs immediately. Here in Los Angeles, there are less characters because they're all inside automobiles.