Top 76 Quotes & Sayings by Harmony Korine

I tried working odd jobs that had nothing to do with creating, and it was difficult for me. In the end, I just always loved movies. When I'm making a film, I feel most alive, like I'm doing the right thing, and I'm in the place where I need to be.

Sometimes, when you watch people play a video game, they seem lost in this wormhole, or in a trance.

Cinema sustains life. It captures death in its progress.

Everything has to have some kind of a point for people to breathe easy. What's the point of life? I have no clue, but sometimes there are things that just attract us and pull us in a certain way.

Skateboarding was everything to us growing up. It changes the way you see the world: you spend all day looking for ditches.

I've always wanted to be a very commercial director, or I had dreams of making these movies into blockbusters. And with each movie, they tell me it's not that way.

I never feel like there's any one point to the film, to anything, to any of the movies I've made.

I had a guidance counsellor who made me take an aptitude test, and told me I should be a bricklayer.

I don't listen to music made by white people. I especially hate anything where a guitar is used. I don't listen to white people and guitars.

When I had my first camera - I was a child of the '80s. I remember what it was like reusing the same tapes over and over again, and having really bad quality and images kind of bubbling up from under the surface.

Some of the most radical work is being done in the most commercially pop venues, and some of the most boring work is being done in avant-garde territory.

I've started lots of books, but it's hard for me to finish them.

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 look at WorldstarHipHop in the morning, Bossip, Global Grind, and everything in between, but it's all so quick, I don't even think about it. And I've never been a fan of lyrical or socially conscious rap music.

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 always wanted the films to play in malls, and I wanted as many people as possible to see them. I never want them to be marginalized in the kind of rarefied, elitist world. I always have hopes that the films will permeate culture in a big way. A lot of times, I'm wrong, but it's always the hope.

Rap is the only interesting music left - it's the only genre that's still pushing itself, and experimenting in a way that I find exciting.

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.

What makes Gucci Mane Gucci Mane is like what made Frank Sinatra Frank Sinatra - it's just him. He's trap's Frank Sinatra.

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.

What I remember myself from films, and what I love about films, is specific scenes and characters.

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 tried college and I hated that. I seem to quit everything I do.

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 do have friends who make movies, but for the most part, I never really wanted to feel like I was part of an industry.

When I'm directing films, I mostly try to create an environment on set that mimics what's in my mind as to the tone and feel of things. I try to create a place where you feel that anything's possible.

I don't make movies for the same reason that a lot of people do. I make films because I need to see them exist in a very specific way.

I've just always liked watching people dance. I can't explain it. It used to just make me laugh.

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.

I've always - honestly - never thought of myself as an independent director.

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.

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 always try to make films in such a way that it's hard to imagine how they came to be, or where they came from.

I never liked socially conscious rap. I like rap that's physical, that's about a beat and bass and repetition.

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 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 was free when I was 12 because I got my first skateboard. I've been free ever since.

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 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.

When I started making movies, I was pretty young, and at the time I felt like there needed to be more confrontation in cinema - or I needed to make something more disruptive - so in the beginning, those movies were me wanting to play with the rules.

I've never actually directed anything I haven't made up. I've never adapted anything.

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.

It's hard to say things without coming off in a certain way, but at a young age, I felt very driven. All I ever wanted to be is a soldier of cinema.

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've always liked street lights, and I've always photographed them. I probably have a collection of two to three thousand photographs of them, just around the city, mainly at night.

You can still make music that people love, but there won't be more innovation. I started listening to electronic music a long time ago. But mostly I listen to rap. I think rap is the most interesting.

I purposefully try to make films in that grey area, where things are morally ambiguous. It's like life: good people do horrible things, and bad people do good things, and there's beauty in horror and horror in beauty.

I always get sick of these conversations where people are so obsessed with pixels, with high definition, and even with technology in general. I find it just dull and heartless. And so I wanted to use only the worst machines.

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.

My knock with filmmaking is the whole bureaucracy around it, so in some ways, staying outside of it is easier for me.

After 100 years, films should be getting really complicated. The novel has been reborn about 400 times, but it's like cinema is stuck in the birth canal.

I like things that are never one way. Usually, emotionally, I make the films based on a type of energy. I try to work with things that are more difficult to articulate. And so, that's more of a feeling. And so, the things that have attracted me are more of the things that are morally complicated or emotionally complicated.

A scientist shouldn't be asked to judge the economic and moral value of his work. All we should ask the scientist to do is find the truth and then not keep it from anyone.

I have no desire for any type of introspection at all. I don't ever ask myself any questions. I don't want answers.

I just haven't let myself get to a place where I've felt a part of any kind of a community, so I've always stayed outside of it.

I've always been pulled toward people who can't seem to make anything fit. It's like a cinema of isolation, of loneliness. They go outside the system and create their own society to develop their obsession to an insane degree.

Often the biggest dreamers get hurt the most. They were pure in their insanity and in their isolation. They were living the dream amongst themselves and didn’t realize it. It’s when they invited the public inside their world that everything went wrong.

For certain things, certain audiences, people will laugh. And in other places, there's dead silence. And I enjoy them both. You try to make films where it's never one way - like life.

I never cared so much about making perfect sense. I wanted to make perfect nonsense.

Life is beautiful. Really, it is. Full of beauty and illusions. Life is great. Without it, you'd be dead.