A Quote by Harmony Korine
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.
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Panama is a country that's been dealing with issues of identity since its very birth. It was born on Wall Street. It was born out of engineering construction. It was the canal. Because of the canal, the country was born, so the country has been divided into pro-canal and against-canal people for so long.
I'd like to teach Iraq about Democracy because we're so experienced with it. First they should know that after 100 years they should free their slaves. Then after 150 years they should give their women the right to vote. Oh, and of course when they start it all they should begin with some genocide and ethnic cleansing.
For 8,000 years, we've had lyric poetry; for 400 years we've had the novel: theatre hands its meaning down in text. Let's find a medium whose total, sole responsibility is the world as seen as a form of visual intelligence. Surely, surely, surely the cinema should be that phenomenon.
Cinema has only been around for about 100 years. Has all of the world's violence towards women taken place only within the past 100 years?
We can't keep thinking in a limited way about what cinema is. We still don't know what cinema is. Maybe cinema could only really apply to the past or the first 100 years, when people actually went to a theater to see a film, you see?
Every time that I write a novel I am convinced for at least two years that it is the last one, because a novel is like a child. It takes two years after its birth. You have to take care of it. It starts walking, and then speaking.
I don't think we have enough imaginary creatures in cinema. It seems like we're stuck with zombies, vampires, and werewolves. We should have everything. We should have minotaurs. We should have elves. We should have mermen in popular culture. But instead we've stuck with vampires.
Well, people have been wondering what's going to happen to the novel for two hundred years; its death has been announced many times. You know, I think the novel keeps redefining the world we live in. What you should look for in a novel is a window nobody else is looking out of, that nobody else can look through. What you look for is a voice. You pick up a novel by someone such as Faulkner or Hemingway and you just read three pages and you know who wrote it. And that's what one should demand of a novelist.
After 20 years and 250 mainstream films, I thought I should have in my library at least 50 films, films that will be talked about when I am no more.
I just finished a film a few days ago, and I came home and said I learned so much today. So if I can come home from working on a little film after doing it for 45 years and say, "I learned so much today," that shows something about the cinema. Because the cinema is very young. It's only 100 years old.
In '94, I started writing a novel about an enormous terrorist act that destroyed the United States. The novel takes place twenty years after this destruction, with all the stuff that we're dealing with now - a dirty war, the disappeared, the concept of terrorism. Anyway, 9/11 happened some years into the process, and I was like, OK, I don't have a novel.
but all I could think was in New York that kid would have been stuck in a straitjacket practically from birth and dangled over a tank full of Educational Consultants and Remedial Experts all snapping at his ankles for the next twenty years arguing about his Special Needs and getting paid plenty for it.
I spent six years after my first novel and five years after my second without getting into a new book.
I wouldn't say I'm stuck in my adolescence, but I think, like a lot of people, I carry my teen years with me. I feel really in touch with those feelings, and how intense and complicated life seems in those years.
100 years of Indian cinema has happened. Anything you do, feels like it has already been done. The struggle is to find a new and unique idea.
A lot of times black actors get stuck in a box. They're up against a lot of limitations for the kind of films that they get approached about. It's easy to get stuck in a box and just be approached about nothing but urban films.
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