Harmony Korine
Harmony Korine
Harmony Korine is an American film director and screenwriter. He is best known for writing Kids and for writing and directing Spring Breakers, Gummo, Julien Donkey-Boy and Mister Lonely. His film Trash Humpers premiered at Toronto International Film Festival and won the main prize, the DOX Award, at CPH:DOX in November 2009. His most recent film Spring Breakers was released in 2013...
NationalityAmerican
ProfessionDirector
Date of Birth4 January 1973
CityBolinas, CA
CountryUnited States of America
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.
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 started lots of books, but it's hard for me to finish them.
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.
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.
I've never actually directed anything I haven't made up. I've never adapted anything.
I've always - honestly - never thought of myself as an independent director.
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.'
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'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.
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.'
My knock with filmmaking is the whole bureaucracy around it, so in some ways, staying outside of it is easier for me.
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.
I've just always liked watching people dance. I can't explain it. It used to just make me laugh.