Interviewed in Vice recently, Asia Argento was asked about how her father, director Dario Angento, sometimes killed animals in his films. She said to this, “NO! Those weren’t real! My father never killed real animals, he’s not Harmony Korine. His films are true fantasy. He doesn’t look for reality in his films.” The full interview can be read here.



The launch issue of Another Magazine (Autumn / Winter 2001) features a contribution from Korine, with a piece entitled “The Obituary of Laird Henn.”



The January issue of i-D magazine features four-pages on Ken Park‘s Tiffany Limos. Limos mentions Korine at one point, saying, “Harmony just sat there and Larry [Clark] told him what to write. Me, he doesn’t tell me what to write. I can tell him.” It also says that Clark, in attendance at a business dinner, punched Hamish McAlpine, Ken Park‘s UK distributer, in the face during an argument concerning post-9/11 politics. The next day, McAlpine pulled the film from the London Film Festival where it was playing. For their November issue, The Face featured a portfolio of images from some of their favourite artists. The one for Terry Richardson was a photo of Korine holding a skateboard. This can be seen here. The magazine is also currently running their annual “Deface The Face” competition, which invites readers to alter the magazine as they’d like. Last year they received the entry here, depicting Korine as Jesus in a piece based on a previous cover of the magazine.



A summation of articles printed on Page Six of the New York Post is included in a biography of Korine on Lab Productions, which says, “The New York Post kept Korine’s fans awash in stories of his demise. He burned down his grandmother’s house and killed her dog, burned down a friend’s house, wrecked his car in Connecticut, was evicted from his apartment in New York because it had turned into a haven for the homeless and junkies, burned down the last house he lived in, and the last we heard he dropped his crack pipe in a London restaurant.”

Currently Korine is believed to be working on a film called “Nun’s The Word.”

The following post appeared on a newsgroup some time ago:

…don’t be fooled. just because he laces his jeans up with dental floss (toronto film festival, 1997, where he assaulted a journalist with a swiss army knife and then the JOURNALIST got thrown out for provoking him. precious artiste.), doesn’t mean he isn’t quite well off. he’s made alot of money.

(my friend knew that journalist and he lost his job because of this, and couldn’t pay his rent that month. it was a pretty big thing. just because korine didn’t like the question he got asked, he pulled a knife on the guy…)

An old interview with ChloĆ« Sevigny that we’ve only now come across says that Korine was at one point was interested in the Brandon Teena story, which was later filmed as Boys Don’t Cry (1999). Sevigny says, “When Harmony was interested in doing it , they said there was no way to get the rights and impossible and la-dee-da-dee-da-dee.” The interview can be read in full here.


Paul Cronin’s book Herzog on Herzog, published in the UK by Faber and Faber on November 4, 2002, mentions Korine several times, including a credit of thanks in the introduction. Herzog himself is responsible for the other mentions, first with the following story:

One aspect of who I am that might be important is the communication defect I have had since I was a young child. I am someone who takes everything very literally. I simply do not understand irony, a defect I have had since I was able to think independently. Let me explain by telling a story. A few weeks ago I received a phone call at my apartment from a painter who lives just down the street from me. He tells me he wants to sell me his paintings, and because I live in the same neighbourhood, he says he wants to give me a good deal on his work. he starts to argue with me, saying I can have this painting for only ten dollars or even less. I try to get him off the phone, saying, “Sir, I am sorry but I do not have any paintings in my apartment. I have only maps on my walls. Sometimes photos, but I would never have a painted picture on my walls, no matter who made it.” And he kept on until all of a sudden he starts to laugh. I think: I know this laughter. And he did not change his voice one bit when the painter announced that it was my friend, Harmony Korine.

Korine is mentioned a second time when later discussing julien donkey-boy:

Originally, [Korine] was going to act as my son, but in the end he did not feel comfortable enough to be behind and in front of the camera at the same time. So he did not just cast me in the role only because I was the right age and looked right; it was much more significant for him than that. He wanted his ‘cinematic father’ to be in the film even if the character I play is completely dysfunctional and hostile.”

The last mention occurs when conversation turns to Laurence Sterne’s Tristram Shandy:

Let us bring Harmony Korine back again; he loves the book because it does not have a linear narrative, and of course harmony is not the man to tell his own stories as a normal movie story flows. His approach, like Sterne’s, has much more to do with associations and strange jumps and contradictions and wild ravings and rantings.