Rachel Korine, Harmony Korine and Diego Luna at the Toronto Film Festival Photo by Matt Carr

...on falling in love
I moved back to Nashville. I got really fat. I was eating really bad and I wasn't exercising. I had stopped drinking and had stopped going to bars. I had this friend who used to work for me and I said to him: "If you see any girls that are beautiful, let me know." He called me up and [told me] there's this girl. I don't know what it was, she was very young at the time. When I met her, I said: "I want to marry this girl!" I just knew it. She was the perfect girl for me. But it took me a year. She was disgusted by me. She thought I was grotesque. She didn't want to have anything to do with me.

...on screenplays
Each movie has been different. Shooting Donkey-Boy was just bare-bones, an outline, and then improvised. This movie [Mister Lonely] was pretty scripted. It is always scripted up to a point. The screenplay is for the most part a model kit. It just contains a set of ideas and dialogue. Once we get on set and people get into their costumes and you start to inhabit the role, I like to let things go organically. It is fun for me to watch the actors take their parts in the movie and the storylines to a place that I had not originally intended for it to go, or hadn't thought of. And then I start to make sense of the chaos. I like to push things in this direction and then that direction. And then once I get into the editing room I start to figure it out.

Harmony Korine and Samantha Morton on the set of Mister Lonely Courtesy of IFC Films

...on coping with fame
I never felt part of the industry. I know I am because I make movies. The problem with New York for me was at a certain point, I felt like my anonymity was blown, and I couldn't just sneak around. I started to get a sense of paranoia. For me it was easier to isolate. So once you to start to isolate, it becomes very unhealthy. It is not so good to always want to get away. The problem was I always felt that people were sucking, taking from me.

...on comedies
I would like to make a movie of people laughing. Not the audience, only the characters laughing the whole time, never speaking just laughing. No, just kidding. It would be fun for me to make something that is really funny. It is in some ways more difficult to do comedy than almost anything else. It is hard to do. If you think about it, the amount of great comedic directors, you can count on one hand. And I am not [talking about] silly Ben Stiller films.

....on 1995's unfinished Fight Harm
I thought I wanted to make the great American comedy. I thought the essence of comedy was tragedy. A guy slips on a banana peel and cracks his head. It's hilarious. But the guy is bleeding. It is like getting [comedy] to its most basic, raw, primal, conceptual place. I [thought]: "Wow, if I go out and just get beaten up over and over again, that will be really hilarious!" And so, I started to get hurt and I started to get arrested. And after about the ninth fight and it only lasted a few minutes, I was like: "Fuck, I wanted to do a 90-minute feature. I would be dead by the time it finishes." So I boarded it after a couple of those fights.