Harmony Korine was born on 4 January 1973, in Bolinas, California USA, of Jewish descent. Harmony is a screenwriter and director, known for working on a variety of films, including “Kids”, “Julien Donkey-Boy”, “Mister Lonely”, and “Spring Breakers”. He also created the film “Trash Humpers” which went on to win at the Toronto International Film Festival. All of his efforts have helped put his net worth to where it is today.
How rich is Harmony Korine? As of early-2017, sources estimate a net worth that is at $3 million, mostly earned through a successful career in film. He has also won several other awards for his work, including the DOX Award during the Copenhagen International Documentary Festival. As he continues his work, it is expected that his wealth will increase.
Harmony Korine Net Worth $3 million
Growing up, Harmony would develop an interest in films thanks to his father who was a documentary producer; he watched theatre productions, circuses, and carnivals. He attended Hillsboro High School and later moved to New York City. He continued frequenting productions and would later study Business Administration. He also studied Dramatic Writing at New York University’s Tisch School of the Arts for one semester before dropping out.
Harmony’s first project was the film “Kids” – starring Rosario Dawson and Chloe Sevigny both in their first movie roles – about the drug and sex filled lives of teenagers in Manhattan during the AIDS crisis; it received mixed reviews though it later developed into a cult film. Afterwards, Korine was given funding to produce the film “Gummo” which only had five experienced actors during production. Despite rejections by mainstream critics, the film would win top prizes at the Venice Film Festival, and it would also earn a cult classic status. In 1998 he worked on “The Diary of Anne Frank Pt II” which further disgusted critics and established his reputation for shocking scenes. At this point, his net worth was slowly building up.
Korine’s next project would be “Julien Donkey- Boy” which is about a man suffering from untreated schizophrenia; once again the film achieved cult status. Harmony then went on to appear in “The Devil, The Sinner, and His Journey”, then wrote the script for “Ken Park” though he had no involvement during the production. He also started working with David Blaine, beginning with 2003’s “Above the Below” in which Blaine was suspended in a Plexiglas box – he has since worked with the street magician on numerous productions. His next film would be “Mister Lonely” which was a film with around an $8 million budget, which received mixed reviews and performed poorly in the box office. In 2007, he would take part in the documentary “Beautiful Losers” which focused on his career and life.
2009 saw the premiere of the film “Trash Humpers” which went on to win a top award during the Copenhagen International Documentary Festival. He also released the short film “Umshini Wam” two years later. One of his latest projects is the drama “Spring Breakers” which starred Selena Gomez, Ashley Benson, James Franco, and Vanessa Hudgens; the film was appreciated by reviewers, unlike many of his previous works.
Aside from his films, Harmony has also written a number of books, and photographic collections. He has also directed several commercials and music videos throughout his career, even co-writing songs. The numerous opportunities presented to him have helped increase his net worth.
For his personal life, it is known that Korine had a relationship with Chloe Sevigny in the late-1990s. Later, he would meet and eventually marry actress Rachel Simon Korine, in 2007: they have a child.
In 2013, while James Franco was promoting the Korine-directed Spring Breakers, Franco asked David Letterman to comment on the rumor that Korine had been banned from appearing on Letterman's talk show during the late 1990s. After demurring, Letterman finally confirmed that Korine had indeed been banned, and revealed the reason why: Meryl Streep was also a guest on the same day that Korine was scheduled to be on, and Letterman said that he "went upstairs to greet Meryl Streep and say 'welcome to the show,' and I [knock on the door]...and she was not in there. And I looked around, and I found...Harmony going through her purse. True story. And so I said, 'Okay, that's it, put her things back in her bag and then get out.'".
Readily admits that he was often stoned when he appeared on David Letterman's show during the mid-1990s, when he felt like he 'was a kid'.
In 1997, Janet Maslin of The New York Times called his movie Gummo (1997) the worst film of the year.
Has an unfinished "slapstick comedy" film in which he goads bigger men into getting into fights with him. Korine says it consists "entirely of me getting beat up".
His parents live in Panama, which is why he chose to film sections of Mister Lonely (2007) within that country.
Briefly changed his name to Laird Henn. It never stuck, but there is a song by the band Sun City Girls that contains a phone message left by Harmony on one of the members' answering machines, where he introduces himself as Laird Henn.
Has a tattoo of a trident on his right hand.
Attended film school at NYU but dropped out after only one semester.
Attended high school at Hillsboro High School in Nashville, Tennessee.
Has claimed that The Basketball Diaries (1995) author Jim Carroll was in attendance at his birth and cut his umbilical cord. (Carroll was living in Bolinas at the time, as indicated in his book 'Forced Entries'.) Carroll and Korine are now friends and collaborators.
Wrote lyrics with Björk for her song "Harm of Will" from the album "Vespertine".
His father, Sol Korine, made documentary films in Georgia for PBS.
Often depicts teenagers doing violent and disturbing things (i.e. drug abuse, incest, sex addiction, murder)
Films (with the exception of Mister Lonely (2007)) depict decadence in America.
Utilizes a variety of aesthetic styles and modes, ranging from VHS tape for Trash Humpers (2009) and blown up DV tape for Julien Donkey-Boy (1999) to neon-soaked fine grain 35mm for Spring Breakers (2012). He even varies aspect ratios from film to film.
The movies he directs rarely have a linear plot and are often made up of pieces of events that are highly symbolic and/or metaphorical.
[on Mister Lonely (2007)] I basically started thinking in terms of images that really have nothing to do with anything. Just simple images. I started dreaming about flying nuns, falling out of airplanes and praying the whole way down and surviving. Then I started to fixate upon specific images and characters. One of them was the idea of a Michael Jackson impersonator walking the streets of Paris. I had these different images although they really don't have anything to do with one another. But I knew that there was something in there that I was trying to get out, a unified idea, but I wasn't sure how to say it. 
[on his cinematic inspirations for Spring Breakers (2012)] A lot of it came from things I'd experimented with when shooting ads and trying different techniques. The movie I watched most, believe it or not, was Michael Mann's Miami Vice (2006). The reason I love his movies, and that movie in particular, is I could feel the place. When I watch that film, I don't even pay attention to what they're saying or the storyline. I love the colors, I love the texture. 
[on his life after directing Gummo (1997) ] I felt like Clint Eastwood except you know, from a different time and different place. I'm thinking about the Clint Eastwood with the orangutan [Every Which Way But Loose (1978)]. 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 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.
[on his unfinished film "Fight Harm" where he randomly picked fights with real people] I wanted to make the great American comedy that would just consist entirely of me getting beat up, like a condensed slapstick comedy where you slip on a banana peel. I was really just trying to give people the greatest laugh of their life.
Cinema sustains life. It captures death in its progress.
When I was a child the temptation to sin was always a romantic option. This romantic option lead me to the cinema, a place where sin was welcome.
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. Everyone's in character all the time to a degree, everyone's in costume all the time. You want to create an environment where these characters really exist, and then it's about me finding it. A lot of times, I'll give six or seven different scripts out with alternate endings, with different character lines, with different pieces of dialogue. A lot of times, the actors think they're working on different films.
I never cared so much about making perfect sense. I wanted to make perfect nonsense. I wanted to tell jokes, but I didn't give a fuck about the punch line.
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.
[on meeting David Blaine] The first time I hung out with him, he took me to this condemned building, and it had a pizza oven [inside], and he crawled into the pizza oven and turned the heat on to 400 degrees, or something like that, and he stayed in it for, I guess, a half hour. He came out, and except for one or two second-degree burns, he was unscathed. You meet a lot of musicians and filmmakers and actors, but it's rare to meet someone who can step inside a pizza oven and take the heat. I was intrigued by that.
If Richard Wagner lived today, he would probably work with film instead of music. He already knew back then that the 'Great Art Form' would include a sort of fourth dimension; it was really film he was talking about.
What I remember myself from films, and what I love about films, is specific scenes and characters.