[The Neon Demon] was more my own fascination with beauty. It's my children's fascination beauty.

You know the one I want to do? I want to make Batgirl.

I consider it a great honour that my movie Drive inspired so many wonderful artists to come together and create one ultra-cool glam experience.

I'm a fetish filmmaker, in that I don't know why I do what I do, I just like to see things. When I figure out what I would like to see, I will put it in a film.

Actually, there was one sequence but Liv didn't put this in but at the end of the movie, we ran out of money. Literally, ran out. And I couldn't make payroll. So I emptied all our accounts to make payroll. We were kinda like, "What do we do?" Then out of the blue, we were saved by Gucci. So it's always been like, you just gotta reach for the stars and hopefully the moon will catch you.

How can creativity be bad? You can have, "I liked it" or "I didn't like it," but, in the end, it's an individual experience. How can you even begin to define that? I find that sometimes extremely arrogant and counter-productive.

You ask actors what they would like to do, and you constantly keep them engaged. You want their engagement, input, and sensibilities. It's that intimate collaboration that is actually directing. I don't like the mechanicalness or coldness; I like the intimacy. It's like we are creating a child together.