The casting of any film is around 60% of the film, but it's also about the right casting insight. It's a bit like a house of cards, everyone has to match up in a certain way so the whole structure is grounded. So that's essential, and yes, it's about finding the right people and the right constellation around the lead character.

I am a child of cinema, and I am a cineaste, so everything I do is a reference to something I've heard or experienced or seen. And we all do it, we all steal. The ones who claim they don't, are obviously lying, because you do. You just have to make it your own.

The vibe, it's that excitement. New York, you just can't describe it. You get a similar thing from Paris and London, but it's not New York.

The kind of group mentality that we had lived under since the Second World War is starting to erupt, and the craving for individualism is now much stronger. It's not as taboo anymore, as it was when I was younger.

Jenna Malone was a very important piece of how the film [The Neon Demon] turned out.

Sometimes you can play against type, or you can just repeat what they've already done. It can be an obstacle; it's a very fine line.

The artificial world that we create through images will essentially become real.