My initial idea was I wanted to make it a horror film, very much. At times I do enter that world.

Filmmaking is like any kind of art form. You have to try to figure it out, and you're going to do that by trying. It's like teaching a child to walk. It may start by walking, but eventually it will fall. And I have kids, but I know that that will enable them to stand up again and understand why they fell, and how they can avoid that. They will walk better and faster, and stronger. Filmmaking is the same.

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.

I have not seen "Batman v Superman," unfortunately. It hasn't been on the plane, as I've been flying a lot.

I also believe on a practical level, if you're taking time away from people, besides entertaining them, I think it's important that there's something to react to.

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

Ironically, even the fashion in New York or Paris or Milan or whatever, or music in Berlin, or art in, I don't know, Madrid - all these scenes come and go. Everything leads back to Hollywood.