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.

We live in a society right now which is the last phase of the ecosystem in terms of the old entertainment value, or the old entertainment construction, which is we've gone down to this instant gratification, instant numbers, instant understanding, instant. But it's like the exact - it has perfected itself to the instant click, when, in a way, creativity originates as a much more complex beast. So we now have to reinvent a new canvas where we can indulge in it. And that's where the digital revolution creates a whole new ecosystem of entertainment.

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

I never look at the internet because then you just have nothing else to do but just look. Most generally, and even myself as a consumer, you think you know what you want. But what's more interesting is figuring out what you don't want. I think the only way that I can do that is just to do what I think is right. That is the only real gesture of respect. Then people can react to the movie how they want to react.

I was in Hollywood. It's the mythology heart. It's where all the European films came in the '30s and '40s. The marriage between Europe and Hollywood has always been the best when it works.

I've been making films with almost no dialogue (laughs), so sound and music become a very powerful character to tell the story. It's almost like with sound and music and images, it's your tool to tell the story, especially when I decide to structure the film in a way that usually goes against the conventions of the three-act structure which most films are made out of.

Elle Fanning was fifteen when we started [The Neon Demon]. She turned seventeen during the shoot. Four weeks before Cannes, she turned eighteen. She had her prom at Cannes.