Nowadays, teenagers are so fast and quick to see through any form of manipulation. Sitting down and just thinking of something is like watching really bad pornography.

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

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.

We have basic urges all the time. They just manifest themselves in different scenarios, and we have to turn those weaknesses into our strengths. Art is very much about making your weaknesses your strength.

I love fear, and fear breeds creativity. It forces you to react instinctively, which is the essence of movement. Movement is a creativity - a sense of an emotional movement. And the more instinctual you can make that, the more pleasurable it is. It's like an infant drawing. You're completely uninhibited because creativity is a wonderful expression. Good or bad, who cares? That's part of the past. The act of creativity is what's interesting.

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.

The Oriental approach to violence is a much more aesthetic and poetic approach, whereas in the western world, violence is put in because you can't solve the problem. Violence is always the last solution, but unfortunately, in cinema, it's the first solution, because it's easy. And it's often too easy.