I am not a fan of improvisation, because it bores me. Working off a tight scenario gives you the confidence and ability to - why don't we change this a little bit and bring it back to the script. You always discover things while shooting.

It was a very comfortable and personal relationship [Cliff Martinez ].'The Neon Demon'is our third movie and the music has never been as important as for this movie.

All my other movies have the same process. Same approach. Same amount of changes. Everything. Things being made up on the fly. Changing things around. Firing and recasting. Constantly, constantly, in chronological sequence, not really knowing how this is going to end up. That is the only dogmatic approach I take towards everything.

In "Drive," there's a heightened male edge. In "Only God Forgives," it was almost crawling back into the womb of the mother. And now with "The Neon Demon," being reborn as a 16-year-old girl.

I believe shooting chronologically gives you a very fresh perspective and you're always aware of where you are in the development of the characters.

I've done collaborations in all my movies, and I think it's part of what I enjoy about the process. This kind of intimacy that you create. Because it becomes very intimate.

Good and bad, what's good and bad? I don't know.