Man's fear of sexuality is the basis of all horror from the male perspective.

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.

The power of art is as powerful as weapons of mass destruction; it's just where war destroys, art inspires. But in order to inspire, you need to react to it. And, if it doesn't penetrate your mind, you can't react to it.

My movie [The Neon Demon] is a hyper-version of the obsession with beauty. As this crazy obsession grows, longevity does not. Everything seems to become younger and younger. The girls and people around them cannibalize themselves.

Financially, it was very successful. Which is the most important thing. That is the only way you get to make another movie. It's very simple. The market will value you.

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.

Film works when a director and a star have a connection. You know, when there's something telekinetic between them, there's a partnership, it's like alter egos. It's like James Stewart and Alfred Hitchcock, or Fellini and Mastroianni. I'm not comparing, I'm just saying, if you can come into a relationship where the director and star have such a bond, it's so much easier to make a movie.