When we met, my agenda was "Get Elle Fanning." I believe Elle's was "Get the role." But we didn't know that.

I try not to have too specific notions because it messes up the process later on. I leave it very open to interpretation until I start casting. Everything changes a lot when you start casting. I mean everything.

There's incredible effect in being either loved or hated, but knowing that, either way, you have penetrated the mind and have altered it; that is a very pleasurable feeling.

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 think when you make a movie, one of your main focuses as a director is to inspire everyone else to give their best. Like manipulation.

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.

I've been trying to get away from physical violence; it's too easy; it doesn't satisfy me artistically to work with it. Dramatic violence is much more interesting, but it's much more difficult.