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.

I don't drive because I failed eight times and never got my license.

I think the idea of individualism has become more dominating in our society. You can even see it by our political system: how people vote, the job situation, the sociological evolution that's happening, what's happening in the Middle East and so forth.

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

I'm a fetishist. I make films based on what I would like to see.

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.