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.

I'm a fetish filmmaker, in that I don't know why I do what I do, I just like to see things. When I figure out what I would like to see, I will put it in a film.

Everything we do is about the emotion of the characters. We believe the better the emotion, the better the movie.

Personally I kept my feelings out of it and created a fantasy. That's the process of going through this world being beautiful.

I think that Danish people may be thought off as the happiest people, but honestly...I love America.

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

You ask actors what they would like to do, and you constantly keep them engaged. You want their engagement, input, and sensibilities. It's that intimate collaboration that is actually directing. I don't like the mechanicalness or coldness; I like the intimacy. It's like we are creating a child together.