Love comes from the strangest places.

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.

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 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.

I don't believe that art makes people violent in any way. I don't. But I do believe art can show people how to be violent and that's much more dangerous in a way.

The problem with cinema nowadays is that it's a math problem. People can read a film mathematically; they know when this comes or that comes; in about 30 minutes, it's going to be over and have an ending. So film has become a mathematical solution. And that is boring, because art is not mathematical.

I think that experiencing through art is a wonderful way to expand the horizon and everything around it.