I very much enjoy my freedom creatively but I also would love to make one of those big Hollywood films that costs a lot of money and has a lot of people running around with cell phones and all that insanity.

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.

We live in a society right now which is the last phase of the ecosystem in terms of the old entertainment value, or the old entertainment construction, which is we've gone down to this instant gratification, instant numbers, instant understanding, instant. But it's like the exact - it has perfected itself to the instant click, when, in a way, creativity originates as a much more complex beast. So we now have to reinvent a new canvas where we can indulge in it. And that's where the digital revolution creates a whole new ecosystem of entertainment.

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.

Reaction is what changes your understanding of the world.

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.