The Oriental approach to violence is a much more aesthetic and poetic approach, whereas in the western world, violence is put in because you can't solve the problem. Violence is always the last solution, but unfortunately, in cinema, it's the first solution, because it's easy. And it's often too easy.

The minute you celebrate narcissism, which on one hand is very complex, it's very ridiculous. You have to love oneself with humor.

The conversations about a film are an example of success because then you know whatever you've done has resonated.

I just think it was time [in THe Neon Demon]to do a film about women. But not just women, I wanted to do a movie about a teenage girl. It was a great counter to the masculinity of "Drive."

Financing films that are demanding is a task, in itself. Because people are so afraid of taking any kind of chance, because they're afraid the audience isn't going to respond. But the audience is so hungry for anything that's a bit original, personal, or different.

I consider it a great honour that my movie Drive inspired so many wonderful artists to come together and create one ultra-cool glam experience.

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.