When you make a thriller/horror, darkness is [your] friend, because it lets the imagination go wild and what not. So you always end up going into darkness.

Camera's are cheap. It's the lenses that are expensive.

Anamorphic doesn't really lend itself to the big shots.

I think it's very interesting for a director that enjoys thrillers and mysteries like I do to have the challenge to do that.

I moved to Hollywood when I was 18. I never saw it as a disadvantage in any way. Quite the opposite.

The hard part on the subway is that you have, let's say, eight hours, but you have to hit these deadlines. From here to here, you can use this part. From this time to this time, you can use that part, and you have to hit them and it gets very stressful.

It's hard to do a camera inside of a car. Non-Stop would have been impossible. Usually modern lenses you can focus up to the lens pretty much, but anamorphic you can't. You need like three feet.