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.

I will shoot on film as long as they make it.

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.

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.

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

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

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