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

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.

You have to think of each stage of the movie and how it progresses, get into the state of mind of the character, and then match the camera to that, and keep making it tighter and tighter and crazier and crazier so people don't get bored. You know you cannot do a similar shot that you did at the beginning of the movie at the end.

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

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

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.