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.

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

You have to offer sort of an evolution visually and do things like you've never seen before, like a fight between two men in a toilet on an airplane which was very exciting.

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 could only shoot when the subway was on the other platform. Little things like that, and the platform is very narrow. It's not like you can hide if a subway comes so a lot of things happened because of that. Or a thousand people just came and looked straight into the lens like they didn't expect a movie to be shooting.

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.

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