When you're a kid and you see gangsters living the life, you kind of want to be like that.

I wanted to move away from the disaster airplane movies that we have seen in the past and do something that was more mysterious, and delay until the end the resolution of the mystery, and then have to deal with the plane itself.

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.

Now that everyone's shooting digital they want the anamorphic to soften the look. You know, to make it more filmic.

When you're a kid and you see gangsters living the life, you kind of want to be like that.

These days in movies you can always come back to a location or do an insert or do something, so that's not even an issue any more. But coming back every day to the same plane, it messes with your head.

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.