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.

Shooting digitally would not have been easier. Cameras are the same size. I always shoot on film unless I have a reason not to, which I haven't had yet.

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

I think video is very useful, but it's very useful when you want a certain reality.

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.

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.

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.