Obviously in the close-ups we bring extras around or we do it later, but them running in and the big shots, they don't know. They're just coming out.

Anamorphic is very difficult because the distance from the lens to the person to focus is very long so you need a lot of distance from the camera to the person so that means that you need a lot of space.

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.

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

You know how hard it is to swim take after take and perform the next day swimming again? Me, I'm a terrible swimmer, but most actors with that tight schedule would be sick pretty quick.

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.