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.

For me, it was the challenge of doing a movie that is in one location. Usually, there are a few scripts obviously always going around with stories that happen in one location.

I think that everything changes when it goes through the Mac; it's cheap. I think people then don't pay too much importance to the take, if you can do 40 takes.

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

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.

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.

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