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.

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 will shoot on film as long as they make it.

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 think it's very interesting for a director that enjoys thrillers and mysteries like I do to have the challenge to do that.

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.

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.