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

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.

Producers and studios want to make movies that are more appealing internationally and I think that you have to use your different cultures as an advantage to be able to make those movies.

The hard part on the subway is that you have, let's say, eight hours, but you have to hit these deadlines. From here to here, you can use this part. From this time to this time, you can use that part, and you have to hit them and it gets very stressful.

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.