If you do any thriller or horror movie a big part of the process is accounting for the cell phone.

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.

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.

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

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.

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.

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