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

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

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.

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.

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.

Shooting digitally would not have been easier. Cameras are the same size. I always shoot on film unless I have a reason not to, which I haven't had yet.

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.