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.

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.

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.

Camera's are cheap. It's the lenses that are expensive.

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

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.

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.