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.

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.

I think that everything changes when it goes through the Mac; it's cheap. I think people then don't pay too much importance to the take, if you can do 40 takes.

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 moved to Hollywood when I was 18. I never saw it as a disadvantage in any way. Quite the opposite.

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.

Now that everyone's shooting digital they want the anamorphic to soften the look. You know, to make it more filmic.