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.

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

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.

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.

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

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.

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.