Cameo: ('PÃ©ter Bergendy' (film director)) a bearded ticket inspector sitting at a table during the staff briefing scene.
The film includes an introduction by the director of the Budapest Metro (where the film was shot), who says that the film is a work of fiction and that employees of the Metro don't behave as shown.
At one point, Zsolt Nagy's character accidentally hits one of the columns. This wasn't in the script, and the director decided to include it in the movie.
On two occasions there is a robotic voice in the background saying (in English), "The next stop is: Concourse A... the color coded maps and signs in this vehicle match the station colors... please move to the center of the vehicle and away from the doors." The voice is that which was use until 1994 in the "people mover" underground trains at Atlanta's Hartsfield International Airport.
Cameo: (Gábor Herendi) one of the paramedics examining the first jumper's remains on the metro railway.
Hungary's submission to the 2004 Best Foreign Language Academy Award.
In an Interview, director Nimród Antal said that Andrei Tarkovsky's Solaris (1972) was a great inspiration for his film.
This film was shot for five hours every night when the subway system had shut down.
There are no clues who or what the evil Árnyék character is.
It took Nimród Antal nine months to persuade the travel authorities to let him film at night in the Budapest underground system. The opening disclaimer stating the the film is not a documentary was one of the pre-requisites to obtaining their permission.
Some of the vocal effects at the end credits music were done by the director.
In Budapest, the underground network runs on an honor system where passengers are expected to have paid for their tickets. The Kontrollers (or ticket inspectors) randomly approach passengers to inspect their tickets.
The stunt work at the end of the "railrun" between Bulcsú and Gonzó, when the underground almost hits Gonzó is real, and no special effects were used.
Although born in Hungary, director Nimród Antal grew up in America. When he returned to his native land, he was bothered by how society had veered off into haves and have-nots after the fall of Communism. He wanted to depict some of that difference in his film.
Péter Bergendy: a bearded ticket inspector sitting at a table during the staff briefing scene.