24 is about as wide as one can reasonably go without having to worry about weird perspective compression artifacts, I like the idea of using a 24 (or 16 on an APS sized sensor) for dark rides where you're being moved about.
I'd suggest actually shooting it at f/2 or so BTW, most of the non-stupidly expensive* f/1.4 glass gets brighter in the center but has more vignetting after you move past about f/2 or so, so overall you capture the same amount of light but loose sharpness and loose your corners almost entirely. Also, I used to underexpose by 2-ish stops on the ISO: easy to fix in post-processing, but you can't fix the blown highlights (now I just use highlight-weighted metering). The last few generations of sensors are really good at making up for underexposure and slower lenses.
*By stupidly expensive, think $1,000+: the Sony 24mm f/1.4 GM, Nikon AF-S NIKKOR 24mm f/1.4G ED, and similar.