It [making tron: Legacy movie] was everything. I got pulled into a different country, in a different language, and a different society. In a movie, it's a completely different feel. In car design you know you have one year, and you have to go step by step. This is an organized catastrophe.

It [making tron: Legacy movie] was everything. I got pulled into a different country, in a different language, and a different society. In a movie, it's a completely different feel. In car design you know you have one year, and you have to go step by step. This is an organized catastrophe.

The downside is, if somebody doesn't like it, then it's like "oh my god, ok its really your fault."

Every time you see an interior, where somebody has a cockpit, is the real existing thing. Every time you see the exterior zooming by, it's completely CGI.

It's still the classic thing to get nice lines, but knowing that your computer model, on your little machine, is on the screen, is priceless. And that doesn't happen too often I don't think.

The funny thing is that Sydney, who worked on the first film [Tron], developed a bike that had an exposed rider, but they couldn't do it because the computers weren't fast enough, so they gave it a roof, which became the iconic one. Ironically what we do now is basically what they envisioned in the first one but couldn't do technically. I mean this a full on homage in every aspect.

I got very spoiled. Everybody said you will never ever work on such a good movie, you know. I did, because I went on to work on Captain America, which also has a great director, which is Joe Johnston, one of my heroes who designed the old Star Wars movies.