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

Sam's light-cycle, the car, and the jets are new of course, and other stuff. The new ones are sleeker and so contemporary, that if you could put them in a car design show they would hold up.

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.

At any given day you have to be ready with everything. It can be that the director says "this one's done and I need a new one." And you're like, "oh my god! I only have two months, no way!" So your design approach is completely different. You develop, let's say six things at the same time, and try to be ready everyday to give it away.

Also one of my heroes is Syd Mead, who designed the vehicles for the first Tron. So, there are so many beautiful things happening here. And working with Joe was great. He's an architect, so I worked with other directors in between who were just about the action.

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.