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 [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.

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.

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.

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.

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.

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.