I was surprised by how much of it I was in [Tron: Legacy]. I thought the character was just going to register as a smaller figure because most of what I did was with a body double, and then I would do the stand-in with Jeff [Bridges] and he would be just wearing his regular clothes.

I would want to keep that in a little glass sphere, perhaps in the corner of my living room, lit up. But, I think that's an extremely expensive rig. The costumes were crazy expensive, beyond anything they could afford to give you, to take away. They're going to be in a museum of some kind, on display until they get the go for Tron: Legacy 2. It would have been awesome to keep, though. I don't think there was anything that they could afford to let go. I probably would have been arrested.

Working with CGI is more like doing theater where your sort of imagining things. I didn't experience it as restrictive.

For all that Tron wanted to be, it ultimately had to be a fun ride for the audience and I was going to be one of the comic characters, and he was really on top of that. He was having such a good time doing it. That's my memory of it. I'd love to work with him again. I think he's great.

Bruges is a beautiful medieval city almost untouched by time. If you like jazz, you will be well catered for. If you like chocolate and beer, you will be in heaven.

You know, what I didn't know was how many people in the tech world the original movie had such an impression on. That's really interesting to me because a lot of the people who created this technological revolution that we're all living through were kids when Tron came out, and they saw Tron and it impacted them.

The costumes, the light rigs and the effects are seamlessly joined. I'm kind of bummed that I don't get the experience that you get with just watching it cold. By the time we'd seen all the visuals put together, I'd sort of become used to that world. It's still pretty impressive.