I think that while you're making the film it's important to just keep your eye on the ball and make the best movie you can, and then realize that it's out of your control.

But the script's got to be at a level that makes it worth going back for, because it's a lot of work to make a movie like this and it's a multi-year project. So we've got our writer Jesse Wigutow on it right now writing, and fingers crossed if it all comes together, as we hope it will, there could be another Tron in the next few years, and it's going to be awesome.

You never want to intentionally make a confusing movie.

Go out and make something that reflects your interests, your taste, and your ideas. No one will pay you to make something until you have a few things you can show that you've directed. I got my start by making short films on my own.

Tom [Cruise] is a great producer himself. He's got great sense of story. It's always great to have the perspective of the person who's playing the character in your film.

In a science fiction movie, the first act is a little longer than it is in most movies because there is so much world building to do.

When I was in architecture school, rather than giving us drafting boards and t-squares and lead pencils and stuff they gave us all the same tools that places like Digital Domain and ILM used to make features films or special effects. They gave us all these digital tools like Alias and Mya and Soft Image and all these kind of high-end computers, so I came out of architecture school knowing how to use all that stuff. And I started making short films at night.