I think some people are under the impression that you can simply just shoot it on blue, and then it's all done in post. But no, you really need to understand the pipeline, from beginning to end.

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.

But I grew up in a place where no one knew anyone in the entertainment business, I never knew it was an actual career. The closest I ever got to movies was going to watch them, and I thought that's the way it would be, so I never considered working in this business.

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.

I grew up in a place where no one knew anyone in the entertainment business, I never knew it was an actual career.

I'd like to have the script in a much better place from day one of shooting, rather than trying to continue to work on it while you shoot it. I think those are lessons you learn on any film.

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.