Nic is definitely a car guy because Nic and [William] Fichtner and Billy, these guys go on and on about the cars. So we had no choice but to do our research and get everything right because they were going to nail us if we didn't.

I mean, 3-D adds a whole level of 'oh my goodness' to the movie in good ways and bad ways that you have to deal with. We've overcome any obstacle that we've ever had because we have a great 3-D crew, Max and the guys at Paradise 3-D.

I would've never done a 1970's road movie. It just wouldn't have occurred to me. So when he started talking about it he brought up all these movies and he'll do that with you guys and you'll feel the Goosebumps as you start realizing the story that he wanted to tell.

It's a weird partnership. For me and Patrick, if you've met him, we're not very much alike. But we bring such different tools to the table. He doesn't think like me. I don't think like him. He thinks like an editor. He thinks like a director. He thinks completely outside of the box when it comes to writing and so because of that he leads me down roads that I would've never gone down. And he sucks at grammar. So together we're perfect.

We played more rock music when we were writing the script. 'Renegade'. All of the Styx songs. All of the old '70's and '80's music, that's the stuff that's pounding in the background while we were doing this stuff. It's a part of those movies.

I love the 3-D. I'm not one of those guys who's scared to death of it and think that it's going to take over everything. I love the fact that you have the immersive 3-D and the voyeuristic 3-D and then you have the in your face gimmicky 3-D and we're going to do both. I think there's a place for both.

'Scissorman' is terrifying. The studio at the time didn't want Scissorman because they were afraid that he'd look silly to which my response was, 'Well, then why did buy this because that's what the game is.' But I lost that battle.