I'm fearless when it comes to engineering and motors and gears and pulleys and glass and artwork.
Every movie presents unusual challenges, and I like solving the problems with a combination of artwork and engineering.
Clearly, if we'd had the kind of computer graphics capability then that we have now, the Star Gate sequence would be much more complex than flat planes of light and color.
I visited a scientist who had a helmet with magnetic fields controlled by computer sequences that could profoundly affect your mood and your perceptions.
IBM was the original contractor for much of the computer interface design on the film.
It was the point where things became much more abstract and less literal than in the bulk of the film, which was hardcore rockets and space and planets - all a fairly straightforward evolution from what I had been doing before.
There's a consistency in my work that pops up independent of the limitations of the technology.
When I worked on 2001 - which was my first feature film - I was deeply and permanently affected by the notion that a movie could be like a first-person experience.
Movies used to be called the 'flicks' because they flickered badly: because 16 or 18 frames a second - which was those hand cranked movies on a single-bladed shutter - was really badly flickering.