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PostPosted: Thu Jan 20, 2011 11:53 pm
by TheButcher
From Cinemablend:
First Tron 3 Trailer May Be On The Tron: Legacy Blu-ray
Josh Tyler wrote:The first teaser for Tron: Legacy debuted to audiences at the San Diego Comic Con before they’d even shot a single frame of the film. Actually at the time, they didn’t even have a script, and weren’t entirely sure the movie would be greenlit at all. So I suppose it makes sense that the teaser trailer for Tron 3 might show up pretty far in advance of the next film. At best, the next installment won’t be here before 2013, but we could see the followup’s first trailer this spring.

Tron-Sector claims the first teaser trailer for Tron 3 could debut on the upcoming DVD and Blu-ray release of Tron: Legacy. It’s uncertain right now exactly when the film’s Blu-ray will show up here in the United States, but it’s slated to hit Blu-ray in the UK on April 11th. Included with the Tron: Legacy Blu-ray may also be a copy of the original Tron. Incidentally if this happens, that Blu-ray will be the only way anyone can see the original 1982 movie since Disney has pulled any and all other DVD releases of Tron off of store shelves and has yet to announce any sort of replacement.

So if this rumor pans out, the DVD and Blu-ray release of Tron: Legacy will basically be your only way to see anything Tron-related. It’ll contain the original movie, the sequel, and the first teaser trailer for the third Tron film. Disney’s definitely hoping to move some serious product.

From Tron-Sector:
TRON 3 Green Lit: Teaser Trailer on DVD & Blu-Ray
We recently posted that Harry Knowles at Ain't It Cool News reported a sequel to TRON: LEGACY is close to being green lit -- now at TRON-SECTOR we are hearing that not only is it green lit, but there will be a teaser trailer for TRON 3 on the upcoming DVD and Blu-Ray releases of TRON & TRON: LEGACY. This is exciting news -- and we'll make sure and keep you posted as more details come forth. - Jay


PostPosted: Sat Jan 22, 2011 1:50 pm
by judderman
Odd. It hasn't made its money back, so I'm not sure why they're prepared to make a sequel.

It's combined marketing/production budget is $320 million, compared to a worldwide boxoffice of $330 million. When the theatres' cut is factored in, that means it's running about 20% below cost.


PostPosted: Sat Jan 22, 2011 3:04 pm
by DerLanghaarige
judderman wrote:Odd. It hasn't made its money back, so I'm not sure why they're prepared to make a sequel.

It's combined marketing/production budget is $320 million, compared to a worldwide boxoffice of $330 million. When the theatres' cut is factored in, that means it's running about 20% below cost.

It isn't even out everywhere in the world yet. Here in Germany it starts next Thursday.


PostPosted: Sat Jan 22, 2011 7:41 pm
by Fried Gold
judderman wrote:Odd. It hasn't made its money back, so I'm not sure why they're prepared to make a sequel.

It's combined marketing/production budget is $320 million, compared to a worldwide boxoffice of $330 million. When the theatres' cut is factored in, that means it's running about 20% below cost.


(On a side note, someone on the Unfiction boards was trying to track down the source on that $320 million figure. Turned out to be some guy on the Superherohype forum...which then got "reported" on a movie blog. Although I'm wouldn't be surprised if it was that high. I've had tons of free Tron swag in the past year.)


PostPosted: Sat Jan 22, 2011 9:28 pm
by TheButcher
From AICN:
TRON 3 teaser details... tis true!
Hey folks, Har ry here in rehab for my back surgery. Today, it seems my equilibrium, center of gravity and legs have all begun shoring up. Still a long way to go, but damn - this is exciting to be living through. Almost as exciting as the details that I got from the footage that was shot BEFORE Thanksgiving of last year to be a teaser of the future, it seems.

I was contacted by someone that worked on the shoot for this DVD Extra. That this person's experience on set gave him, it will be made up of at least 3 scenes.

One includes Bruce Boxleitner (as Alan) and Dan Shor (as Ram). Turns out that "Ram" was apparently running the FLYNN LIVES campaign and he's frantically destroying all of that data and files, as Alan confronts him. Dan apparently utters the line, "Why did Kevin give you the cool name" - which means to my way of thinking that after Flynn came out of the Grid, he sought out the human soul of Ram and befriended him and started calling him RAM - you know - some geek that wrote that Actuarial Program that helped people plan for the future. I sorta love that. And love that the kindness Flynn showed this lowly geek, apparently created a gung ho champion for the life and memory of Kevin Flynn.

Another has Quora showing up to ENCOM and getting acousted by the press because she's riding Sam's Ducati - and states that she just spoke with Kevin Flynn, yesterday!

The last scene that was shot in this mini-shoot involved text screens where you see the Father & Son... The Dillingers stating that everything is going as planned.

That particular bit has me giddy beyond fucking words.


PostPosted: Sat Jan 22, 2011 10:36 pm
by Fried Gold
Known about this for a while - Ram's name was Zack in the ARG - but it's pretty badass stuff.


PostPosted: Sat Feb 19, 2011 3:57 am
by Snow Apple
I LOVE Garrett Hedlund!

Got it? He's mine. That's all I have to say about Tron. I think.


PostPosted: Sat Feb 19, 2011 7:37 pm
by DennisMM
Okay, okay, move along.

I found the movie disappointing. Certainly, it was visually impressive, but the story was dull. The original film was somewhat dull, too, but this sequel seemed to be waiting around for something to happen. It took quite a while to present much plot beyond "Sam Flynn discovers the Grid, tries to escape from Clu's clutches and hopes not to be killed in the games." By the time Kevin Flynn turned up and started muttering like "The Dude," I was wondering if we were going to touch on any of the ideas discussed in the first film. To me, we did not get that sort of discussion. The first film, though not deep, at least touched on the god/worshipper relationship of users and programs, and what it meant for a program actually to be sentient. Instead, we got talk about fictional "Isomorphic algorithms" that could save the world and good programs going bad. The latter was a metaphor about parents and children, I suppose, but it wasn't a very interesting one.

Were some markets given different versions? Wikipedia describes the end of the film thusly: "Back in the basement of Flynn's arcade, Sam saves a backup of the Grid onto his flash drive. He then meets Alan and tells him that he will start working at ENCOM, and, as the controlling interest shareholder, he will name Alan chairman of the board. Quorra meets Sam outside, and the two take off on his motorcycle. The movie ends with Sam showing Quorra the sunrise she has longed to see." The print I saw cut directly from Sam and Quorra's escape/the explosion to Sam and Quorra on his motorcycle. There was no scene with Sam and Alan. Most strange.

While I described the film as visually impressive, I was very disappointed by the de-aging effects. After seeing the trailers, I assumed the effects would be refined before release. That wasn't the case, unfortunately, and in some shots, young Flynn and Clu looked like rubber masks.


PostPosted: Wed Apr 06, 2011 1:46 am
by TheButcher
CS Exclusive: [This interview contains certain spoilers about the end of TRON: Legacy]
Joseph Kosinski on TRON: Legacy

CS Interview:
Steve Lisberger on the World of TRON


PostPosted: Thu Apr 07, 2011 1:22 am
by GothamAlleys
I must agree with Dennis' review. The visuals and designs were nice but the story was really un-engaging and over the top. Once I saw the parachute stunt in the beginning I knew its gonna be a cheesy movie. I dont dislike it but none of the characters seemed real, their reactions didnt seem real either and they were all very stiff (I mean, I would really expect a very emotional reunion of father and son, not this), and the story just completely lacked what I think is the most important thing in any story - a heart. And again, the behavior and reactions of people didnt seem real at all. Sam pretty much brushed off and accepted the fact that hes in a computer pretty fast


PostPosted: Wed Mar 07, 2012 12:21 pm
by Ribbons
So I saw this for the first time finally (you may have started to notice by now that I'm constantly like two years behind each new thing that comes out).

I want to write a longer review, but in the interim I'll just say: disappointing. Nothing makes me disengage from a story set in another world faster than threatening to move the conflict to Earth. It always accomplishes the exact opposite of what's intended, which is to say that it makes you realize there's no reason to give a shit about anything that's happening.


PostPosted: Wed Mar 07, 2012 10:08 pm
by Ribbons
Spandau Belly wrote:But Jesus, what the fuck is with everybody going on and on and on about how Cilian Murphy's cameo very early in the film totally throws it off and makes it feel like such shameless franchise building? Is he a way bigger star than I give him credit for? It's not like Tom Cruise or somebody was sitting there in that boardroom. What do most audiences know Muprhy from? He was one of many villains in a Batman movie several years ago and even then, he was only in the second half of the movie, not the main bad guy, had a bag on his head for a lot of the time, and the Batman movie he was in got overshadowed by its sequel. I guess he was also in 28 Days Later, like ten years ago... but if I had to guess, I wouldn't call this guy a household name and I didn't find his presence distracting.

Okay, but at the end of the day it doesn't matter whether the average joe knows who Cillian Murphy is, what matters is that YOU know who Cillian Murphy is and why he was there, and it damn well wasn't to have less screen time than an extra. I didn't mind his presence; in fact I kind of liked it because I enjoy world-building in movies like these and I think it's rewarding to lay the groundwork for stuff that comes up down the road. But it's just indicative of Disney getting ahead of itself with this TRON crap on the whole. Suddenly you see the naked attempts at trying to set up a franchise in every plot twist or new wrinkle of The Grid that doesn't make any sense. Personally it didn't bother me, but I understand why some critics brought it up in connection with what they considered the cynical nature of the movie.

I've been reading a couple reviews and some of them seem to be bagging on Kosinski a tad unfairly, in my opinion. Here's an excerpt from Moriarty's:

Joseph Kosinski has been the biggest question mark on this film since he was first hired for the job, and based on this first film, he strikes me as a guy who would make a stupendous production designer and/or FX supervisor. As a director? Mmmmm… not so much. Like Lisberger before him, Kosinski appears to have a tin ear for performance and tone and how to build a scene for any sort of dramatic impact. Image after image in this film, Kosinski knows how to dazzle, and it helps that Daft Punk appear to have been genetically engineered for the sole purpose of writing the score for this film. But by about halfway into the film, I found myself completely disconnected from what I was watching, and utterly discouraged.

I say unfair because he was just the guy Disney hired to "do something with TRON," and it was pretty much written by committee as it is. However, there was this one scene during the movie that struck me as an odd directorial/editing choice. Sam, Flynn and... Quora? Are sitting around talking about the history of TRON, and while Sam and Flynn go on talking for like 20 seconds Kosinski just keeps the camera on Olivia Wilde chilling on an old leather couch. We get that it makes a pretty picture, but there are probably bigger priorities. I don't know. For me I would say it's too early to tell. I'd like to see at least one more movie from him before saying that he doesn't know how to tell a story or work with actors.


PostPosted: Wed Mar 07, 2012 11:56 pm
by Spandau Belly
Ribbons wrote:Okay, but at the end of the day it doesn't matter whether the average joe knows who Cillian Murphy is, what matters is that YOU know who Cillian Murphy is and why he was there, and it damn well wasn't to have less screen time than an extra.

Not really. I'm used to seeing recognizable actors take smaller roles either for fun or money or a favor or because most of their performance hit the editing room floor. I mean, I know who Rutger Hauer is and he got a similiar role as a boardroom goon in BATMAN BEGINS. I would argue that Hauer has much more gravita$ than Murphy; but I never felt in BATMAN BEGINS that Hauer being thrown in a small thankless role for sure meant he would be turned into Mr. Freeze or somebody in the sequel.

I also never got a huge sense of purpose from every moment TRON 2 so I never really gave any one thing all that much weight. A lot of that movie felt like it happened by accident/committee decision/last minute idea. So I did not find Murphy's presence distracting nor did I even really think about his character or any of the other boardroom goons once the film's story moved into the grid.


PostPosted: Thu Mar 08, 2012 1:09 am
by Ribbons
Perhaps you're right. Perhaps you're right...

Now if you'll excuse me, I'm about to watch Step Brothers.

Re: TRON 30th Anniversary Celebration

PostPosted: Sun Nov 25, 2012 1:46 pm
by TheButcher
Tron 30th Anniversary Screening

This is a report on the Tron 30th Anniversary Celebration held on Saturday, October 27. This report will not be well-organized, I hope to rewrite it as time goes by and I think of more things to report, as well as having the patience to write it up.

1. The screening seems to have been put on by the fans without studio involvement.

2. Steve Lisberger, Bonnie MacBride, Alan Kay, Richard Taylor, Harrison Ellenshaw, Bruce Boxleitner and Frank Serafine were in attendance.

3. We also had Bill Kroyer, Art Durinsky, Chris Casady, Craig Newman, John Grower, Larry Malone, Josh Pines, Ken Perlin, and Kenny Mirman.

4. John Nelson had not even heard about the event, I think, and I only heard about it because Ken Perlin told me he was coming to town for it.

5. Bonnie MacBride told the story of how the film got into development.

6. Alan Kay told the story of the famous the Parc demonstration, the same one they gave Steve Jobs (the one where Steve got the idea for the Macintosh).

7. This was the second time I had seen the film, the first time was a cast and crew screening at the premiere.

8. When I was watching the film, I noticed odd things that I could not explain. Many lighting effects seemed to be gone, a lot of high frequency detail that usually had aliasing artifacts on it seemed to be filtered, a few scenes just seemed to be down two or three stops for no apparent reason. Many pops in the animation seemed to be fixed. The resolution of the computer world seemed weird to me, but not bad, just weird.

9. When the film was over, Josh Pines and Ray Feeney told me that this was a Blu Ray of Tron that had been projected, and that it had many "mistakes", which I kind of liked, fixed. This would explain most of the weirdnesses I saw. Apparently the studio sees no need to spend any money on this film, and there is no digital cinema master.

10. I think it is a little weird that they would project a blu ray at the 30th anniversary at the Chinese theatre, but if that is all that is available so be it. I thought it looked very good for a blu ray, and probably enjoyed it more not knowing what they were projecting.

11. However that invalidates the screening for one purpose I had for it, I wanted to compare my memory of the 70 mm original and see what held up and what did not. Seeing a stepped on Blu Ray does not permit me to do this.

12. Of the Abel work, I felt that in general it held up, some of it more than other parts of it, but overall it looked very good. I felt that Baily's abstraction portion also held up well.

13. The big mystery is why there are not more women in tight spandex to appeal to adolescent boys? What were they thinking? Cindy Morgan looks pretty good in a glowing neon jumpsuit, but she is on screen barely 20% of the film and is very chaste the whole time. A great opportunity for a neon bad woman in spandex has been lost and I am sure it cost them at the box office.

I will fill this report out as I think of more things.

Re: TRON 30th Anniversary Celebration

PostPosted: Sun Nov 25, 2012 1:49 pm
by TheButcher
Inside and In Depth: TRON 30th Anniversary Event at Hollywood's Grauman Chinese Theater
On Saturday night, October 27th (and well on into Sunday morning) Grauman's Chinese Theater in Hollywood hosted the 30th Anniversary celebration of Disney's TRON. A spectacular night ensued as fans of the film--many dressed in properly glowing attire and wielding their own identity discs--lined Hollywood Boulevard to snag their tickets for a night on the grid.

The evening was full of excitement including a series of Q&A panelists--the collection of whom make up the core of TRONs production--plus a screening of the original film and an after-party featuring performances by Nosaj Thing, Alluxe, and Mobius8.

Kicking it all off, the Emcee of the night and Visual Effects Supervisor, Harrison Ellenshaw, welcomed us and offered his thanks for our continued appreciation for all that TRON represented in film. He was followed by Producer Donald Kushner who said, "What I love most about this film is that it foretold the future."

Next up was writer Bonnie MacBird, a wholly fascinating person who gave us an overview of the inspiration for TRON. She told us that Flynn's character was based on Robin Williams at the time, which gave me a whole new appreciation for Bridges' presentation of his character. MacBird is also unique for being the first writer ever to use a personal computer to write and edit a screenplay. She and her husband Alan Kay worked at Xerox PARC, famous for it's collection of the top tier of computer programmers and engineers in the late 70's and 80's, including Steve Jobs, William Hewlett, and Dave Packard. The two of them created TRON using the first word processing program, called Bravo, which would go on to become Microsoft Word.

Alan Kay was the inspiration for the character Alan Bradley, and worked with Steve Jobs at Xerox PARC.

Bill Kroyer and Jerry Rees created the storyboards and eventually the animation required for the film. They were pioneers in an industry that hadn't even been realized yet. Before there was any kind of software for creating moving computer generated imagery, or even a computer mouse, these guys were typing out everything in coordinate values to create what we see in the film.

Visual effects supervisor, Richard Taylor, (whose glasses were much more impressive than could be captured on camera) wanted the movie to, "remind you of something you've never seen before." Further brought home the idea that the process of creating these images was extremely laborious. He recalled that when they showed the first previews to people, they got blank stares. No one understood how computers worked at the time, and so they thought the computers did all the animation; thought they were "cheating" for not building physical models.

Sound producer Michael Fremer admitted to wanting The Police to do the music for TRON, but was given Journey instead, and also shared the story of how he told Journey, "you're really not my first choice." But his direction resulted in Journey coming up with the song Only Solutions.

Sound producer Frank Serafine described the process of creating the sound effects for the film, including recording Tesla coils, flying over Malibu with mics hanging out the side of helicopters, and working with JPL to capture the distinctly computer themed sounds.

Then Bruce Boxleitner, TRON himself, came out to a warm round of applause and howling.

Bruce was, "overwhelmed by the world wide appeal of this film." He gave all the credit to the creators of the film, regarding them as pioneers. He considers his contribution to be "wearing tights, a hockey helmet, and the first male thong."

Bruce handed off the mic to the final panelist, writer and director Steven Linsberger.

"We had the opportunity to explore computers as artists, before anyone else could."
Linsberger gave a heartfelt speech about how creating TRON changed film making and the ensuing personal computer industry in countless ways, but reminded us to always ask the question, "are we using this technology to bring out the best in us?" And warned that "we have to be careful as we make our way to a new beginning."

After the panel concluded, the audience was treated to a screening of TRON in all its beauty on the big screen. The words of the creators fresh in mind certainly gave new insight into the film. Following the screening, programs were also free to explore archives of TRON memorabilia. Display cases were filled with photography, souvenirs, and old mementos from the original film.


PostPosted: Sun Jan 06, 2013 5:32 am
by TheButcher
Joshua T. Nimoy wrote:I spent a half year writing software art to generate special effects for Tron Legacy, working at Digital Domain with Bradley "GMUNK" Munkowitz, Jake Sargeant, and David "dlew" Lewandowski. This page has taken a long time to be published because I've had to await clearance. A lot of my team's work was done using Adobe software and Cinema 4D. The rest of it got written in C++ using OpenFrameworks and wxWidgets, the way I've always done it with this team ;) Uniquely however, Digital Domain's CG artists were able to port my apps over to Houdini for further evolution and better rendering than OpenGL could ever provide. Special thanks to Andy King for showing me that what seasoned CG artists do at DD is actually not so far off from what's going on in the Processing community.

Interview with GMUNK about the team's process


PostPosted: Sat Dec 07, 2013 4:55 am
by TheButcher


PostPosted: Fri Mar 20, 2015 7:10 am
by TheButcher
Why Tron: Legacy Deserves a Sequel
With a sequel likely on the way, we revisit Tron: Legacy a half-decade later to see if there is something more to all that eye candy.
David Crow wrote:Last week, unexpected (and still not wholly confirmed) news sprang up that production on a Tron: Legacy sequel was happening. Considering the nearly five-year interval in franchise limbo that this Joseph Kosinski film has marinated in, such a sudden turnaround is surprising but not unwelcome. To be sure, it is still much more expedient than the 28-year gap between the original 1982 Tron and its sequel/soft-reboot. Yet, more importantly, it also marks the continuation of a franchise and film universe that is appealingly bizarre.

Indeed, the odd duck quality of Tron: Legacy is why it seemed definite that The Walt Disney Company was prepared to let the digital universe first imagined by Steven Lisberger hibernate for another 30 years. While Tron: Legacy made a respectable $400 million from its late 2010 release, it is hardly in the ballpark of what Disney was only just beginning to savor from more traditional boy-targeted action movie content from Marvel Studios. Less than two years after Tron: Legacy, Marvel’s superb The Avengers rewrote blockbuster rules for 21st century franchise packaging, and the mixed reception experienced by the increasingly stark black and blue color palate of Tron seemed evermore the system glitch.

That's exactly why another trip to the Grid should be embraced.

The peculiarity of the Tron universe, which treats the preadolescent fantasy of getting warped into a video game with the reverence of scripture, makes it stand apart from its contemporaries, even in the face of entirely justifiable criticism.