The only hope lies with Flynn's now-grown-up son, Sam (Garrett Hedlund), who like all dadless movie moppets born since John Connor has turned out to be a genius hacker on a motorcycle. He follows his father's trail all these years later, a journey full of revelation, reunion and revolution... plus light cycles and identity discs and gladiatorial combat. The first act pays a surprising bit of homage to The Dark Knight, and I was struck by how many other cinematic clichés it plays into, but I also imagine that it could really serve as a wonderful bonding point for fathers of the arcade era and their computer-savvy sons.
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The stereoscopic effect is clear and impactful, all the more impressive in its you-are-there feel for the fact that this fantastical place and everyone in it is assembled in post-production. In truth the 3D is often subtle, without a lot of hokey bits zipping about to make us ooo and ahh, but even in 2D this is one of the most visually complex movies ever made, a digitally enhanced concoction of dark and light. There's so much to see, and thankfully the image is pleasingly sharp. The much-ballyhooed rejuvenating special effect applied to Jeff Bridges is mostly convincing.
TRON meanwhile benefits greatly from its brand-new HD remastering, strictly 2D, quite pleasingly crisp with a 2.2:1 image that pops better than ever. There's some grain, noise, flicker and stair-stepping, but these are all a part of the movie itself, largely rendered as it was on 30-year-old computers. Blacks could be a little more lifelike though. Watching it again immediately after Legacy, TRON almost looks like a cartoon for its charming simplicity.
The Blu-ray 3D Disc has just a couple of 3D movie trailers but Disc Two, the 2D version, offers plenty. "The Next Day: Flynn Lives Revealed," exclusive to Blu-ray, is an interactive HD movie that seeks to bridge the gap between TRON and TRON: Legacy.
There are also somewhat predictable featurettes about the cast and the look of the film, whereas "Launching the Legacy" offers the most interesting insight. This is where we can watch the now-fabled Comic-Con presentation trailer. Also at Comic-Con, the filmmakers invited the 7,000 audience members to record their voices for the movie's stadium scene, as chronicled in "Disc Roars." All of the video these segments are in HD. The Daft Punk music video for their track "Derezzed" is also in Dolby Digital 5.1. Visually it is an interesting hybrid of the two movies. We're also given a glimpse of the upcoming Disney XD animated tie-in series, TRON: Uprising.
Shortly after hiring Kosinski, Bailey approached screenwriting duo Adam Horowitz and Edward Kitsis, who accepted for being self-described "obsessed about Tron." Horowitz later claimed the challenge was to "homage the first movie, continue the story, expand it and take it to another place and open up space for new fans," and Kitsis claimed that the film would start a whole new mythology "of which we're only scratching the surface."[37] Horowitz and Kitsis first created a story outline, and developed and fine-tuned the plot with Bailey and Kosinski across a period of two days in La Quinta. The writers also consulted Lisberger, to view Tron's creator input on the story.[38] Lisberger gave his blessing, particularly as he has a son the same age as Sam, which Kitsis stated that "was like we had tapped into something he was feeling without even realizing it."[39] The Pixar team contributed with rewrites for additional shooting after being shown a rough cut in March 2010,[40] which helped in particular to the development of Sam's story line.[41]
Horowitz revealed the film would contain many light cycle battles, and asserted that the script for the scenes were "incredibly detailed," and involved an intricate collaborative process.[38] For the disc game, Horowitz and Kitsis wrote a rough draft of the scene, and sent the script to Kosinski; he summarized his perspective of the sequence's visuals to them.[38] "He described them as these underlying platforms," said Horowitz, "that would then coalesce and then the way you would go from round to round in the game is you defeat someone, they kinda come together as you see in the movie."[38] After giving his intake, Kosinski sent various sketches of the scene to the writers and would often revise the script. Kitsis thought that illustrating the character's stories to be the most difficult task in writing Tron: Legacy.[38] The writers collaborated with the creative process throughout production, which was helpful especially considering the difficulties of describing in a tangible way a digital world that "in its very nature defies basic screenwriting conventions."[39]
The sequences on the Grid were wholly shot in 3D, utilizing cameras specifically designed for it, and employed a 3D technique that combined other special effects techniques.[61] The real-world sequences were filmed in 2D,[62] and eventually altered using the three-dimensional element. Bailey stated that it was a challenge shooting Tron: Legacy in 3D because the cameras were bigger and heavier, and variations needed to be taken into account.[61] Despite these concerns, he opined that it was a "great reason to go to the movies because it's an experience you just can't recreate on an iPhone or a laptop."[61] In some sequences the image shows a fine mesh pattern and some blurring. That is not interference or a production fault, but indicates that that sequence is a flashback and to simulate an older form of video representation technology. Stunt work on the film was designed and coordinated by 87Eleven, who also designed and trained fight sequences for 300 and Watchmen.[15] Olivia Wilde described it as an honor to train with them.[17]
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