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It’ll be mostly in-camera, we’re talking about shooting in some incredible places around the world. It’s sci-fi but it’s a love story, and it’s a completely different aesthetic. What I’m excited about is that Oblivion is the opposite end of the spectrum. Kosinski: Right now we’re working on the script. Heat Vision: Are you going from this to Oblivion as your next project? It’s pretty astonishing when you see the power of this company get behind something. You have to prove you can work across all those divisions.Īnd no one does it better than Disney. It’s how you make a big movies these days. So when you play the game, it feels like the movie.įrom the very beginning, Sean and I made sure to be very open to all the divisions as we were building. So to me it’s about making it consistent. But I think for something like Tron, they saw it as a way to hit all those areas.Īnd we built the film to do that, sharing all the assets across all the divisions.
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It’s not just a movie, it’s the ride, it’s the toys, it’s the TV show, it’s the video game. Heat Vision: The studio has put everything, the entire company, behind this. I remember thinking, if we don’t play well, this project will be dead in the water. We somehow convinced them to show it at Comic-Con which, when you think about it, is pretty crazy.
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I had a little bit of money to make that over six months and I showed to them and they were excited. That was my pitch to the studio basically. We need to be pushed.” To say that to a director is the most powerful thing you can. Kosinski: In the very beginning, the studio’s line to me was, “We want you to push us. Heat Vision: When you were pitching this initially, was it hard to convince the studio your vision, especially considering how visually intensive this is? I finished the movie on a Wednesday and started the junket the next day, and went on the road for two weeks. I don’t think I’ve totally comprehended yet. So it’s nice to be able to let the movie go out there and speak for itself and I can go out there and hide. A movie like this takes thousands and thousands of people to put together.Īnd I’ve been talking about this for three years, either pitching it to the studio or talking to press about it. Joseph Kosinski: I’m very proud of the team.
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Heat Vision: How do you feel now that the journey is nearing its end? It’s been over three years. Heat Vision nabbed him for a few quick questions. The man behind the movie is Joseph Kosinski, a commercial director with an architecture background making his debut as a feature director. It’s weird to think you can make a movie without a camera, which is what we did with this movie a lot.” “I wanted to explore the latest technology the industry had to offer. “The same thing that brought me to the first one brought me to this one,” he told Heat Vision. But it was that kind of envelope-pushing technology that got him to return to the world of Tron 28 years later. Jeff Bridges is back as computer programmer Kevin Flynn and computer program Clu, playing a contemporary and 1980s version of himself, a visual feat that will likely ripple into other movies soon enough. Legacy takes the first movie and sets it as backstory, focusing on a son looking for his father and finding himself in the digital world of the Grid. (One of those milling about was Tom Cruise, who was also at the premiere of the original Tron, back in 1982.) Tron: Legacy hit Hollywood on Saturday night under blue laser light, amid platinum-haired “Sirens” parading amongst guests drinking “Trontinis” at the Hollywood & Highland ballroom afterparty.