If the original Tron looked at technology with awe at a time when the prospect of a digital world connecting everyone was a nice thought, the sequel recognizes that we now look at the Internet differently. The Grid is not a technicolor wonder, but a perpetually dark and rainy hell where programs are forced to compete in brutal gladiatorial fights to the death for the amusement of the ruling class.Īnd yet, there is still a lot of optimism in Tron: Legacy, and it comes in the form of Quorra ( Olivia Wilde), a digital lifeform born inside the Grid who marvels at her world - and especially the world outside the Grid - with child-like wonder. Jeff Bridges reprises his role as programming wizard Kevin Flynn, who went on to become a successful CEO of a huge tech conglomerate and build a digital world he calls the Grid, only for his most sophisticated creation to run amok and turn the Grid into a dystopian nightmare.
For the sequel, director Joseph Kosinski and writers Edward Kitsis and Adam Horowitz take a far more pessimistic approach to the “legacy” of the film’s title. The original Tron arrived at the dawn of widespread home computing, at a time when one could wonder what it would be like to live inside the machine and marvel at the possibilities the future could bring. It’s Darker than the Original, but Just as Hopeful Grab your identity disk and hop on your light cycle, because TRON: Legacyturns 10 today, and we’re heading back to the Grid to explore why it’s a worthy successor to its cult classic predecessor.
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Thankfully, the result was as much a visual marvel as the original, but with a deeper story about playing god that also commented on the nature of movie sequels, all while delivering one of the best movie soundtracks in decades. So when Disney decided to greenlight a sequel to the modest 1982 cult hit TRON nearly 30 years later and with a budget 10 times that of the original, it was a risky endeavor. These films faced the difficult task of living up to the legacies of their predecessors, reminding audiences why they were special in the first place, and offering stories fresh enough to entice audiences old and new.
From Star Wars and Jurassic World to The Karate Kid, Bill & Ted, and Indiana Jones.
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It just set the tone and mood and I just really remember that.In the past decade, we’ve seen follow-ups to a number of films and TV shows decades after the originals. I would play the album on set while we were setting up shots and stuff. We started working on the music while I was prepping the movie, so it was this amazing thing where I had tracks, I had elements of the soundtrack while I was shooting the movie. "So they found Joe Trapanese, who's a young composer that, I'm not sure how they found him, but they proposed him as the orchestrator, which I was on board with.
We just want a great orchestrator to work with,'" Koisinski said. We feel really confident we can do it alone. "They came and said, 'You know what? I think we can do this by ourselves. In a previous interview, Kosinski opened up to about working with them on the movie earlier this year, detailing how they started working on the sound of the music even before he'd begun shooting the film.
Though the feature film didn't catch on when it was first released, though a reappraisal of its quality is ongoing, the soundtrack from the musical pair was always marked as a highlight.
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