We recently had the chance to talk with Tron Legacy director Joe Kosinski . Kosinski , who originally trained as an architect at Columbia , narrate us about make the make unexampled Tron City and updating the Tron aesthetic for the twenty-first century .
You have a background in computer architecture . In Tron Legacy , you ’re building this virtual cityscape from dent . Were there any architect or designers who informed the edifice of Tron City ?
The architects who amount to mind are Mies van der Rohe , Louis Kahn , Albert Speer — Speer was an designer for the Nazis , and you may see his influence in the designs for CLU ’s secret plan arena . you may see the influence of Neil Denari in Flynn ’s safe house . It was fun to pull from all these influences and construct something newfangled for this moving picture . That ’s part of the reasons I take this task — I saw the chance to establish a universe from kale , not only with the computer architecture , but also with the character and vehicle design . you could put all of these elements together in a way that you could n’t do with other movies .
Would you say that the design of Tron City is more futurist or eighties retrofuturistic ?
The idea is that the Grid was created in the eighties and evolved independent of the outside world . Syd MeadandMoebius’designs for the original Tron very much had an early 80s aesthetic , and it was fun to take these eighties influences and develop it ahead within this finicky earth .
https://gizmodo.com/trons-light-cycles-could-have-looked-much-stranger-5027829
What did take the secret plan sequences attend like in genuine life ? Was it Garrett Hedlund throwing frisbees against a green screen ?
For the phonograph recording games , we filmed Garrett on a blue screen microscope stage with real discs . For the lightcycles , that was much more practical . We shot real cheek and motion - capped the body . The lightjets we bourgeon with actual cockpit . For the club sequence at The End of the Line Club , we shot that on a full set . Everything was genuine . I tried to build literal sets whenever potential . Flynn ’s safe firm , CLU ’s pot way , CLU ’s war vessel , there were 15 or 16 big sets that we built .
Speaking of the End of the Line Club , Daft Punk cameo in that sequence . They have a very idiosyncratic robot look . What sort of aesthetics did they bring to the table ?
The group has a very classifiable look , and I work out with them on the design of their Tron suits . When we created them , we wanted to maintain Daft Punk ’s look , but revivify it within the humankind of the Grid .
How do you think fans of the original Lite - Brite Tron will react to this sleek , black human beings of the new Tron ?
I think will some bosom it and see it as an evolution , but possibly some diehard purist will be unhappy that everybody ’s not in clean spandex . Personally , I did n’t want to get so nostalgic that you ca n’t rent go . The suits really are an extension of Syd Mead ’s early lawsuit design from the original study . There ’s a strong correlation coefficient , and hopefully fans of the original understand that this is done in the spirit of the first moving picture .
You ’re also directinga new edition of Disney ’s The Black Hole . How has working on Tron Legacy learn you about updating Disney scifi motion-picture show ?
https://gizmodo.com/disney-s-tron-legacy-team-remakes-the-black-hole-5415863
I palpate like our cognitive operation was really healthy on this film , anddoing an result test early onwas a powerful matter . It give the studio something finish so they knew what they were pay back . It gave them confidence in me and the vision of the film .
The above artwork is from The Art of Tron Legacy , which is out today from Disney Editions .
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