CGSociety

CGSociety takes an exclusive look back at the
original Tron as we approach the LEGACY release.

CGSociety :: Special Feature
21 September 2010, by Trevor Hogg

While attending a computer graphics screening hosted by Mathematics Application Group Inc. (MAGI) in 1975, a young animator experienced a creative epiphany. "I think on that original reel from MAGI,” recalled filmmaker Steven Lisberger, “the thing that stuck with me the most, that I couldn't get out of my head for years, was the image of moving through a computer generated environment. When a year or two after that the video games started becoming popular, and I started talking to the computer people, it seemed that I now had the characters I could put into that computer environment."

Two years later Lisberger partnered with attorney and theatrical producer Donald Kushner (Monster) to establish an animation studio; their chief objective was to acquire the necessary funding to finance an ambitious motion picture project. "When I wrote the script for Tron [1982], it was my intention that the film would be done by computer generated imagery,” stated the Boston-born writer-director who was inspired by the innovative cinematic techniques employed in Star Wars (1977) and Jaws (1975).

“When we started marketing the picture to studios, Disney was one of the last on the list,” revealed Donald Kushner. “The reason being that since they were the vanguard of traditional animation, they probably would not be interested in computer simulation. Or if they were interested in computer simulation, they would probably want to develop something in house. As it turned out, when we presented the project to them, they were very susceptible from the very beginning.”

With the major studio backing secured for the movie, conceptual artist Andy Probert (Star Trek: The Next Generation) was recruited to design the various vehicles, sets and costumes; his work was replaced with the concepts devised by a trio of internationally renowned talent. French comic book artist Jean “Moebius” Giraud (Alien) was responsible for the costume designs and storyboard art, while the 'Visual Futurist', industrial and film designer Syd Mead (Star Trek: The Motion Picture, Blade Runner) and commercial airbrush artist Peter Lloyd (American Werewolf in Paris) created the necessary environments and backgrounds.

"I think the most difficult thing in doing Tron was to marry the computer simulation moments with the live-action photography, and have them feel like they were all in the same place,” stated computer effects supervisor Richard W. Taylor (Star Trek:The Movie) who along with computer image choreographer Bill Kroyer (Technological Threat) had to deal with computer graphics companies unfamiliar with the world of moviemaking. “We went in not knowing anything about computer technology,” remarked Kroyer. “We only knew what we wanted to achieve on the film. In discussions with the development groups of each company, we were convinced that we could actually develop the technology as we went along and marry it with the creative needs, and end up with a film that would look good.”

A major problem that had to be addressed was the lack of a visual perspective in the computer generated imagery. “We said, ‘We need a feeling of atmosphere in these shots. We have to make it look as though things that are far away are far away.’ In real life you do that by softening the focus, and kind of dimming the colors.

We came up with something that is very simple and I think is standard technique now in computer graphics which is called depth glowing.” Bill Kroyer was pleased with the end results of the unorthodox collaboration. “It was this constant give and take between our visual requirements and their technical possibilities that created Tron. When we finished Tron, we had pushed the technology of these companies, I think, many, many years ahead of where they would have been if they hadn't worked with us during the feature."

Looking for evidence that ENCOM executive Ed Dillinger (David Warner) stole his computer game programs, a young software engineer Kevin Flynn (Jeff Bridges) finds himself transported into the company’s master control system. Teaming with Tron (Bruce Boxleitner), the electronic security program, Flynn navigates the lethal video game grid in hopes of discovering a way back to the real world. “One of my favorite effects doesn't even take place in the electronic world - it's Dillinger's touch screen desk in his office,” confided Harrison Ellenshaw who served as an associate producer and co-supervisor of special effects for the picture. “Touch screens of that size certainly didn't exist then. We made up all the graphics and related animation ahead of time. Then these images were projected onto the smoked glass desk top via a 45-degree mirror underneath the desk that was on a raised set. David Warner [Titanic] had to perfectly time his finger touching the desktop so that as he touched the image it would change. I still think it looks pretty cool.”

For Ellenshaw, who was a matte artist for Star Wars and its sequel The Empire Strikes Back (1980), the picture avoided the pitfall of style triumphing over substance. “In Tron I think we had the perfect bonding of effects to story. We root for the Jeff Bridges’ [Crazy Heart] character because someone has stolen something from him and he wants to prove it. Lots of people can identify with that but to prove it, he has to fight a series of increasingly lethal battles inside a computer - and what better way could there be to get that effect than to combine live action with actual computer-generated imagery?''

To personify the various computer programs co-existing in the electronic world, Steven Lisberger and his co-writer Bonnie MacBird had them take on the alter-ego form of the programmers who created them. “The great part of being RAM was simply his sincere desire to be of assistance to others,” said actor Dan Shor (Black Moon Rising). “He was sort of like a Golden Retriever whose sole purpose in life is to please. He had unabashed and unconditional affection for Flynn and for Tron.” A performer who has taken on iconic status within the computer graphics community is Jeff Bridges for his portrayal of the tale’s protagonist. “Storywise, sometimes I will look at a movie as if it’s a dream,” revealed Bridges.

“You know how they say…all the characters are you in your dream; they are different aspects of you. In this movie I would go into that zone occasionally and think of it as a dream. All of these characters are aspects of myself, or Kevin Flynn in this case.” Cindy Morgan (Caddyshack), who plays Yori, Flynn’s love interest in the story, found herself rather baffled during the principle photography. "I remember, I went in one morning and said, 'OK, what are we doing?' and they said, 'OK, you're on the Solar Sailer and you're crossing the Game Sea.' I said, 'Whoa, whoa, whoa. We're on the what and we're doing what?' They had pictures of what we were supposed to be on but all there really was was a black desk covered in felt...They said, 'You do whatever you think you should do to fly a ship and we'll put it in later.’”

Even though the movie is very archetypal, Steven Lisberger believes the story to be unique. “The character that Jeff Bridges plays is obviously a savior or Messiah type, and the Tron character that Bruce Boxleitner [Snakehead Terror] plays is a warrior type. Today in movies, those two types are usually cobbled together into one character. We have a Messiah figure like Neo in The Matrix [1999], who is supposed to save us all, but they are also kickass-type guys. In my gut, that never felt right to me. I prefer my Ghandis to stay Ghandis and not learn they were once Navy SEALs. I don't want James Bond to tell me what the path to enlightenment is while he reloads. I think Tron was unique in that way. Doing that, you get a better Messiah character, and you get a better warrior character.”

Released on July 9, 1982 the $17 million science fiction production grossed $33 million in North American box office receipts. Deborah Wise of InfoWorld wrote, “It is hard to believe the characters acted out the scenes on a darken soundstage…We see characters throwing illuminated Frisbees, driving ‘lightcycles’ on a video game grid, playing dangerous games of jai alai and zapping numerous fluorescent tanks in arcade game type mazes. It’s exciting, it’s fun, and it’s just what video game fans and anyone with a spirit of adventure will love – despite plot weaknesses.” Roger Ebert of the Chicago Sun-Times was equally enamored, “Here’s a technological sound-and-light show that is sensational and brainy, stylish and fun.” However, other film critics found the story to be as cold and distant as the technological playground where the cinematic action unfolds. Variety’s review stated, “Tron is loaded with visual delights but falls way short of the mark in story and viewer involvement.” Jay Scott of The Globe and Mail agreed, “It’s got momentum and it’s got marvels, but it’s without heart; it’s a visionary technological achievement without vision.” At the 1983 Academy Awards 1983, Tron was a nominee for Best Sound and Best Costume Design.

Along with Star Trek II: The Wrath of Khan, Mad Max 2: The Road Warrior, The Thing, E.T. The Extra-Terrestrial, Poltergeist and Blade Runner all of which also came out in 1982, Tron has developed a cult following amongst science fiction fans; so much so that two video games were released called Tron 2.0 (2003) and Tron 2.0: Killer App (2004) and a long-rumoured sequel becomes a reality with Jeff Bridges revising his signature role in Tron: Legacy (2010).

“One of the reasons I wanted to do it was because I felt this is where movies are starting to go now,” explained the Oscar-winning performer. “They’re taking the actors and putting them inside a computer very much like Tron. I mean they can do whatever they want with them. They can say let’s put in Bridges, but I want a little Al Pacino [Scent of a Woman] in there, and let’s throw in a little Joey Pants, what the heck. Let’s see what kind of guy we can come up with, you know, and that’s happening. They can do that. It’s right around the corner.”

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