Joseph Kosinski’s Tron Legacy

I took a revisit trip to the world of Tron Legacy this weekend and it’s just… even better than I remembered it, and I was already blown away when I saw it in theatres way back when. Front and centre you have all of this ridiculously beautiful technicolor eye candy in the online world of a The Grid, stunning cyberpunk costume design, dazzling ballets of movement all set to the thundering, glorious, hellbent, super sonic galaxy of sound provided by Daft Punk’s unbelievable original score. But beneath that there’s also an incredibly clever, very poignant and intuitive script full of ideas, themes and nuance that I suppose can get lost in the sound and fury of surface level spectacle or just flew over my head (I was only 16 when this came out) at the time, but make no mistake: this film is anything but style over substance. I would almost compare this to Denis Villeneuve’s Blade Runner 2049 in the sense that director Joseph Kosinski (Oblivion) takes a beloved, dusty old analog classic from the 80’s and not only revamps it in terms of style and technical innovation but blasts open the pod bay doors of world building, thematics and expands on the lore exponentially. Jeff Bridges’ Kevin Flynn has been stuck in the digital matrix of his own making for decades after trying to pioneer it as a new frontier, leaving his son Sam (Garrett Hedlund) a troubled orphan and his Vancouver based Encom company in the hands of ruthless number crunchers with former friend and board member Alan (Bruce Boxleitner) powerless to do anything. Sam is eventually propelled into the hypnotic world of the grid to join forces with rogue program Cora (Olivia Wilde) and reunite with his father (Bridges) to fight against his tulpa Clu (a CGI Bridges) who plans to launch an attack on the real world and escape through the one remaining portal with a legion program army. There is an entire universe of visual design, colour scheme and motion on display here as Sam competes in the deadly bike races, lethal ultimate frisbee matches and darts all over the grid’s map from Clu’s thunderous gladiatorial stadium to the dark, mysterious outlands where his father hides out in a tranquil, purgatorial abode high atop a digital cliff. It goes without saying that Daft Punk’s score is some of the most spellbinding, beautiful electronic music ever laid over a film and gives it much of it’s personality. But something I missed before is the sheer imagination, poignancy in the father sun relationship and the immersive nature of this world, not just a kaleidoscopic realm of flash and dazzle, but one with rhyme, reason and genuine inspiration put into the inspired idea of ‘Isomorphic Algorithms ‘, basically anomalous, sentient programs birthed of organic energy independent of human creation, both a ghost in the machine and new race of beings sprung forth from the depths of infinite server space. This concept resonated greatly with me and apparently with Jeff Bridges too, because his line delivery, charisma and energy when describing this miraculous discovery is up there with the best work he has ever done, so too is the character progression from fledgling, prodigious programmer in the 80’s Tron to godlike, pseudo hippie, compassionate father we see here. Tron Legacy is truly a magnificent film on every level, on all fronts and one that shows true artistic inspiration and thematic resonance in striving to pioneer new frontiers and discover new life, put together in one iridescent SciFi action opus that has aged gorgeously and only gotten better with time.

-Nate Hill

Emerging from the river of wind: Remembering Slipstream with Tony Kayden by Kent Hill

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Slipstream was alluring from the moment I saw the poster in the front window of my local theater. From the producer of STAR WARS and the director of TRON was the proclamation, and I was sold. The film, even then, delivered, as far as I am concerned. It offered a different world, an intriguing premise, great performances and . . . yes, I’ll admit a disjointed viewing experience. Still, I love the movie and have always been curious as to the production and what elements combined to bring this fascinating story to the screen.

At length, I finally made contact with Tony Kayden, a veteran screenwriter and the credited scribe of the film (as well as a man with his own amazing set of adventures in the screen trade). And it didn’t take long to learn that the narrative irregularities of Slipstream were the result of no one really knowing what kind of film they wanted to make.

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With the money in escrow, the movie was being made, that was definite. The script that Tony was brought on to rework was, at its heart, a stock-standard Star Wars rehash. Enter producer Gary Kurtz. After enjoying success serving alongside George Lucas and Jim Henson on the Dark Crystal, Kurtz came to the project seeing another unique film on a grand scale and an adventure born in the wind. The director tapped to steer the ship was Tron director Steve Lisberger. His work on Tron was extraordinary, original, and one could only imagine what he might do with a larger canvas combined with thrilling aerial action, accompanying a compelling human story. But then then problems began. The Producers wanted action and more sexual interaction where possible. Kurtz wanted something cleaner, no graphic violence and something more Star Wars. Lastly there was Lisberger, having just become a father, and wanting to make something for kids.

Then you have the poor writer. Only hired for four weeks, Tony ended up residing in England for three months, trying in vain to mix this maelstrom of indecisiveness into a cohesive plot. Kayden saw the movie as a kind of post-apocalyptic version of the The Last Detail. You can see the surviving elements of this in the interactions between Bill Paxton and Bob Peck’s characters of Matt and Byron. One a fugitive being taken in for the reward, the other an opportunist looking to make a quick buck. But, ultimately they become friends and seek to merely flow with the slipstream they are, for better or worse, traveling along.

These two are chased by Tasker, Mark Hamill, in a platinum performance as the mustache-twisting law man whose faith has been replaced by devotion to duty and routine whilst maintaining order here in this desolate society. He harbors a Javert/Valijean type relationship with Peck’s curiously, emotionally-distant accused killer – who just so happens to be an android.

The journey down the stream brings Matt and Bryon into contact with fellow adventurers/survivors Sir Ben Kingsley (who after a chat about the script in the commissary with Tony, sought out a part in the movie), and eventually, another Oscar winner in the person of F. Murray Abraham, the caretaker of one of the last sanctuaries – a literal museum to the past, complete with all its folly and decadence.

But the movie ends in tragedy and triumph. While the evil pursuer is vanquished, Bryon’s hopes for happiness are dashed. He is forced to leave his new found friend and seek out his own kind, wherever they may be.

That all might come across as a little confusing? Like I said before, the film is disjointed. This doesn’t prevent it, however, from being fun. The the actors give solid performances, the photography is brilliant, the locations amazing, Elmer Bernstein’s score magnificent – it is just a shame that the powers behind this movie couldn’t seem to agree.

As Tony told me, “the writer often takes the blame.” Though that is not the case here. If anything he should be commended for fighting the good fight in a losing battle.

Still, my fondness for Slipstream endures. In part for what it is, but also for the possibility of what it might have been. Like I said to Tony, in the age of the reboot, there might be a second life yet for Slipstream. Now all we need to do is get Dwayne Johnson on board…

The Making of: A Conversation with Robert Meyer Burnett by Kent Hill

I love behind the scenes documentaries – always have. What began as 60 minute specials and from there graduating to EPKs (or Electronic Press Kits) have become full-blown features, at times several hours long. And the longer the better I say.

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Robert Burnett has been that guy. The guy behind the scenes. Armed with light-weight equipment and a small crew, he has captured the people who make the magic and the war it is to bring a dream to life on film.

He has been there to witness the making of the multi-Oscar winning Lord of the Rings trilogy. He has seen what it took to orchestrate Superman’s return. He has ventured back in time and brought us wonderful retrospective looks at films like Disney’s cult classic Tron.

But Robert is also a passionate filmmaker in his own right. Having made his own film Free Enterprise, directing episodes of the TV series Femme Fatales along with short films as well. He is a prolific producer having shepherded films like The Hills Run Red and Agent Cody Banks 2. And, just when you’re about to say, “Stop it Rob, you’re just too talented,” he is also an experienced editor; often times chopping his own work, whether it be for DVD special features content or the films he has worked on.

Beneath all of his success, Robert is a massive film lover, citing The Right Stuff, All That Jazz and The Godfather among the countless films he adores.

It was a real pleasure to chat with him about all he has seen behind the scenes, but more so to simply chat movies with a man who knows his stuff. Turns out he loved his time here in the great southern land (Australia), along with our beer and music. It is my hope Rob finds his way back so that I might take him up on my invitation to share a cold VB (Victoria Bitter) and talk movies…

…but until then, enjoy our chat.

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