Jason Bentley presents an exclusive Tron: Legacy soundtrack preview when he talks with director Joseph Kosinski about the much anticipated film and shares highlights from Daft Punk's score in the 10 o'clock hour on Morning Becomes Eclectic.
The helmet-clad robot duo have been secretive about their work on the film, but Bentley and Kosinski shared stories behind the songs and the “making of” the music, which Daft Punk recorded in part at Britain’s premier scoring facility, AIR Lyndhurst Studios, with a symphony of 100 world-class musicians. Kosinski tells Jason he was a big fan of Daft Punk and it was always very clear to him that they were “more than just dance-music guys."
Check out the full interview, including video clips from the event below.
Welcome everyone to a very special Tron Legacy Music Event. We're only going to do this once. It is right now and we are delighted that you are all here to take part in it. My name is Mitchell Leib, I am the President of Music for Walt Disney Pictures. And it has really been one of my great pleasures and one of the highlights of my professional career to actually have been the executive music producer on the TRON: Legacy project.
Some tremendous elements came together to make it all possible. We had an amazing visionary and talented storyteller in our filmmaker/director Joseph Kosinski, who you are all going to meeting in just a moment. We have the incredible, deep, intelligent, incredible, again, Daft Punk as our score composers who created all the music for the picture -some of which you'll be hearing in a little bit. We had a very steady, guiding hand from our producer Sean Bailey, Jeff Silver, Justin Springer, who I saw floating around here, who really kind of this movie to bring it to the screen is an incredible technical accomplishment, as well as creative. And then of course we had our musical svengali, guru facilitator and our great music supervisor on TRON Legacy, Jason Bentley.
So, all of these talents came together to go on an incredible journey along with a lot of other people that led us here today. The journey will of course continue, when the TRON Legacy original motion picture soundtrack is released on December 7 and then it all coalesces with the TRON Legacy film release on December 17 and it really is, again, quite a technical accomplishment and a tremendous ride as a movie, so I hope you all get the chance to go see it.
With that, it is my great pleasure to introduce to you the director of TRON Legacy, Mr. Joseph Kosinski. And of course a man who needs little introduction, your host, my friend, our music supervisor on TRON Legacy, Jason Bentley.
JB: Thanks Mitchell, Alright, how's everybody doing? Pretty excited about TRON? Yeah, think we all are. We have no choice… Well thank you all for joining us today and thank you Joseph, for taking your time
Joseph: My pleasure.
JB: I know it's a busy, busy time for you right now. When I saw you on Thursday, a couple nights ago, you said something funny to me which was "I just finished the movie yesterday." Is that true? Is that possible?
Joseph: It is in this digital era that we live in. I literally finished the movie Wednesday morning and we put it on a hard drive and it was instantly duplicated and disseminated around the world almost instantly. So, it was surreal to finish it Wednesday, watch it once through, complete. I got to watch the movie once, finished, and then it was shipped out and watched now with an audience both the last two nights, so it's been pretty cool.
JB: Well congratulations. How does it feel now that this project which, was a good 3 years of your life…
JB: You know, with 48 hours of time to look back… I don't know, I can't describe it. I've got another month to now sell the movie. But it feels good. I'm proud of the movie. I'm proud of all the talented people that worked on it and particularly proud of the soundtrack.
JB: Music is a huge part of this film, but I'd like to start with your own background with music. I've had the pleasure of working with you prior to Tron on some commercials, advertising and I remember at that time you were very, very keen on music and it was very much a part of your process.
JB: So, I'd love to know more about your influences and music in your life.
Joseph: I guess it goes back…my grandfather was a jazz trumpeter actually and had a band in the 1940's, was in the army. The story he always told was he ran the jazz band at Wendover air force base in Utah and played the dance the night before the crew of The Enola Gaye went on their final mission at the end of WW11. So he was kind of into dancehall music and jazz and then he became a high school band instructor in Chicago. He had 13 children and they all played instruments; were required to. My mom was a pianist. So she had me on the piano at 3 years old starting to learn how to play. Then I switched to saxophone in junior high. For a while, I thought I was going to be a jazz saxophonist. When I went to college I had a double major in jazz music and mechanical engineering. So I had these opposing interests and eventually I thought architecture would be that kind of fusion of those two interests --the creative and the technical. Then, through a series of events found myself working in movies and somehow I feel like I ended up in the right place.
JB: You mention architecture, mechanical engineering and I wanted to ask you about electronic music, because I know you're a huge fan of electronic music and back when we first started working together, really, you had a passion for a lot of underground and fairly obscure electronic music. For you was electronic music kind of a natural companion, or soundtrack for architecture and computer design?
Joseph: Yeah, I mean I remember sitting in the computer labs at Columbia in the 90's listening to Sneaker Pimps and Daft Punk and everyone was in their headphones in front of their computer screens working all night and for whatever reason it was the soundtrack back to that process and it continues to be that for me. You know, the music somehow unlocks part of the brain and just gets that internal visual thing going and this move was no exception.
TRON: Legacy Soundtrack - KCRW's Jason Bentley with director Joseph Kosinski - Part 1
JB: So, Daft Punk -- as you moved into the preproduction for TRON Legacy, Daft Punk were top of your list, but at that time they really had more of a dance music pedigree -not necessarily known as film composers, certainly. On an electronic side really they had made a lot of great dance records. What was it about Daft Punk that drew you to them or this idea?
Joseph: I was a big fan of Daft Punk. I was also a fan of the work that Thomas and Guy-Man were doing outside of Daft Punk. Thomas had done the soundtrack for the soundtrack for a movie called Irreversible and Guy-Man had a side project called Crydamoure, which I also was a huge fan of. It was also very clear to me that these guys were more than just dance music guys. There was something about their music and the way that it was produced and put together, and assembled - especially with the Discovery album, I think- it showed a level of musicianship and songwriting that it was clear that these guys were working on another level. Then they did this movie Electroma, which hopefully many of you guys have seen, which is this incredible piece of art. So, it was very clear to me that there was a lot going on behind those masks and when this project first came up, I kind of found out through mutual friends/business connections that there was an interest on their side. There was clearly an interest on my side and we set this pancake meeting in LA at the 101 Café where we converged and talked about Tron, it was pretty cool.
JB: The courtship went on for about a year after that and it goes to their process, how meticulous they are and how thoughtful they are. Were you ever discouraged at that early stage of, gosh, can we pull this off or is this the right idea?
Joseph: Yeah, I mean it was a long process, you were there for that. They are, like you said, they are very meticulous; they don't do anything without thinking about it, which I totally understand. They wanted to make sure that this was something they could commit themselves to, creatively and completely, for a couple of years, so I totally understand that. So, during that process, the thing that kept me going through it is that I knew, creatively, we all wanted the same thing. I knew we wanted to create a classic film score that blended electronic and orchestral music in a way that hadn't been done before. I knew creatively we were in the right spot, it just took some time to get everything lined up as it had to be and then once we were off to the races, it was pretty incredible.
TRON: Legacy Soundtrack - KCRW's Jason Bentley with director Joseph Kosinski - Part 2
JB: Eventually they did commit, and they really brought a lot just straight away. They had really prepared themselves, and I should say also how highly unusual it is to have composers onboard and committing to a two-year process. It's absolutely unheard of. But I think it also gave us the opportunity to do something very, very special. I remember them submitting demos at a very early stage, and I'd love for you to talk about how important that was - to have demos and a lot of ideas before you had even shot the film at all, this is months before the shoot.
Joseph: Yeah, it was pretty incredible. We started with those two demos that were like sketches that were just kind of mood pieces, which showed that we were - you know, where we were going to set out. And then shortly thereafter, I remember I got that playlist of 24 tracks, you know, grid 1-24. Unlabeled, just numbers, which is great, and I put them in an iTunes playlist and I just put my headphones on one night and listened to each track, going down the list. And I remember in that little comments section in iTunes I was able to - there's two things. There's the stars, you know, 1-5, and then there's the comments. And for each one, I rated it and then I put in, you know, "sirens" or "Flynn's Theme" or "light cycles."
Whatever came to my mind on each of those demos, I just labeled them all and then sent it back to them. That kind of positioned all of these demos in their certain pieces through the film. They started composing right when we were starting to shoot, and by the time we got to the End of Line Club, I remember we had a couple pretty finished tracks. You were there, I remember, that day which was just phenomenal to set up the giant speakers on set, hit play, and have a nightclub with fresh Daft Punk music playing, them DJing up in the booth, and full of programs, and it was great to have it while we were shooting.
JB: What other ways did it affect the process, the execution, on set? Was it a matter of establishing a tempo, was it about an overall aesthetic, I mean, how did it inform the whole group?
Joseph: Music has this ability to answer so many questions without having to say anything. I think with a movie like this it's very important to establish the exact right tone for the actors, even for the crew. So I always had my little sound station at my director's chair where I was just playing all the demos constantly in between setups. And it was cool, it just set the vibe and the crew just got a sense of this movie as we were making it. I think it affected the way people worked - I know Olivia Wilde one day came to me when we were shooting a scene and we were talking about this character Clu in this movie, who's a completely digital character who was really only completed in the last couple of months, asking questions about him, like – ‘I have to talk about him in this scene, but I've never seen this character because he doesn't exist yet’…and I said, well let me play you Clu's Theme, I just got a demo from Daft of the theme for him, and I played the theme and she listened and was like, I got it. Now I know why to be afraid of this guy.
So it was a really cool thing to have while we were shooting and really amazing thing to have when I started cutting the movie together. You never get the opportunity to cut your movie to your final music. Usually you score the movie after the fact and you fall in love with your temp tracks but I never temped this movie, this was all Daft Punk's score from beginning to end.
TRON: Legacy Soundtrack - KCRW's Jason Bentley with director Joseph Kosinski - Part 3
JB: I'd love to play our first cue now, and the reason why I chose this as the first one is the way that it begins is true to these original demos. You'll hear how the cue evolves and starts to incorporate orchestral elements, but the way that it begins is spot-on the demo that we heard. This is one of the first 24 that you mentioned, so if we can play that now. This is called Solar Sailor.
Music: Daft Punk - Solar Sailor
JB: Pretty nice.
JB: Now you should mention this ended up in the end title now, it was positioned differently before.
Joseph: Yeah, this is the second track in the end title. This was just one of those interesting things where we had two options for one scene, the Solar Sailor scene. We had one we wrote initially that was based on, basically, the first demo they ever gave me, one of those original two. And then as we were working on the movie we thought we needed a slightly different vibe there, so we then put this track in at that spot. And then as the movie came together and it came down to the final visual effects were coming in and the score and the sound was coming in, like three weeks ago I was up at Skywalker and I was like, you know what, I think that original track's going to work better here now, I want to go back to that original mood. So, since we were carrying - I had them actually record both versions with the orchestra in London - at the last moment, swapped it back. So now this is in the end titles and there's another track there which, I don't even know if it's on the soundtrack, but it's one of my favorite tracks from the movie. You'll have to listen for that when you see it.
JB: We should talk a little bit about as you moved into post production. Daft Punk had set up shop, had been submitting ideas and working on them, but now you were able to, almost in a temp music stage, you were able to take these demos - they didn't have picture, for a long time - you would take these into the edit room and sort of work with them, position them, recut them for time, and that was a really interesting part of the process which you never find, it's never the case, and I'm sure required a lot of patience on Daft Punk's part because they were kind of just feeding you things without knowing -
Joseph: -and then watching us chop, I mean not chop it up in an unmusical fashion, chop it up in a very musical fashion, but say we've got an 8-minute scene here and you've given us four minutes of music, we're going to take that middle chunk, we're going to loop it to fill it out, and then we give it back to them and they're like, okay on the second loop then we'll evolve it and add something else. It was a real back-and-forth process and I've got to say, for guys who hadn't done a movie before and are so exact and so precise in their own process, the level of collaboration and openness and understanding that they were serving the film in this role was pretty astounding, it was a pretty amazing process.
TRON: Legacy Soundtrack - KCRW's Jason Bentley with director Joseph Kosinski - Part 4
JB: They really approached it with such an intellect, so thoughtful. They talked a lot about the layers, the orchestral layer, the electronic layer, the granular layer - all of this was really important in integrating these ideas together. And you hear that in the first cue as it begins with that distinctive arpeggiation, that synth sound, and then moving into the orchestra. They feel organically married, and that's not easy to do.
Joseph: Yeah, we always want it to be this kind of seamless blend, in the same way that visually the film, the blend between what is practical and what is digital, is meant to be blurred and invisible to an audience. We also wanted the line between sound design and music to also be blurred. That's where those granular elements will sometimes feed into a cue, you'll almost feel it to be like room tone in a scene and then all of sudden a cue will bubble up out of it, and that kind of blend of those elements was something we set out to do from the very beginning, and I think it worked.
JB: Also to describe how these guys got up to speed, I'd love to tell you about the studio they put together a little bit, because that was a real thrill for me. One of my earliest jobs on this with them was to take them around to meet various composers. Very early on, the idea was, well, actually, we don't know how they'll do this. Do they want to pair up with an established composer? Anything was possible. So I organized a bunch of meetings with A-list composers in town, and everybody threw open their doors and were very generous with their time. This is Hans Zimmer and Harry Gregson Williams - you know, all the best composers. And it was so great to just watch them absorb information and, as I said, how generous people were.
And at the end of a two-week frame of meetings and the funniest situations where, you know, I’m driving through Burbank and they're in this crazy convertible behind me and in my rearview mirror I'm just hoping I'm not losing them…they're such characters, in real life, they're such characters.
And at the end of it we said, ok, well, who do you want to work with? And they said, ‘we want to do it ourselves.’ And, of course, the studio, who would love to have a guarantee, an insurance policy of having Hans Zimmer right there, was a little unnerved by that. But we believed in them.
I think it was their intellect and how they were approaching it, their demeanor, that really made the difference, but plus they had done their homework. But it was definitely a funny experience to go around with them, and then help them put a studio together. They put a room together at the old A&M Studios, Henson, and along the way we found some terrific people to be the resources and the support team. We have Joseph Trapanese here today - Joseph Trapanese, invaluable as an assistant and orchestrator. Dan Lerner came to us through a meeting with John Powell - I don't know if we got lucky -
Joseph: I think we got lucky.
JB: But great people got involved. It was a special, special thing to see it all come together. Mitchell, who intro'ed us, who's a tireless cheerleader and his creative direction was invaluable. iI was a terrific time.
I want to go to our second cue and this is the Recognizer. This is also significant, and without giving away too much in the film, this is when 3-D really kicks in. And so the music plays an important role here, because it's going to that point about it being a part of the overall experience of the film, to kind of blow your mind visually and the music has to be on the level of what you're seeing. So let's check out our second cue, which is Recognizer.
Music: Daft Punk - Recognizer Capture
JB: Alright. With this cue you can feel how Daft Punk really had a command of the orchestral and started to really indulge there. They were insistent on working at Air Lyndhurst in England. It wasn't necessarily the most convenient thing for all parties because we were in post-production in L.A. But just like everything for them, they had listened carefully to a lot of scores and they were so set on this. What was it, the horns?
Joseph: The brass. They were convinced the brass there, and I also think the acoustics of that particular room make a difference and I think they were right. That was one of those tracks that really came alive - it was a great track when it was a demo and all digital but, that was one when I heard the recordings from their live session that took a whole new life on. I'm glad we did it.
JB: Because of the distance, I wasn't on hand and you would link with them…
Joseph: I was connected via a synched digital connection for the sound and then an iChat so I could actually watch the orchestra while they played…it was pretty cool.
JB: Just to throw it to Joseph Trapanese or to Mitchell, who's probably still here - that whole time must have been so exciting to see this roll out and for the orchestra to record but, can you share any stories of that?
Mitchell: It was just a fantastic experience. It was about the brass, it was also about the string players and their attack, their particular attack, the kind of strokes that Daft Punk and Joseph had in mind. It was such an amazing experience to go into that big former church, that big room to watch Joseph working with Daft Punk, making changes on the fly, communicating to this brilliant 85-piece orchestra, we had the greatest conductor, Gavin Greenway. A great recordist. Really just an incredible thing of a merging of these electronic tracks that had been laid with the orchestral top put on it. It was a very special thing.
JB: Joseph, do you have anything to add? It must have been magic.
Joseph T: It was fantastic. I'll defer to Mitchell.
JB: So Air Lyndhurst. The place looks amazing, it's in this kind of castle / cathedral space which is unreal.
I'm curious if they helped change or helped define the way that you looked at certain scenes. Were you open to that? Was the music that important to your process that it altered the way that you approached it?
Joseph: Absolutely. When you're going to be so married to a musical piece there are certain rhythmic beats or cycles that you can't fight. There are scenes where really the picture is cut to the music, particularly the more rhythmic stuff. which I'm sure we'll get into. Those tracks would come in and they'd inspire you to add more energy to the cut or take the edit in a slightly different direction, so it really was a collaborative process, we were feeding each other creatively and it was a really cool thing.
JB: Our next cue is definitely out of the box for Daft Punk, in terms of preconceived notions. This is the Adagio. I don't think it's giving away too much to say that this is a flashback sequence in the film, which I think gave them license to do this kind of a piece. But I think what is remarkable here is just that this is Daft Punk, because this is an amazing cue. Do you have anything to add to this?
Joseph: This is, for me, probably one of my favorite cues from the film. This is a very complicated scene in the film where Kevin Flynn, played by Jeff Bridges, tells the story of how he got to be where he is at this particular point. So he's telling a story, we're flashing back to the 1980s, we're telling a complicated story with lots of twists and turns and the music just follows and supports and accents the storytelling in an amazing way that works so well together. But at the same time the piece, heard by itself, is just a gorgeous piece of orchestral music.
JB: This is a four-minute cue, and it's Adagio. Let's listen.
Music: Daft Punk – Adagio for TRON
JB: Well, I think that certainly defies people's expectations of Daft Punk, really. As word leaked that Daft Punk were involved in this, there were a series of fake tracks. What an unusual situation, to have so much anticipation of a score that the fans are actually writing it. What did you make of all that - is it just part of the Daft Punk mystique?
Joseph: I can't complain about that, it's excitement for the film. For me, it was a nice relief because it gives people something to listen to and talk about even if it wasn't from the film so that when they go to the movie, they're surprised by what the score actually was.
I guess it's flattering. There were a couple of odd things, too - I don't remember if you the time that I got an emergency message from the guys saying: ‘Joseph, our hard drives have crashed. We've lost all the demos we've sent you. We need you to burn all of it onto a DVD and send it to this address in France.’ And I quickly realized that…I called Thomas and he was like,’ I don't know what you're talking about.’ Someone had worked up this ruse to get me to send the soundtrack to them.
JB: I've suggested to the label that they put out a companion compilation of all the fake tracks…
Joseph: That's a good idea.
JB: There was some good stuff.
Joseph: There was.
JB: Okay, the next cue is Disc Wars. This is a more electronic and muscular cue. Certainly one of those moments where it's all coming together, and it happens throughout the film, but it's no small order to have music match this vision, especially the experience of 3-D, and everything is so futuristic so it really makes a demand on the music that it really be up there. This in particular I wanted to play because it certainly qualifies. So let's check it out. This is Disc Wars.
Music: Daft Punk - Disc Wars
TRON: Legacy Soundtrack - KCRW's Jason Bentley with director Joseph Kosinski - Part 5
JB: So you did the final mix at Skywalker, George Lucas' legendary filmmakers retreat, and when I had a chance to visit you there, the mix engineers described this as the loudest film they had ever mixed music for. I don't know if you brought it back any -
JB: Tell us about that process, being there. You were up there for a few weeks.
Joseph: Six weeks. It's the most gorgeous slave labor camp in the world.
JB: It's really amazing.
Joseph: It is, it's incredible. But, yeah, the mix was a challenge. These are Oscar-winning guys who've done King Kong and Lord of the Rings and all this stuff, I don't think they had ever encountered a score quite like this. It was a challenging thing to get music with this much power to mesh with a sound design that was also equally powerful. So you had these two monstrous kind of things that could easily be butting heads the entire film, which would just be a mess. It took a lot of time. It took six weeks of hard work, even more prep work before that.
JB: You also laid the groundwork for that very early, in setting up certain meetings, creative meetings, between Daft Punk and the sound designers.
Joseph: I knew that they had to work together and it was a tricky thing to make sure that you heard the sound design elements that you had to hear, but also for the sound designers to be comfortable in letting the music carry parts of the film where normally they would put sound but the score, since it was done in concert with the film, really was designed to carry long sections of it almost alone.
I think philosophically it was a new thing for them so we worked really hard and, yeah, it's a massive, giant mix in the end. But I think it has to be. It has to, like you said, in order to support the world and the visuals that we have on screen, you need that kind of power. So I'm really happy with where it ended up.
JB: So did George Lucas give it the blessing?
Joseph: You know, I did have that pretty surreal experience of - I was working down in the DI theater, in what's called the carriage house behind his main house and I got a call that George wanted to come down and see what I was working on. So he came down and I played him a 23-minute section of the film that we showed at the Tokyo Film Festival and showed at Tron Night a couple of weeks ago. Pretty surreal to be sitting behind the guy who created Star Wars and showing him this movie and he was fired up. He was excited. So that was a pretty cool experience.
JB: So we wanted to take some questions from the group as well. Wow, ok. A hand goes right up.
Audience Question: I was wondering if there were any plans to have a live rendition of the score with the band and a full orchestra while the movie's playing?
Audience Member: At the Hollywood Bowl.
Joseph: I think it sounds like a fantastic idea. I'm all for it. I'd love to see that, I think it would be incredible.
JB: We'll have a word with Paul Hahn, Daft Punk's manager is here somewhere. We'll corner him later.
Audience Question: Are Daft Punk going to play any Tron-centered shows? Even around the release of the film?
JB: No. You know, they’re unusual and brilliant. I think they really wanted the music to speak for itself, married to picture. They’re very uncomfortable with any playback without it being to picture because they respect the whole process of scoring. So there’s no ill will there, it’s just they are so particular in their process. They did an exclusive interview for Dazed and Confused which I think is just coming out. It’s the mystique of Daft Punk, but that’s their calling card. It’s kind of worked for them, this “less is more” thing. As much demand as there is, by not doing it it creates even more demand.
Joseph: They understand that equation very well. I think it’s smart on their part.
JB: Who knows maybe in the new year? I mean it’s really up to them but they just need to think it through. And as we know, it takes time.
Audience Question: How did Daft Punk actually get their music translated to the orchestra? Did someone translate it into written music and then off to a conductor?
JB: Yeah, that would be this gentleman up on the stairs, Joseph Trapanese. Orchestrator.
Audience Question: How did it go from the demos, to the musicians, to the orchestrated parts?
Joseph T: It seems complicated at the end of the day, but it’s actually quite simple. I was locked in a room with robots for almost two years and it was simply a lot of hard work. We were just together working throughout the whole process and there was never a point where the orchestra was not in their minds and the electronics were not in my mind. It was a continual translation between the two worlds and hopefully we put something together that will be something different because of that.
Audience Member: That sounds fantastic!
Audience Question: You were talking about blurring the line between sound design and score. I read a while back that, I don’t know if it was the score was mixed in frequency with the light cycles or visa versa, but which element comes first and what kind of areas did you mix them with?
Joseph: Yeah we did some of that with the light cycles, we actually tuned the frequencies of the bikes in with the key of the score. We were always cognizant of that with a lot of the environmental sounds in scenes before the score comes in that we would tune either the room tone, or the sound of the vehicle or the sound of the atmosphere into the key that the score would eventually come in to so that it all came out of that sound bed. That was something we talked about from the very start and because we started so early we were able to plan that.
Audience Question: You talk about the cameo that they made, it was a pretty extended cameo. Did they come to you saying “we want to be in the film” or did you say you wanted them to be in the film? How did that come about?
Joseph: I think I had to persuade them to do that. I didn’t want to force them in but, you know…the guys dress as robots so it’s not a huge leap to translate them into the world of Tron. We did Tron-ify them. We gave them some new helmets and suits that were in the vibe of the scene and the world that we were shooting. But you know it just made sense. We had a nightclub scene, which was kind of our “Cantina scene.” It just made sense that the house DJs had to be Daft Punk. It was spectacular.
I remember Sean Bailey, our producer, was telling the story yesterday and it is absolutely true. We had a camera malfunction one night, which happened occasionally, and we were down for a little but but we had Daft Punk in the house and we had 100 people dressed as programs so we threw a little dance party while we waited. With fresh Daft Punk music, so that was a fun night.
JB: So we have one more cue, let’s get in one more question.
Audience Question: How receptive were they to feedback? I’m sure as a director you had some ideas about the direction you wanted them to go in some scenes that may have not fit in with their music so well, and I’m wondering did you give them any feedback and how did they take that?
Joseph: Yeah, they knew from the very start -- I mean they are filmmakers as well, they understood that their role, and the role of the score, was to support the film. It was a true collaboration from the beginning. There was feedback back and forth, there were moments were we would disagree, there were moments when they came around, there were moments where I pushed them to do something they maybe felt uncomfortable with at first but then they’d come back with something that was better than I could have ever hoped. It was all part of the process; it was part of that creative process and out of that struggle and tension comes better work. So they were incredible.
JB: So we’re going to leave you with the End Title, appropriately. Which is a straight up electronic track which does incorporate the theme though, so you’ll hear that. We might as well say thank you and good day and all the best to you Joseph Kosinski, thank you for being here. Also I do want to thank Walt Disney Studios, Walt Disney Records, Chrissy Woo, Rachel Reynolds, Maria Kleinman, Apogee Studios who has hosted this event. Bob and Betty, Sophie and Brandon as well for being a part of this. December 7th is the soundtrack and December 17th the film is in theaters and if we could go out with the End Title.
Music: Daft Punk – TRON Legacy (End Titles)
JB: All right, thank you everyone for coming.
ABOUT THE MOVIE
“TRON: Legacy” is a 3D action-packed adventure set in a digital world unlike anything captured on the big screen. Sam Flynn (Garrett Hedlund), a rebellious 27-year-old, is haunted by the mysterious disappearance of his father Kevin Flynn (Oscar® and Golden Globe® winner Jeff Bridges), a man once known as the world’s leading video-game developer. When Sam investigates a strange signal sent from the abandoned Flynn’s Arcade—that could have only come from his father—he finds himself pulled into a world where Kevin has been trapped for 20 years. With the help of the fearless warrior Quorra (Olivia Wilde), father and son embark on a life-or-death journey across a visually stunning universe—created by Kevin Himself—which has become far more advanced with never-before-imagined vehicles, weapons and landscapes, and a ruthless villain who will stop at nothing to prevent their escape.
Official Tron Website: http://disney.go.com/tron/index_flash.html
Tron: Legacy Official Trailer
Derezzed by Daft Punk for Tron Legacy